8 November 2022

When we think of ‘classical art’, we privilege the same sorts of object (Greek and Roman figurative sculpture, exquisitely carved gems, Pompeian painting, and the post-antique artworks inspired by them). Why do we do this, and is it the whole story? When did ‘classical art’ become ‘classical', and when did it become ‘art'? What about all of those artefacts that it, and its emphasis on beauty, naturalism, narrative, omit? What about aniconic, comic or ‘ugly’ images, ancient graffiti, tombstones from northern Europe or Palmyra, reliefs from Gandhara….?

Archaeologists have turned to new materialist approaches, to context and object agency, to give these objects a role, but where does that leave ‘art’, form, style, iconography? Where does it leave the classical canon? What was once formative of elite identity and power in court societies and, subsequently in national museums, is at risk of being toppled, challenged for its monotony, its idealism, its racism, yet even now contemporary artists are attracted by its history. In our global world, does it have a future? What are the alternatives?

This seminar-based masterclass will explore these questions in the classroom and in Leiden’s National Museum of Antiquities to have all of its participants develop new vocabularies and see differently.

NB: this will be an intensive master class, which will take place in one week, from Monday 27 to Friday 31 March 2023, with two meetings per day (10 meetings in total), one in the morning, one in the afternoon.

See for more information and registration (deadline December 1) the prospectus.