TAG CLOUDAaron Hyman Acknowledgments aesthetics Alan Tansman Aleksandr Rossman Alexandra Courtois American art Ancient art Andrew Griebeler Andrew Sears Andrew Stewart Anne Wagner Anneka Lenssen anthropology archaeology archives art criticism Art Practice Asian art astrolabes Australian Academy of the Humanities award awards BAMPFA Bancroft Library Beate Fricke Berkeley Art Museum Bonnie Wade British art bronze statuary Byzantium Caravaggio CASVA Catherine Telfair Chair Charles O'Donnell chartalism Chinese art Chinese art history Chinese painting Chris Hallett Christopher Bollas College Art Association Commencement conference Contemporary Art courses Courtauld Institute curatorial preparedness Darcy Grimaldo Grigsby De Young Museum digital humanities Diliana Angelova DIstinguished Teacher of Art History Distinguished Teaching Award Dutch art Dutch Studies early globalism Early Modern Ecohistory ecological history economics Elaine Yau Elizabeth McFadden Emma Silverman Endowed Chair faculty faculty recruitment fellowships Finbarr Barry Flood Florence folklore Frederick Douglass Freie Universität Fulbright Gabriella Wellons George Lurcy Fellowship Gerhard Wolf Glenn Adamson global art global modern art Grace Harpster graduate graduate student instructor awards Graduate Student Instructors graduate student support graduate students Graduation Greek art Hearst Museum Hellenistic art history of science Imogen Hart India Indian Art Islamic art Ittleson Fellowship James Cahill Jason Hosford Jessica Flores Jessy Bell Jordan Rose Jordan Ross Julia Bryan-Wilson Justin Underhill Kailani Polzak Kappy Mintie Katherine Mintie Kathryn Wayne King's College London Kunsthistorisches Institut L. S. Lowry Latin American art history Laure Marest-Caffey Lauren Kroiz librarians Lisa Trever Louvre major Manet Margaretta Lovell material culture Matilde Andrews Medieval Art Mellon Fellowship Mellon Foundation Methods Micki McCoy Miriam Said modern art money Monuments Men museum New York Nike of Samothrace object-based learning object-oriented histories Oxford University Panorama Patricia Berger Peru Peter Selz photography Post-Culturalist Pre-Columbian psychoanalysis publications Ramon de Santiago Reading and Composition Renaissance Rumble Lecture Ryan Serpa San Francisco Sarah Cowan sculpture slavery Smithsonian Sojourner Truth South Asia staff Stephanie Pearson Stoddard Lecture Sugata Ray summer sessions T.J. Clark Tate Britain teaching team-teaching Theory Todd Olson Townsend Center undergraduate Verenice Ramirez Visual Resources Center VRA VRC Wenner Gren Foundation Whitney Davis Will Coleman William Ma Wyeth Foundation Yanis Varoufakis
Please join us for "Return of Ten Thousand Dharmas: A Celebration in Honor of Patricia Berger" on May 5–6, 2017.
Patricia Berger served as the curator of Chinese art at the Asian Art Museum, San Francisco from 1982 to 1994. She then returned to her alma mater to mentor another generation of graduate students as Professor of Chinese Art at the University of California at Berkeley. In celebration of her well-deserved retirement, we invite you to join her current and former students and colleagues to honor her contributions to the field. Professor Berger will deliver a keynote lecture on Friday, May 5 at the David Brower Center, followed by a one-day symposium on Saturday, May 6, 2017 in the Heyns Room at the Faculty Club. This event is free and open to the public.
For more information, please contact email@example.com.
Three students in History of Art have been awarded Undergraduate Merit Scholarships from the Institute of International Studies. These scholarships support undergraduate research in any area of international studies. Winners come from twenty-two different academic departments and six colleges and school.
History of Art scholarship winners for Spring 2017 are:
The Sun Temple of Martand: the Pinnacle of Kashmiri Cosmopolitanism and the Key to Surya Worship in India
Crafting “Worker’s Art”: Migrant Labor, Collective Authorship, and Artist Village in Post-Mao China
A Contextual Approach to Ancient “Graffiti”: Pictorial Codes and Motifs in Moche Religious Wall Paintings at Huacas de Moche
Lawrence Alloway: Critic and Curator (Getty Research Institute), which includes Julia Bryan-Wilson's contribution "The Present Complex: Lawrence Alloway and the Currency of Museums," received the Historians of British Art Book Award for best multi-authored work in 2015.
The award citation reads:
Lucy Bradnock, Courtney J. Martin, and Rebecca Peabody, eds., Lawrence Alloway: Critic and Curator, Getty Research Institute.
Lawrence Alloway (1926–1990) was a key figure in the development of modern art in Europe and America from the 1950s to the 1980s. He is credited with coining the term pop art and with championing conceptual art and feminist artists in America. His interests as a critic and as a curator at the Solomon R. Guggenheim Museum in New York were wide-ranging, however, and included architecture, design, earthworks, film, neorealism, science fiction, and public sculpture. Early in his career he was associated with the Independent Group in London and although he was largely self-taught, he was a noted educator and lecturer. A prolific writer, Alloway sought to escape the conventions of art-historical discourse. This volume illuminates how he often shaped the field and anticipated approaches such as social art history and visual and cultural studies. Lawrence Alloway: Critic and Curator provides the first critical analysis of the multiple facets of Alloway’s life and career, exploring his formative influence on the disciplines of art history, art criticism, and museum studies. The nine essays in this volume depend on primary archival research, much of it conducted in the Lawrence Alloway Papers held by the Getty Research Institute. Each author addresses a distinct aspect of Alloway’s eclectic professional interests and endeavors.
Assistant Professor Lauren Kroiz received a Wyeth Foundation for American Art Publication Grant from the College Art Association for her book Cultivating Citizens: The Regional Work of Art in the New Deal Era. Thanks to a generous grant from the Wyeth Foundation, these awards are given annually to publishers to support the publication of one or more book-length scholarly manuscripts in the history of American art, visual studies, and related subjects. For this grant program, “American art” is defined as art created in the United States, Canada, and Mexico.
On Thursday, November 10, Faculty Equity Advisors across campus hosted an "informal rally to affirm support for a diverse, inclusive, and equitable campus community, and for the extension of these values to our society at large."
"We want each and every member of our campus community to know that they are valued and have allies and advocates in every Department and
It is important to provide the opportunity for our campus members to participate in a positive action that shows solidarity and strength in numbers. This complements other more focused efforts on campus including the creation of safe spaces and opportunities for dialogue."
History of Art Commencement exercises will take place on Tuesday, May 16 at 9:00 a.m. in the auditorium at BAMPFA. Save the date!
We are excited to announce that our 2017 Commencement Speaker will be Tirza Latimer, Chair of Visual and Critical Studies at California College of the Arts.
Students who participated in a special curatorial component of the course Contemporary Art in the Americas, co-taught by Curator Constance Lewallen and Professor Julia Bryan-Wilson, discussed works on view at the Berkeley Art Museum. See the exhibit's online "booklet" here.
The Department is pleased to announce the appointment of Koenraad Van Cleempoel to the visiting Pieter Paul Rubens Chair for Spring 2017. Koenraad Van Cleempoel is one of the world’s foremost experts on Flemish scientific instruments of the Renaissance period, having completed his PhD at the Warburg Institute in the School of Advanced Studies at the University of London in 1998 with a dissertation entitled Aspects of Scientific Instruments Production in Louvain between 1550 and 1600. He is also the co-author of Spheres: The Arts of the Celestial Mechanics (Paris: J. Kugel). Specifically art historical perspectives undertaken in his work include attention to the iconography of scientific instruments in Flemish and Dutch art—in such works as Gossaert’s portrait of a young girl, the Five Senses series of Jan Brueghel the Elder and Peter Paul Rubens and Jan Vermeer’s Astronomer. That Van Cleempoel is an avid pursuer of yet-undiscovered scientific instruments can be seen in his substantive 2003 co-authored article, “A Recently Discovered Sixteenth-Century Spanish Astrolabe” published in Annals of Science, and in 2015, “A Newly Discovered Medieval Astrolabe with Gear Mechanism,” in Medieval Encounters (proceedings of a conference at the Warburg Institute). He holds the position of Full Professor in Art History and Vice-dean of the Faculty of Architecture and Arts of Hasselt University, the youngest and most innovative of universities in Belgium.
While at Berkeley, Professor Van Cleempoel will teach a seminar on “Sixteenth-Century Scientific Instruments as Materialized Knowledge.” We are fortunate to have the rare opportunity for such a course. It will combine notions and methods of the history of science, art and ideas with a focus on Louvain and Antwerp as centers of production of scientific instruments such as astrolabes, armillary spheres, astronomical rings and sundials in specific intellectual milieux.