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 Atreyee Gupta 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 Cecilia Vicuña 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 Delphine Sims 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 Ellen Feiss 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 honors Imogen Hart India Indian Art Islamic art Ittleson Fellowship James Cahill Jason Hosford Jennifer Stager Jessica (Jez) Flores García 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 Lesdi Goussen Robleto 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 Rebecca Levitan Renaissance Robert Motherwell Book Prize Rosaline Kyo Rumble Lecture Ryan Serpa San Francisco Sarah Cowan Sarah Louise Cowan sculpture Shivani Sud slavery Smithsonian Sojourner Truth South Asia staff Stephanie Pearson Stoddard Lecture Sugata Ray summer sessions Susan Eberhard T.J. Clark Tate Britain teaching team-teaching Thadeus Dowad Theory Tobias Rosen Todd Olson Townsend Center undergraduate undergraduates Verenice Ramirez Visual Resources Center VRA VRC Wenner Gren Foundation Whitney Davis Will Coleman William Ma Wyeth Foundation Yanis Varoufakis Yessica Porras
History of Art Commencement exercises will take place on Tuesday, May 15th at 9:00 a.m. in the auditorium at BAMPFA. Save the date!
This year's commencement speaker is Dominic Willsdon, Leanne and George Roberts Curator of Education and Public Programs at SFMOMA.
Professor Julia Bryan-Wilson's new book Fray: Art and Textile Politics was selected by Holland Cotter as one of the "best art books of 2017" in the New York Times. Assistant Professors Atreyee Gupta and Anneka Lenssen both contributed to another publication on the list, Postwar: Art Between the Pacific and the Atlantic, 1945-1965 (Haus der Kunst).From The New York Times:"Textile art, sometimes called fiber art, once occupied ambiguous terrain in a now-obsolete art vs. craft divide. Julia Bryan-Wilson’s book goes beyond arguing for fiber’s aesthetic legitimacy to demonstrating its political agency. And she does so by considering an enthralling range of hitherto untapped material: fantastic costumes designed by the 1970s queer theater troupe, the Cockettes; hand-sewn tapestries produced by Chilean artists depicting torture under the Pinochet regime; and the still-growing NAMES Project AIDS Memorial Quilt. Ms. Bryan-Wilson’s research is more than substantial, but her propulsive style makes the book a page-turner."
From the Letters and Science site:
"For art history major Ryan Serpa '17, color is everything.
"While researching pioneering figurative artist David Park for his thesis, nothing has been more powerful — or accurate — than viewing Park's work in person. Serpa received a Summer Undergraduate Research Fellowship, funded by private donors, that enabled him to get an up-close read on the paintings in museums and archives, including the Smithsonian.
"'I never would have had the funds to travel, nor the time to dedicate to the work, without this opportunity,' says Serpa. Bay Area figurative art arose in the 1950s during a period of rapid development and changing demographics, particularly an influx of black migrants. Serpa proposes that Park used color to subtly suggest race, while also eluding outright reference to it — impossible, considering the segregation laws at the time. To Serpa's knowledge, he is the first person to pinpoint this potential thread of inquiry, an extraordinary accomplishment for an undergraduate."
On Tuesday, May 2nd, History of Art undergraduate Ariana Pemberton will present her honors thesis "Geography, Identity, and Monumentality: Global Cosmopolitanisms and the Martand Sun Temple in Kashmir" at the Young Scholars Research Symposium: A celebration of student excellence organized by the South Asia Institute.
For more details: http://events.berkeley.edu/index.php/calendar/sn/csas.html?event_ID=106094
Assistant Professor Atryee Gupta will be joining the UC Berkeley History of Art Department faculty in the fall semester of 2017, and her first class here will be HA36: Asia Modern: Art + Architecture, 1800-present, offered Tuesdays and Thursdays from 9:30-11am. Dr. Gupta's area of specialization is global modernisms and contemporary art, with a special emphasis on South and Southeast Asia and its diaspora. Her research and teaching interests cluster around visual and intellectual histories of twentieth-century art; the intersections between the Cold War, the Non-Aligned Movement, and art after 1945; new media and experimental cinema; and the question of the global more broadly. A more detailed look at her areas of specialization, a link to her full CV, and a list of her publications can be found at her faculty page.
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 visit Return of Ten Thousand Dharmas: A Celebration in Honor of Patricia Berger, or if you have further questions, 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.