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 Fray 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
In 1996, the late Richard and Rhoda Goldman provided generous funding for five Distinguished Professorships in the College of Letters and Science, establishing an endowed chair in each of the College’s divisions. The Professorship is awarded for excellence in scholarship and commitment to the University’s teaching mission. The Department of History of Art is very pleased to announce that Darcy Grimaldo Grigsby has been named as the Goldman Distinguished Professor in the Division of Arts and Humanities, 2015-2020.
Congratulations to Alexandra Courtois, Sarah Cowan, Andrew Sears, and Caty Telfair, all of whom received the Outstanding GSI Award from the GSI Teaching and Resource Center, in recognition of their excellent teaching in the Department. Recipients receive a $250 prize and will be honored at a ceremony and reception on May 5, 2015. Please join us to celebrate this well-deserved recognition of their outstanding efforts on behalf of our undergraduate students. Lists of past recipients may be found here.
Body and Empire: A Conversation
Darcy Grimaldo Grigsby
Still Thinking about Olympia’s Maid
Opening with Manet’s voyage to Brazil after the second French abolition of slavery, this talk focuses on the too often overlooked black woman in Manet’s Olympia (1863) and the model Laure who posed for this painting and others. Manet’s painting stages a creole scene that makes visible France’s long reliance on slavery, but also its Revolutionary redefinition of all blacks as paid workers after the second abolition of slavery in 1848. How does thinking about the entry of blacks, specifically black women, into France’s economy of wage labor differently illuminate Manet’s painting?
Of the "Effeminate" Buddha and the Making of an Indian Art History
Internalizing colonial accusations of the “effeminacy” of the native male body, nineteenth-century Indian ideologues and reformers attempted to redeem the national body through a range of phallocentric body cultures. Anti-colonial art history, however, deliberately appropriated colonizing discourses of the effeminate native body to epistemologically challenge the hegemonic hyper-masculinity advocated by both the regulatory mechanisms of the British Empire and a larger nationalist body culture in colonial India. The ingenious invention of a discursive intimacy between yoga and an aesthetics of demasculinization led to the strategic resignification of the male body in early Indian sculpture as both a sign and the site of an imagined national life. Through a close analysis of art writing and photography, art pedagogy and colonial archaeology, visual practices and sartorial cultures, my talk will delineate the fin-de-siècle politics and aesthetics of demasculinization that had led to the establishment of anti-colonial Indian art history’s disciplinary and methodological concerns.
Kunstgeschichte und ästhetische Praktiken
An Initiative of the Kunsthistorisches Institut Florenz, Max-Planck-Institut at the Forum Transregionale Studien, BerlinWallotstraße 14, 14193 Berlin
Andy Stewart, Nicholas C. Petris Professor of Greek Studies and Professor of Ancient Mediterranean Art and Archaeology, has been invited as one of three guest speakers at the afternoon session of a public Study Day on the Nike (Winged Victory) of Samothrace at the Louvre, on March 28, 2015. Recently conserved and remounted, the Nike is among the most spectacular and most famous sculptures of ancient Greece. Joining him on the podium and for the subsequent debate - which promises to be lively - will be Professor François Queyrel of the École des Hautes Études in Paris and Professor Olga Palagia of the Department of Classical Archaeology at the University of Athens.
OUT OF SCALE! Aesthetic, Technical, and Art Historical Perspectives on Ancient Bronze Statuary
March 21, 2015
Sala L’Altana Palazzo Strozzi Scuola Normale Superiore Firenze
MARIO CITRONI | Scuola Normale Superiore
KENNETH LAPATIN | J. Paul Getty Museum, Los Angeles
ANDREA PESSINA | Soprintendenza Toscana
ARTURO GALANSINO | Fondazione Palazzo Strozzi
LORENZO BINI SMAGHI | Fondazione Palazzo Strozzi
11:00 Morning session
Chair: GIANFRANCO ADORNATO | Scuola Normale Superiore
CHRISTOPHER HALLETT | University of California, Berkeley
The Impact of Roman Collecting on Late Hellenistic Bronzes, Large and Small
MICHAEL KOORTBOJIAN | Princeton University
15:00 Afternoon session
Chair: KENNETH LAPATIN | J. Paul Getty Museum, Los Angeles
CAROL MATTUSCH | George Mason University, Virginia
Piecing and Patching: the Dating of Ancient Bronzes
KYOKO SENGOKU-HAGA | Tohoku University
The Doryphoros Herm by Apollonios and the so-called Dancers of
Herculaneum: Use of Plastice in Sculptors’ Workshops
FABRIZIO PAOLUCCI | Galleria degli Uffizi, Firenze
Divina et Praesentia Signa.
Imperial Images in Precious Stones and Bronze
In occasion of the exhibitions
Power and Pathos. Bronze Sculpture of the Hellenistic World Firenze, Palazzo Strozzi | 14 March - 21 June 2015
curated by Jens M. Daehner and Kenneth Lapatin
Great Small Bronzes. Greek, Roman and Etruscan Masterpieces Firenze, Museo Archeologico Nazionale | 20 March - 21 June 2015 curated by Andrea Pessina, Mario Iozzo, Giuseppina C. Cianferoni
Two projects in the Department of History of Art have received grants from the new Digital Humanities at Berkeley initiative.
Professor Lisa Trever submitted a successful proposal to integrate digital components into her fall 2015 course "Mural Painting and the Ancient Americas." This seminar will explore the traditions of palace, temple, and tomb painting in ancient and pre-Hispanic Mexico, Guatemala, Peru, and the American Southwest, as well as modern and contemporary legacies of mural painting in Latin America and the United States. The Course Development Grant will allow the class to experiment with digital technologies for rendering digital models of ancient murals and for capturing site visits to murals in the Bay Area. This project is supported through the collaboration of digital curators and research specialists in the department's Visual Resources Center and the Archaeological Research Facility.
In addition, Professor Elizabeth Honig and the VRC have received funds from the Digital Humanities initiative to create a repurposable platform that can be used to catalog the works of any visual artist. Built using Drupal, this platform will be made freely available to other scholars. This grant will be an extension of Dr. Honig’s project janbrueghel.net, which is also a collaboration with colleagues from the Duke University Math department and is funded by the National Science Foundation.
Digital Humanities at Berkeley is a partnership between the Office of the Dean of Arts and Humanities and Research IT in the Office of the CIO. It is supported by a generous grant from the Andrew W. Mellon Foundation, with additional support from the Office of the Vice Chancellor for Research.
Beate Fricke (Associate Professor, University of California, Berkeley) and Barry Flood (Professor, New York University) have been awarded an ACLS Collaborative Research Fellowship for 2016-17. The program provides support to small teams of two or more scholars to collaborate intensively on a single, substantive project. In Object Histories—Flotsam as Early Globalism, Beate Fricke and Barry Flood draw from case studies in the medieval European and Islamic worlds to tackle methodological and theoretical issues of writing histories of flotsam, when the only source one has is a unique surviving artifact, image, or monument divorced from other documentation of its contexts.
Sugata Ray has been awarded the Historians of Islamic Art Association's 2014-15 Margaret Ševčenko Prize for his essay Shangri La: The Archive-Museum and the Spatial Topologies of Islamic Art History. The Ševčenko Prize, awarded annually for the best essay written on any aspect of Islamic visual culture, is named in memory of Margaret Bentley Ševčenko, the first and long-serving Managing Editor of Muqarnas, a journal devoted to the visual culture of the Islamic world and sponsored by the Aga Khan Program for Islamic Architecture at Harvard and at MIT.
Ray's essay on the twentieth-century display of Islamic art in the United States was researched during his 2013 tenure as Scholar-in-Residence at the Shangri La, Doris Duke Foundation for Islamic Art, Honolulu.
The online journal of American art history Panorama features an essay by Lauren Kroiz in a new section that will pair short scholarly and polemical essays with brief responses from academics, curators, critics, and other interpreters of American art and visual culture.
The inaugural "Bully Pulpit" considers a historical question with significant implications for contemporary art history: how have American art historians defined and reconceived their discipline during past moments of severe economic, political, and institutional crisis? The academic status and disciplinary objectives of art history have of course inspired much discussion in recent years. Facing myriad new challenges—including the reorientation of higher education around scientific and technical inquiry, cutbacks in support for arts education, and the intertwined problems of widening income gaps and narrowing access to the fine arts—art historians have begun to question the means and ends of their field with a new intensity.
The section’s lead essay, written by Lauren Kroiz, demonstrates that these crisis-fueled self-assessments have a deep history. Kroiz’s essay, “Parnassus Abolished,” examines the bold arguments for disciplinary reform that Iowa art historian Lester Longman made during his brief tenure as editor of the College Art Association periodical Parnassus (1940-41). As Longman was well aware, and as Kroiz explores, this exercise served as a mirror for bigger debates about American art and art history during the tumultuous interwar years.