A Line in the Sand takes its title from the sense of precarity and urgency emerging from recent efforts to take unified global action on environmental issues. Epitomized by the mission to mitigate climate change outlined in the Paris Agreement, drawing a line in the sand marks a boundary, the recognition of a critical horizon that demands a collective response and solution. In the wake of the United States' decision to withdraw from this seemingly global imperative, what are the limitations of political action in the name of the environment? Do these strategies reduce Earth to a receptive surface for human action, and narrowly legislate what counts as positive engagement with the environment? Are there ways of visualizing our relationship to the planet — other ecologies — that go beyond conservation, sustainability, and "living green" to address humanity's inextricably deep political, social, and cultural entanglement with the environment? Across art, design, and visual culture, what new forms of action do such ecologies permit?
Until 7:00 pm | 04/11/2018
Annemarie Weyl Carr
University Distinguished Professor of Art History Emerita
Southern Methodist University
This event is a Stoddard Lecture Series Presentation.
Until 7:00 pm | 04/30/2018
Rolf Schneider, Professor Emeritus, Ludwig Maximilians University, Munich and Guitty Azarpay Distinguished Visiting Professor, UC Berkeley
Presented by the Guitty Azarpay Foundation and the UC Berkeley History of Art Stoddard Lecture Series.
Light refreshments will be served.
Until 7:00 pm | 04/30/2018
Dr. Stephanie Schrader, Curator, Department of Drawings, J. Paul Getty Museum, Los Angeles
Stephanie Schrader will address the 23 drawings Rembrandt made late in his career after Indian paintings that were imported into Amsterdam from Dutch trading post in Surat. Rembrandt’s portraits of Mughal rulers, princes, and courtiers demonstrate how his contact with Indian art inspired him to draw in a different style on Asian paper. Schrader argues that the Mughal compositions Rembrandt copied were not merely foreign curiosities, but carried with them specific associations of empire, trade, luxury, and exceptional artifice.
A reception will follow the talk.
Speaker Bio: Stephanie Schrader is curator at the Department of Drawings at the J. Paul Getty Museum, specialising in 16th to 18th century Dutch and Flemish art. Her interest in cross cultural exchanges include exhibitions, publications, lectures and classes on artists including Jan Gossaert, Maria Sibylla Merian and Peter Paul Rubens.
Sponsors: Department of History of Art Stoddard Lecture Series, Institute for South Asia Studies, Sarah Kailath Chair of India Studies, Department of History of Art.
Until 5:00 pm | 05/05/2018
Nuclear disasters. Acid rain. The mass extinction of animal and plant species. The devastating environmental crisis that the planet faces today has fundamentally transformed the way we perceive human interaction with the natural environment. New forms of thinking such as postcolonial ecophilosophy, actor-network theory, new materialisms, evolutionary-developmental aesthetics, and posthumanism have challenged Enlightenment distinctions between natural and human history. Can art history, a discipline primarily engaged in the study of human creativity, also breach the natural/human history binary? What would such a history of art and architecture look like? Inescapably located in deep time, the ecological is omnidirectional and rhizomatic in its scalarity. Therefore, rather than focusing on specific sites or temporal periods, the conference seeks to explore the interconnected ecologies of planetary systems and art and architecture practices across a longue durée. It aims to bring forth the genealogies, methodologies, practices, and horizons of ecologically-oriented art, architecture, and visual histories.
Sponsors: University of California Humanities Research Institute; Institute of International Studies; Department of History of Art; Institute for South Asia Studies, University of California, Berkeley
Speakers: Lamia Balafrej (University of California, Los Angeles), Elisabeth de Bièvre (University of East Anglia), Whitney Davis (University of California, Berkeley), Natasha Eaton (University College London), Anthony Grudin (University of Vermont), Meredith Hoy (Arizona State University), Monica Juneja (Universität Heidelberg), Gregory Levine (University of California, Berkeley), Sugata Ray (University of California, Berkeley), Ivonne del Valle (University of California, Berkeley)
Organizers: Sugata Ray and Whitney Davis, Department of History of Art, University of California, Berkeley
Until 7:00 pm | 09/18/2018
This two-day, international conference is co-organized by Imogen Hart (History of Art Department, UC Berkeley) and David Peters Corbett (Courtauld Institute of Art, London). Keynote speakers: Tim Barringer (Yale University); Dorothy Price (University of Bristol); and Mary Roberts (University of Sydney). The event is co-sponsored by the Center for British Studies and the History of Art Department at the University of California, Berkeley. Deadline for proposals: April 15, 2018.
Until 2:00 pm | 03/14/2018
Speaker: Robert J. Kett, Canadian Centre for Architecture and Curatorial Assistant of Architecture + Design, San Francisco Museum of Modern Art.
Until 7:00 pm | 03/13/2018
Byzantine private prayer scrolls are rare. Most date from the 13th or 14th centuries, and while several of them were written in gold ink only two of the preserved examples — neither of which has ever been published — contain any images. This paper presents one of the illustrated scrolls, now held in a private collection. It identifies the woman who owned it, considers the role of private prayer scrolls in the late Byzantine period, and examines the gender issues that this particular example raises.
Leslie Brubaker is Emerita Professor of Byzantine Art & Director of the Centre for Byzantine, Ottoman and Modern Greek Studies at the University of Birmingham. A comprehensive biography is available here.
Co-sponsored by the Program in Medieval Studies and the History of Art Department.
A reception will follow.
Until 6:15 pm | 02/09/2018
Amateurism Across the Arts is an exploration of vernacular, popular, fannish, kitsch, informal, self-taught, user-generated, and DIY production in music, architecture, literature, the visual arts, dance, and new media– especially in relation to raced, classed, and gendered notions of value. How do the implicitly skilled “arts” rupture and reorganize themselves around hierarchies of taste? And how can critical race and feminist/queer scholarship account for “hobbyist” — that is, extra-institutional, self-organized, or improvised — modes of cultural production and circulation? If amateurism has been traditionally disavowed in modernist and avant-garde historiographies, it is at the same time persistently—even obsessively—invoked, and is hence inextricably woven into those discourses.
The symposium asks how the “high” and the “low” are porous constructions by looking at the ways that these charged terms have been deployed and dismantled across several artistic disciplines, particularly as we examine the alternative economies and systems of distribution that attend such forms of making. While it has become commonplace for “fine” artists to recruit untrained participants into their practices, it is vital to acknowledge that many non-professional forms of making grow out of necessity and survival. In addition, though “amateur” is frequently used as a shorthand for the unpracticed and/or uninteresting, this conference seeks to understand its connections to its root word amare: a complex outgrowth of critical investment, pleasure, and love.
Organized by Julia Bryan-Wilson, Director, Arts Research Center