Until 2:00 pm | 03/14/2018
Graduate Student Professionalization Workshop Series, 2017-2018
Image Copyright for the Dissertation and Beyond
Wednesday, September 27, 12:00-2:00 308A Doe
Publishing: From the Dissertation to the Book
Wednesday, Novemeber 15, 2017, 12:00-2:00, 308A Doe
Approaching the Tenure Track Job Market
Wednesday, February 14, 2018, 12:00-2:00, 308A Doe
Careers Beyond the Tenure Track
Wednesday, March 14, 2018, 12:00-2:00, 308A Doe
**Brown Bag event. Light refreshments will be provided**
Claire Jones, University of Birmingham
Britain’s streets, squares, parks, and public buildings are peopled with statues which were mainly commissioned, produced, and erected during the Victorian period. These generally follow a similar format—a white, middle-aged man a frockcoat, standing on a four-foot-high plinth. Today these statues are rarely remarked upon, except when their subject is challenged and debated. Yet the apparent homogeneity and conservatism of these figures belie the fact that, in its day, the portrait statue was one of the most contested forms of sculpture. This paper will examine how, in sculptural terms, these statues reveal a profound experiment in modelling modern man.
Dr. Claire Jones is a Lecturer in the Department of Art History, Curating and Visual Studies, University of Birmingham, UK. Her research centres on the history of sculpture, and she is completing a monograph on sculpture in 19th-century Britain, which examines the ways in which sculptors attempted to make sculpture more relevant to contemporary life. Her publications include Sculptors and Design Reform in France, 1848–1895: Sculpture and the Decorative Arts (Ashgate, 2014), and she is co-editing Sculpture and the Decorative in Britain and Europe, 17th Century to Contemporary, with Imogen Hart (UC Berkeley).
This event is sponsored by the Center for British Studies and the History of Art Department.
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?
and 10/21/2017 from 10:00am-4:30pm
Natalia Brizuela, Associate Professor, Department of Spanish & Portuguese, UCB
Atreyee Gupta, Assistant Professor, Department of History of Art, UCB
Sonal Khullar, Associate Professor, Department of Art History, University of Washington
Namiko Kunimoto, Assistant Professor, Department of History of Art, Ohio State University
Marci Kwon, Assistant Professor, Department of Art and Art History, Stanford University
Anneka Lenssen, Assistant Professor, Department of History of Art History, UCB
Sylvester Ogbechie, Professor, Department of History of Art and Architecture, UCSB
Sugata Ray, Assistant Professor, Department of History of Art, UCB
Sam Rose, Lecturer, School of Art History, University of St Andrews, UK
The symposium addresses the emergence of “global modernism” as an intellectual, professional, and pedagogical rubric for the academic and critical study of modern visual and spatial arts around the world (nineteenth, twentieth, and twenty-first century), with special attention to its formations at Berkeley. To some extent, “global modernism” (singular) might designate the transnational dissemination and intercultural reception of certain modernist arts, whether European-originated or not, and/or the identification of worldwide characteristics of modern(ist) arts relative to “pre-modern,” “early modern,” or “indigenous” traditions in their particular global contexts. To some extent, it might designate the conceptual field within which many modernisms (plural) around the world—sometimes described as “multiple modernisms” and “alternate modernisms”—might be studied in comparative, cross-cultural, postcolonial, transnational, and/or “global” frames that organize new directions of teaching and research. What are the backgrounds, stakes, and warrants of these or other ideas of artistic modernism(s) treated as global phenomenon/a? Is it now possible to articulate historiographies of the idea of “global modernism”? How does “global modern(ism)” relate to the parallel emergence of “global early modern,” “global medieval,” “global ancient,” and “globalprehistoric”? How does it relate to initiatives in “world art studies”? How does it relate to processes of socioeconomic and cultural “globalization”? What kinds of intellectual practices and professional training/experience does it seem to require—potentially changing the shape of disciplines, jobs, curricula, and research programs? How are major global research universities like Berkeley situated to contribute (or not)? (One goal of the symposium is to advance thinking about, and on behalf of, Berkeley’s increasing visibility as a center of “global modern studies.”)
Organizers: Whitney Davis and Anneka Lenssen, History of Art, University of California at Berkeley
Sponsors: Department of History of Art; Townsend Center for the Humanities; The George C. and Helen N. Pardee Chair II at the University of California, Berkeley.
PhD students in art history and other fields are invited to apply for a seat by completing an online form no later than Monday, Oct. 2:
Audience members must commit to attending the entire symposium. Late requests cannot be accommodated.
This roundtable addresses the transcultural nature of Indian cinema, both past and present. Following the liberalization of India’s economy in the early 1990s, histories of Indian cinema have either focused on the reception of Indian films vis-a-vis cosmopolitan constructions of South Asian diasporic subjectivities or have examined the ways in which an image of the nation has been constructed in and through Indian cinema. What is less understood and explored is the integration, consumption, and vernacularization of Indian cinema in various contexts outside India, for instance in Latin America and Africa. Cinephiles, Fandoms, and Global Media Cultures aims to highlight recent engagements with transcultural Indian cinema.
This event will be held in conjunction with the opening reception of the exhibition Love Across the Global South: Popular Cinema Cultures of India and Senegal, Bernice Layne Brown Gallery, Doe Library (curated by Ivy Mills, Sugata Ray, Liladhar Pendse, and Adnan Malik). The exhibition highlights the interconnected nature of Senegalese Indian cinema fan culture and the Indian films that inspire it.
12:00: Welcome remarks
12:10-1:25: Roundtable presentations
Ajay Gehlawat (Sonoma State University), "Black Voice, Brown Skin: Auto-tuning Akon for Bollywood"
Jayson Beaster-Jones (UC Merced): "Have Mandolin Will Travel: Musical and Affective Themes of DDLJ"
Ivy Mills (UC Berkeley): "On Ravana's Blackness: Akon's 'Chammak Challo' and Bollywood's Racial Imaginary"
1:35-3:15: Roundtable presentations continued
Usha Iyer (Stanford University): "Teaching Indian Film in Trinidad: Cinema, Gender, and the Construction of Racial Identities"
Rachael Hyland (UC Berkeley): "Boundaries in Flux: Race and Class in Indian Summers and A Passage to India"
Atreyee Gupta (UC Berkeley), Discussant
Lalitha Gopalan (University of Texas, Austin), "Dust to Digital: Tamil New Wave"
4:40: Concluding remarks
5:00-7:00: Opening reception of the exhibition Love Across the Global South: Popular Cinema Cultures of India and Senegal in the Bernice Layne Brown Gallery, Doe Library
Both the roundtable and exhibition reception are free and open to the public.
Organizers: Rachael Hyland and Shivani Sud.
Event made possible with the support of the Townsend Center of Humanities, the Institute of South Asia Studies, the Sarah Kailath Chair of India Studies, the History of Art Department, the South and Southeast Asian Studies Department, and the Asian Art and Visual Cultures Working Group.
Makeda Best and Christine Hult-Lewis
"Alexander Gardner, Sketch Book, and the Transatlantic Sphere of Reform"
Dr. Makeda Best, Richard L. Menschel Curator of Photography, Harvard Art Museums
(5pm, 308A Doe Library).
A Workshop Drawing on Photography Books in The Bancroft Library's Collections
Dr. Christine Hult-Lewis, Reva and David Logan Curatorial Assistant, The Bancroft Library
(10am-12pm and 1:30pm-2:30pm, The Bancroft Library).
Please contact Kappy Mintie at email@example.com to reserve a spot in the workshop.
This event is generously sponsored by the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography at Rare Book School, The Bancroft Library, the Jay D. McEvoy, Jr. Chair in American Art, and the History of Art Department.
Questions? Please contact Kappy Mintie at firstname.lastname@example.org.
Miguel A. López and Emiliano Valdés
Curation as Research: Contemporary Art in Central America
Miguel A. López and Emiliano Valdés
in conversation with Julia Bryan-Wilson (History of Art)
Tuesday, September 19 at 5:30 pm
Geballe Room, Townsend Center for the Humanities
López and Valdés will reflect on their experiences organizing exhibitions that focus on the visual art and performance of Costa Rica,
Guatemala, and Nicaragua, and will discuss how their curatorial research puts pressure on monolithic narratives about Central American art.