Events

Departmental Events

  • Sacred Founders: Women, Men, and Gods in the Discourse of Imperial Founding, Rome through Early Byzantium

    Diliana Angelova

    Berkeley Book Chats: Associate Professor Diliana Angelova in conversation with Thomas W. Laqueur, Helen Fawcett Professor of History

    Diliana Angelova, associate professor in the Departments of History and History of Art, is a scholar of early Christian and Byzantine art. Sacred Founders explores deep continuities between the ancient and medieval worlds, and recovers a forgotten transformation in female imperial power.

    Sacred Founders (UC Press, 2015) asserts that from the time of Augustus through early Byzantium, a discourse of "sacred founders"—grounded in the notion that imperial men and women were mirror images of the empire’s divine founders—helped legitimate the authority of the emperor and his family. Constantine and his formidable mother, Helena, initiated the Christian transformation of this discourse, which Angelova argues led to the empowerment of imperial women and a strengthening of the cult of the Virgin Mary. Sacred Founders presents a bold interpretive framework that unearths a forgotten transformation in female imperial power.

    After an introduction by Thomas Laqueur (History), Angelova will speak briefly about her book and then open the floor for discussion.

     

  • Bowl with Human Feet, Egyptian  Date: ca. 3900–3650 B.C. Polished red pottery Dimensions: diam. 13.2 x W. 13.7 x D. 9.8 cm (5 3/16 x 5 3/8 x 3 7/8 in.) Metropolitan Museum,  Rogers Fund, 1910 Accession Number: 10.176.113 (MMA)

    Stoddard Lecture 2017

    Gerhard Wolf

    Gerhard Wolf, Director of the Kunsthistorisches Institut in Florenz, Max-Planck-Institut, will deliver the 2017 Stoddard Lecture, Broken Vases, Walking Vessels: Aesthetics and Dynamics of Containment in a Transcultural Perspective (Mostly Premodern)

     

  • The new SFMOMA, view from Yerba Buena Gardens; photo © Henrik Kam, courtesy SFMOMA

    Not At Home: Migration, Pilgrimage, and Displacement in Art, Design, and Visual Culture

    The inaugural Berkeley/Stanford Symposium will be held at the San Francisco Museum of Modern Art (SFMOMA) in Spring, 2017. Not at Home is an opportunity to discuss how visual material has registered changing relations to home over time. Papers, panels, and performance pieces speak to how home and its opposites – displacement, estrangement, voyage, or exile – manifest in visual expression and material culture throughout history. They ask, among other questions, if home is denied, rejected, or destroyed, what are the spaces of not-at-home, and how are they visually created? Join us for a critically and politically engaged dialog across disciplines, temporalities, and creative practice.

    Organized in the 2016/2017 academic year by Danny Smith (Stanford) and Jess Genevieve Bailey (UC Berkeley), the Berkeley/Stanford Symposium is an annual gathering of emerging voices in the arts. The symposia seek to support graduate students in all fields as well as young artists, museum professionals, and writers.

    Free of charge and open to the public. Program and keynote speaker to follow. 

  • New Technologies and Archaeology

    Michael Ashley (Codify)
    Center for Digital Archaeology
    Lynn Cunningham (Berkeley Visual Resources Center)
    Cyark
    Rita Lucarelli (Berkeley Near Eastern Studies)
    Matt Naglak (Michigan Classical Archaeology)
    Ren Ng (Berkeley Computer Science)
    Justin Underhill (Berkeley Digital Humanities)

    An event bringing together technology innovators, cultural heritage workers, and scholars in a conversation about scanning, visualization, Virtual and Augmented Reality, and other digital tools that are changing the field of Archaeology. Followed by a roundtable discussion and a visit to the newly re-opened Phoebe Hearst Museum of Anthropology. 2-5 PM

     

    For more information and to RSVP

  • “Through the Eyes of Another: Visions of Arhats in Song-Dynasty China”

    Phillip Bloom, Indiana University, Bloomington

    Crafted between 1178 and 1188 for ritual use in a small temple near Ningbo, the one hundred hanging scrolls of the Five Hundred Arhats (Daitokuji, Kyoto, Japan) possess a striking peculiarity: more often than not, the set’s eponymous semi-divine monks are simply shown gazing. They gaze at natural wonders, they gaze at supernatural feats performed by their peers, they gaze at episodes from the mytho-history of Buddhism, and most importantly, they gaze even at paintings. How are we to understand these scrolls’ insistence on acts of viewing, and how might Song worshippers have responded? Through their practice of gazing, do these arhats merely model for us how we ought to look, or are other motivations at work? To make sense of the multiple forms of spectatorial engagement facilitated by these scrolls, this presentation will bring them into dialogue with contemporaneous poems that describe imaginative acts of entering painted worlds and with liturgies that prescribe the performative inhabitation of other subject positions. Drawing on such texts, I shall argue that the Five Hundred Arhats and other works of Song Buddhist art seek to create possibilities for intersubjective experience—for viewing the world through the eyes of an awakened other.


    Phillip E. Bloom is Assistant Professor of East Asian Art History in the Department of Art History at Indiana University, Bloomington. He specializes in the history of Song-dynasty Buddhist art and ritual. His work has recently appeared in The Art Bulletin and Bukkyō geijutsu, and he is currently completing a book manuscript, tentatively titled Nebulous Intersections: Ritual and Representation in Chinese Buddhist Art, ca. 1178.
     

  • Clay figurines from Shanxi (山西) province, Pingyang (平阳),

    Female Bodily Sacrifice and the Absence of Men: Filial Figuration in Song, Jin, and Liao Tombs

    Winston Kyan, University of Utah

    Among the pantheon of filial offspring in China, a striking if overlooked figure is the wife of Wang Wuzi, or Wang Wuzi Qi, 王武子妻, who offers her flesh to cure her sick mother-in-law through an act of filial thigh cutting, or gegu, 割股. While the paradox of gegu as being both an act of filial caring towards one’s parents and an act of unfilial neglect towards the parental gift of the body has attracted the attention of scholars both medieval and modern, a close analysis of its figural representation remains to be done. Images of Wang Wuzi Qi are particularly intriguing since they appear across a variety of funerary media from Song, Jin, and Liao period tombs, ranging across painted murals, engraved stone slabs, painted carved bricks, carved low relief tiles, and three-dimensional tableaux of clay figurines. However, these diverse images are limited by established pictorial conventions, geographic locations in southern Shanxi and northern Henan provinces, and chronological parameters from the late eleventh- to early thirteenth-centuries. Moreover, the pictorial standardization of a controversial filial sacrifice within the hallowed filial space of the tomb raises key issues regarding the construction of a “new” filial paragon, the relationship between Buddhist caves and ancestral tombs, as well as the connection between filial efficacy as a popular belief and an elite value.

    Winston Kyan was born in Rangoon, Burma. He holds a BA in Comparative Literature from Brown University and an MA and PhD in Art History from the University of Chicago. He has taught at Macalester College in St. Paul, Minnesota and the University of Utah in Salt Lake City, where he is currently Assistant Professor of Art History. His current and primary research project is rethinking the intersection of filial piety and Buddhist art in medieval China through representations of the body, sacrifice, and health as a sensorium of sight, smells, sounds, tastes, touch, and other modes of perception beyond the usual five. He is wrapping up a manuscript on this topic while continuing side interests in the relationship between contemporary Asian art and Buddhism as well as Asian American visual culture as sites of religious identity. His next research project will explore the visual and material culture of the trade and military routes between Yunnan, China and Myanmar/Burma. His publications have appeared in The Art Bulletin, Amerasia Journal, and Art Journal Open, in addition to other conference volumes and digital resources.

  • Kenyatta A.C. Hinkle The Sower 2015 India ink, acrylic paint, and polyfilm on wood panel 11 x 14 inches Courtesy of the Artist and Jenkins Johnson Gallery

    Black | Art | Futures: African Diasporic Art Histories -- A Symposium

    Schedule

    9:00-9:15 Welcome and Introduction

    9:15-10:45 Panel 1
    Erica James, Yale University
    Writing Art Histories Beyond Disciplinary Boundaries: Caribbean Art in the Global Imaginary

    Dwight Carey, Amherst College
    Rethinking Creole Architecture: Translating Forms in the Eighteenth-Century French Colonial Empire

    Respondent: Bridget Cooks, University of California, Irvine

    10:45-11:00 break

    11:00-12:30 Panel 2
    Cécile Fromont, University of Chicago
    Paper, Ink, Vodun and the Inquisition

    Beatriz Balanta, Southern Methodist University
    Photogenic Blackness: Photography and the Commodification of Subjugation

    Respondent: Ivy Mills, University of California, Berkeley

    12:30-2:00 Lunch

    2:00-3:30 Panel 3
    Dana Byrd, Bowdoin College
    Fly Brushes, Shoo-Flies & Punkah Fans: Towards a Material Culture of Freedom

    Nikki A. Greene, Wellesley College
    "Speaking Things of Blackness": Afrofuturism's Shine

    Respondent: Derek Murray, University of California, Santa Cruz

    3:30-3:45 Break

    3:45-5:00 Round Table Discussion

    Co-organized by the Departments of History of Art and African American Studies

    Sponsored by:
    H. Michael and Jeanne Williams Chair of African American Studies
    Department of African American Studies
    Department of History of Art
    UC Consortium for Black Studies in California
    Townsend Center for the Humanities
    Arts Research Center
    The Black Room
     

  • Kenyatta A.C. Hinkle The Sower 2015 India ink, acrylic paint, and polyfilm on wood panel 11 x 14 inches Courtesy of the Artist and Jenkins Johnson Gallery

    African American Art History: Then and Now

    Steven Nelson, UCLA

    This keynote lecture will be preceded by a reception and followed on Friday, March 17, by an all-day symposium on Black | Art | Futures: African Diasporic Art Histories. Steven Nelson is Professor of African and African American Art and Director of the UCLA Center for African Studies.

    Co-organized by the Departments of History of Art and African American Studies

    Sponsored by:

    H. Michael and Jeanne Williams Chair of African American Studies
    Department of African American Studies
    Department of History of Art
    UC Consortium for Black Studies in California
    Townsend Center for the Humanities
    Arts Research Center
    The Black Room
     

  • Gualterus Arsenius, 1563 Armillary Sphere, Brussels, Museum of Fine Arts

    Materialised Knowledge in Renaissance Art and Science: The Production and Representation of Flemish Scientific Instruments

    Koenraad Van Cleempoel

    Scientific instruments of the renaissance period well represent the concept of "materialised knowledge." They are carriers of ideas as well as very elegant and refined objects. The lecture will discuss astrolabes, globes, sundials and armillary spheres with a particular emphasis on the Flemish context: between c. 1525 and c. 1580 the university city of Louvain became Europe's most important center for instrument making partly due to the research and technical skills of Gerard Mercator (1512-1594) and Gemma Frisius (1508-1555). This high reputation is due in equal measure to the combination of the beauty and the precision of these instruments. It is this perfect harmony of aesthetics and science that made the Louvain instruments so sought after in the European market. The lecture will also discuss their representation and meaning in contemporary paintings.

    Koenraad Van Cleempoel studied art history in Louvain, Madrid and London where he received his PhD at the Warburg Institute. He was Sackler Fellow at the National Maritime Museum in Greenwich where he catalogued their collection of astrolabes (Oxford UP) and research fellow at the Institute for the History of Science, Johann Wolfgang Goethe University, Frankfurt am Main. Scientific instruments of the Latin West between c. 1400 and 1650 are his field of research. In recent years he also published on adaptive reuse of heritage sites. He is professor in art history and vice dean at the Faculty of Architecture in Hasselt University (Belgium).

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