Until 6:30 pm | 09/28/2018
Join us for a talk by Tapati Guha-Thakurta, Director and Professor in History, Centre for Studies in Social Sciences, Calcutta.
Moderated by Atreyee Gupta, Assistant Professor of South Asian Art, Department of History of Art, UC Berkeley.
The event is FREE and OPEN to the public.
For DIRECTIONS to the Institute please enter "Institute for South Asia Studies" in your google maps or click this GOOGLE MAPS LINK.
Positioning itself in the early decades of the 20th century in Bengal, the lecture will track a critical transition in the vocation of ‘design’ in colonial India from the realm of handicrafts and the artisanal arts to a new social space of middle class training and practice. It will reflect on the way the skills of designing comes to occupy a new median space between those of ‘fine arts’ and ‘crafts’ within the structures of art pedagogy, and the way a new figure of the professional designer emerges in these years in the early guise of the commercial artist. With a focus on the new “Art in Industry” movement in Calcutta of the 1940s, that served as the country’s pioneering corporate forum for the promotion of commercial design, the lecture will look back at two main trends – (i) the discursive shift from the 19th century category of the “industrial/decorative arts” that dominated the colonial Indian art administration to the new livelihoods of modern graphic and commercial art that are nurtured by the Government School of Art, Calcutta during the 1920s and 30s (ii) the negotiations between the traditional aesthetics of the ‘ornamental’ and the new aesthetics of the ‘modern’ that shapes the art of design and advertising in mid 20th century Bengal.
Tapati Guha-Thakurta is Professor in History and was the Director of the Centre for Studies in Social Sciences, Calcutta (CSSSC) from 2012 to 2017. Her two main books are The Making of a New 'Indian' Art: Artists, Aesthetics and Nationalism in Bengal (Cambridge University Press, 1992) and Monuments, Objects, Histories: Institutions of Art in Colonial and Postcolonial India (Columbia University Press, and Permanent Black, 2004). She is also the author of several exhibition monographs – among them, Visual Worlds of Modern Bengal: An introduction to the documentation archive of the Centre for Studies in Social Sciences, Calcutta (Seagull, Kolkata, 2002), The Aesthetics of the Popular Print: Lithographs and Oleographs from 19th and 20th Century India (Birla Academy of Art and Culture, Kolkata, 2006), The City in the Archive: Calcutta’s Visual Histories (Calcutta: CSSSC, 2011). She has co-edited two anthologies of essays – Theorising the Present: Essays for Partha Chatterjee (Delhi: OUP, 2011) and New Cultural Histories of India: Materiality and Practices (Delhi: OUP, 2013). Her latest book is titled, In the Name of the Goddess: The Durga Pujas of Contemporary Kolkata (Delhi: Primus Books, 2015).
Event made possible with the support of the Sarah Kailath Chair of India Studies
Event Contact: firstname.lastname@example.org, 510-642-3608
Until 7:00 pm | 04/17/2018
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 | 04/11/2018
Annemarie Weyl Carr
University Distinguished Professor of Art History Emerita
Southern Methodist University
This event is a Stoddard Lecture Series Presentation.
Elissa Auther, Visiting Associate Professor and Windgate Research and Collections Curator, Museum of Arts and Design, Bard Graduate Center.Textile Narratives: Andean Hand Weaving and the Rise of Modern Fiber ArtArtists central to the fiber art movement in the U.S. in the 1960s and 70s, including Sheila Hicks, Ed Rossbach, Ruth Asawa, Lenore Tawney, and Alice Kagawa Parrott, to name a few, shared an abiding interest in Andean weaving and other indigenous textile traditions of the ancient Americas. This paper addresses the origins of the awareness of these traditions and its meanings for artists working in the aesthetically maligned medium of fiber in the post-war period.
** Please see the conference website for more information. **
9:00-9:15 -- Welcome and Conference Introduction
9:15-10:50 -- Panel I
Diasporic Currents: Locating Blackness Across the Atlantic
Krista Thompson (Northwestern University)
The Photographic Archive, Disappearance, and the Black Heroic Figure in Colonial Jamaica
Olubukola Gbadegesin (St. Louis University)
The Ekphrastic Life of Sarah Forbes Bonnetta
Darcy Grimaldo Grigsby (UC Berkeley)
Brilliance and Blindness from Paris to New Orleans and Back: Creole Degas
10:50-11:00 -- Break: Pastries + Coffee
11:00–12:35pm -- Panel II
Graphing Empire: Fixed Encounters, Moving Bodies
Kailani Polzak (UC Berkeley)
Varieties of Inscription: Sydney Parkinson and the Maori Moko
Bronwen Douglas (Australia National University)
Encounters, Graphic Representation, and the Generation of Racial Knowledge in Oceania
Todd Olson (UC Berkeley)
Sea-Change: Instruments, Swimming, and Race in the Early Modern Atlantic World
12:35-2:00 -- Lunch (conference participants only)
2:00-3:35 – Panel III
Building Boundaries, Crossing Borders: Mixture, Metaphor, and the Racialization of Asia
Sugata Ray (UC Berkeley)
(Mis)Translating James Gibbs in the Indian Ocean World: Neoclassical Mosques, Subaltern Cosmopolitanisms, and the Architecture of a Muslim Modernity
Ashley Bruckbauer (UNC Chapel Hill)
Negotiating Race in French Images of Embassy
Thadeus Dowad (UC Berkeley)
“Islands in the Estranging Sea of Islam“: Ottomans, Race, and Islamic Art at the End of an Empire
3:35-4:45 -- Concluding Remarks
Stoddard Lecture 2016, featuring Suzanne Blier. The lecture will be followed on Friday, April 15, by an all-day conference on Difference/Distance: Picturing Race Across Oceans in the Eighteenth and Nineteenth Centuries. See this page for details.
The Stoddard Lecturer for 2014-15 is Professor Thomas B.F. Cummins, Dumbarton Oaks Professor of Pre-Columbian and Colonial Art at Harvard University.
Finbarr Barry Flood, New York University, is this year's Stoddard Lecturer.
Laurel Thatcher Ulrich
When Harriet Powers' "Bible Quilt" was exhibited at the Smithsonian in 1974, its label read, "Made by Harriet, An Ex-slave, Athens, Georgia." A curator at the Boston Museum of Fine Arts, which had recently acquired another of her visionary textiles, quickly provided Harriet’s last name and a bit more of her history. Made in Georgia in the late 1880s, Powers' quilts had been exhibited at so-called "Colored Fairs" in Georgia and then at the Atlantic Exhibition in 1895, but for most of the twentieth century, they remained in private hands. Their rediscovery in the 1970s reinforced an already growing interest in American quilting and in the African roots of American culture. By 1991, Powers was so-well known among the general public that when the Smithsonian attempted to have her "Bible Quilt" reproduced in China, a phalanx of quilters picketed the museum. Powers' continues to inspire contemporary quilters, poets, filmmakers, writers, artists, and amateur historians. But, curiously, her work has received surprisingly little attention from scholars, including those who specialize in women's history or the American south. Ulrich’s lecture will introduce Powers' quilts to those who don't yet know them and make an argument for why they matter.