Until 12:30 pm | 02/01/2019
Anneka Lenssen, Imogen Hart, Whitney Davis
10:00 – 10:40 Anneka Lenssen, "Backfill: Agencies of Sand in Syrian 'Postwar' Painting"
10:40 – 11:20 Imogen Hart, "Race and the British Arts and Crafts Movement"
11:20 – 12:00 Whitney Davis, “The Groundline”
12:00 – 12:30 Coffee and light refreshments will be served.
Until 7:00 pm | 01/29/2019
A presentation by distinguished scholar and San Francisco based historian, Omar Khan, on his new publication Paper Jewels: Postcards from the Raj, a visual tour of India, Pakistan and Sri Lanka through 500 vintage postcards (1892 to 1947).
The event is FREE and OPEN to the public.
Event Sponsors: Institute for South Asia Studies, Sarah Kailath Chair of India Studies, South Asia Art Initiative and UC Berkeley History of Art Department.
For more info see the UC Berkeley Events Calendar listing.
Event Contact: firstname.lastname@example.org, 510-642-3608
Szilvia Lakatos, Museum of Fine Arts, Budapest
The Del Chiaro Center and the History of Art Department at the University of California Berkeley are pleased to present the Fall 2018 Del Chiaro Lecture:
Etrusco-Corinthian Pottery in Context - a Corinthianising Phenomenon in Etruria
Reception to follow.
For more information, please contact Lisa C. Pieraccini.
Until 5:00 pm | 11/30/2018
12:00 – 1:30pm: Mythologies, Technologies, Ecologies
Paula Findlen, Stanford University
Liesder Mayea, University of Redlands
Sugata Ray, UC Berkeley
2:00 – 3:00pm: Confessional and Colonial Crossroads
Eric Dursteler, Brigham Young University
David Frick, UC Berkeley
Gitanjali Shahani, San Francisco State
4:00 – 5:00pm: Panelist Roundtable
“How to teach a Multicultural Renaissance”
Sponsored by the Designated Emphasis in Renaissance and Early Modern Studies, Townsend Center for the Humanities, Stooddard Fund in the History of Art Department, and Department of Italian Studies
AGLAYA GLEBOVA, Assistant Professor of Art History, Film & Media Studies and Visual Studies, University of California at Irvine.
In the late 1920s, the Soviet avant-garde extolled photography as the medium of revolutionary modernity. “Do not lie! Photograph and be photographed!” Aleksandr Rodchenko, one of the medium’s most vocal proponents, famously wrote in 1928. By 1937, Rodchenko had all but relinquished his camera. How did photography go, in the space of less than a decade, from a technology of the future to a medium that was not only dispensable but untenable? This talk explores some of the critical steps along this route through the tropes of the human face and the close-up and photography’s alleged oscillation between distortion and unveiling.
Until 7:00 pm | 10/26/2018
Join us for a day of conversations at the Institute for South Asia Studies with art historians, curators and artists in the Bay Area.
9:30: I N T R O D U C T I O N S
Allan deSouza, Department of Art Practice, University of California, Berkeley
10:00-11:00: M O B I L I T Y
Chair: Ramón De Santiago, University of California, Berkeley
Deborah Stein, Independent Scholar and Curator, Swings, Ships, and Camel Motels: When 15th-century Architecture is Thought in Mandu, Malwa
Talinn Grigor, University of California, Davis, Ancient Iran in Bombay
Padma Maitland, Cantor Arts Center, Stanford University, Gandhi Superstar
Usha Iyer, Stanford University, Histories of the Ephemeral: Producing a Narrative of Film Dance through Song Booklets
Asma Kazmi, University of California, Berkeley, Cranes and Cube and Some Other Works
11:30-12:30: D W E L L I N G
Chair: Melissa Carlson, University of California, Berkeley
Aditi Chandra, University of California, Merced, Unruly Monuments: Disrupting the State through Delhi’s Islamic Architecture
Pallavi Sharma, California College of the Arts, A Traveling Tale: My Recent body of Work
Qamar Adamjee, Asian Art Museum, The Art of Sitting: Re-looking at Indian Paintings
Mary-Ann Milford-Lutzker, Mills College, Home is a Foreign Place
Sugata Ray, University of California, Berkeley, Ecoaesthetics: On how to Live with Sentient Plants
1:30-2:30: F U T U R I T Y
Chair: Leena Joshi, University of California, Berkeley
Zulfikar Ali Bhutto, Artist, Heterosexual Hubris
Jisha Menon, Stanford University, Building Bangalore, and the Poetics of Dwelling in Sheela Gowda’s Artworks
Shalini Agrawal, California College of the Arts; Pathways to Equity, Diversity and Equity in Community-based Practice
Debashish Banerji, California Institute of Integral Studies, Title tbd
Sita K. Bhaumik, California College of the Arts, The Places Where the Answers Were
Atreyee Gupta, University of California, Berkeley, Untitled
3:00-4:00: C U R A T I N G
Forrest McGill, Asian Art Museum, Cosmic and Earthly Dance in the Arts of India and Its Neighbors
Cho Rao, Independent Art & Museum Consultant, Emerging Art Center: Delhi
Karin G. Oen, Asian Art Museum, Forming and Reforming: Contemporary Art at the Asian
John Zarobell, University of San Francisco, Emerging Megacities in South Asia
Kathy Zarur, California College of the Arts, About Place
5:00 -7:00: B O O K T A L K - 120 Kroeber Hall
How Art Can Be Thought: A Handbook for Change
Author: Allan deSouza
Respondent: Asma Kazmi, Department of Art Practice, University of California, Berkeley
Respondent: Atreyee Gupta, History of Art Department, University of California, Berkeley
Moderator: Sugata Ray, History of Art Department, University of California, Berkeley
The South Asia Art Initiative, inaugurated in Spring 2018, is the culmination of a comprehensive art program, built over the past several years, that promoted conversation around the visual cultures of South Asia through talks, conferences, and exhibitions. The goal of the Initiative is to move onto the next level with local, national, and international collaborations that combine creative energies with insights drawn from scholarly research.
Until 2:00 pm | 10/17/2018
Speakers: Patricia Berger and Justin Underhill
Wednesday, October 17, 2018, 1:00-2:00, 308A Doe
**Brown Bag event. Light refreshments will be provided**
Until 6:00 pm | 10/05/2018
The reception for the exhibition Art for the Asking: 60 Years of the Graphic Arts Loan Collection at the Morrison Library will be Friday, October 5th from 4-6pm in the Morrison Library. The reception will feature talks by Professor Lauren Kroiz of the UC Berkeley History of Art Department and Bay Area printmaker Keith Cranmer. There well also be a tour of the exhibition at 4pm and 5:30pm by UC Berkeley History of Art graduate student Ramon De Santiago.
A pre-reception event will take place from 2-3:30pm in the Printmaking Studio (265 Kroeber Hall) where artist and Lecturer in the UC Berkeley Art Practice Department Randy Hussong will give a demonstration and talk about the printmaking process. Participants will have the option of printing their own souvenir prints for the reception in the Printmaking Studio at this event.
Both of these events are open to the public.
Friday, October 5th
Pre-Reception Printmaking Event
265 Kroeber Hall
Exhibition Reception and Tour
101 Doe Library
Art for the Asking: 60 Years of the Graphic Arts Loan Collection at the Morrison Library will be up in Doe Library’s Brown Gallery until March 1st, 2019. This exhibition celebrates 60 years of the Graphic Arts Loan Collection, and includes prints in the collection that have not been seen in 20 years, as well as prints that are now owned by the Berkeley Art Museum. There are also cases dedicated to the history of printmaking told through prints in the Graphic Arts Loan Collection and cases devoted to the different printmaking processes.
Event Contact: email@example.com, 510-642-3671
Until 7:00 pm | 10/03/2018
Join us for a conversation with Douglas Biow, Superior Oil Company-Linward Shivers Centennial Professor in Medieval and Renaissance Studies, UT Austin and Henrike Christiane Lange, Assistant Professor, Italian Studies and History of Art, UC Berkeley.
In conversation with Professor Henrike Lange (UC Berkeley, Italian Studies / History of Art), Professor Douglas Biow (UT Austin) will present his new book Vasari's Words: The 'Lives of the Artists' as a History of Ideas in the Italian Renaissance (forthcoming September 2018 from Cambridge University Press). In this new study of Giorgio Vasari's seminal text, Biow connects five key words to the cultural and historical currents of late Renaissance Italy, situating the 'Lives of the Artists' in the context of modern intellectual history: What does it mean to have a 'profession', professione, and possess 'genius', ingegno, in the visual arts? How is 'speed', prestezza, valued among visual artists of the period and how is 'time', tempo, conceptualized in Vasari's narrative and descriptions of visual art? Finally, how is the 'night', notte, conceived and visually represented as a distinct span of time in Vasari’s Lives?
Douglas Biow is the Superior Oil Company-Linward Shivers Centennial Professor in Medieval and Renaissance Studies at UT Austin and Director of the Center for European Studies and the France-UT Institute. He is the author of a number of articles and six books: Mirabile Dictu: Representations of the Marvelous in Medieval and Renaissance Italy (Michigan, 1996); Doctors, Ambassadors, Secretaries: Humanism and Professions in Renaissance Italy (Chicago, 2002), the recipient of a Robert W. Hamilton Book Award; The Culture of Cleanliness in Renaissance Italy (Cornell, 2006), named a Choice Outstanding Title; In Your Face: Professional Improprieities and the Art of Being Conspicuous (Stanford, 2010); and On the Importance of Being an Individual: Men, Their Professions, and Their Beards (University of Pennsylvania Press, 2015). His most recent book, Vasari's Words: The "Lives of the Artists" as a History of Ideas in the Italian Renaissance, is published by Cambridge University Press (2018). He has been the recipient of a number of scholarly awards, including NEH, Delmas, and Guggenheim Fellowships.
Henrike Christiane Lange holds a joint appointment in Berkeley's Departments of History of Art and Italian Studies. She specializes in Italian late medieval / early Renaissance art and architecture history and literature. A second field of expertise is historiography in the European and American late nineteenth and early twentieth century. Her art historical research has focused in recent years on Giotto, Donatello, Mantegna, and the history and theory of relief sculpture. Other current projects include Botticelli's Dante, the Italian Mediterranean, and a cultural history of triumphs. Professor Lange's museum experience includes curatorial and pedagogical projects at the Kunsthalle and the Museum für Kunst und Gewerbe in Hamburg, with a focus on nineteenth- and twentieth-century collections, and at the Yale University Art Gallery, with a focus on the early Italian collection. Narratology, language and communication theory, opera, and contemporary Italian film remain in the center of Professor Lange’s interests.
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 5:45 pm | 09/18/2018
What is the role of art history in the Brexit era? In the wake of the UK’s decision to leave the European Union, the history of Britain’s relationships with the rest of the world takes on renewed significance. This conference explores how art history today can shed light on the history of Britain’s interaction with other countries and cultures. Papers illuminate global contexts for the history of British art by considering works of art as sites and tools of international cooperation, conflict, and exchange.
Jocelyn Anderson (University of Toronto)
Alexander Bigman (Institute of Fine Arts at New York University)
Julie Codell (Arizona State University)
Jackson Davidow (MIT)
Nika Elder (American University)
Douglas Fordham (University of Virginia)
Richard Johns (University of York)
Sayantan Mukhopadhyay (University of California, Los Angeles)
Eleonora Pistis (Columbia University)
Catherine Roach (Virginia Commonwealth University)
Sam Rose (University of St Andrews)
Jiyi Ryu (University of York)
Margaret Schmitz (Milwaukee Institute of Art and Design)
Catherine Spencer (University of St Andrews)
The event is co-sponsored by the Center for British Studies, the History of Art Department, and the Townsend Center for the Humanities at the University of California, Berkeley, and the Centre for American Art at the Courtauld Institute of Art.
Advance registration has now closed. Limited seats may be available on the day but space cannot be guaranteed.
View the program here.
NOTE: On Sunday, September 16, the day before the conference, the Legion of Honor Museum will host a panel conversation on "British Art in a Global Context" in connection with their current exhibition Truth and Beauty: The Pre-Raphaelites and the Old Masters.
Until 5:00 pm | 06/02/2018
During the Qing dynasty, the Qianlong emperor and his court engaged in a broad range of linguistic and metaphorical translations integral to their statecraft. Just as production of texts in different languages became cultural and territorial markers of the Qing imperial identity, so too did command of materials, technologies, styles and forms become signifiers of the all-encompassing history and geography of the empire. This two-day workshop brings together specialists whose work focuses on different aspects of Qing translation to explore parallels, crossovers, and distinctions between processes of literary, artistic, and technological translation. By examining the multilingual production of texts, the replication of objects in multiple mediums, and the creative adaptations of artistic forms as manifestations of a shared enterprise, this workshop aims to provide a forum for rethinking the culture and politics of the Qing imperium.
Speakers include: Brian Baumann (UC Berkeley), Patricia Berger (UC Berkeley), Wen-shing Chou, (Hunter College, CUNY), Rae Dachille (University of Arizona), Nancy Lin (UC Berkeley), Ellen Huang (Stanford University), Yuhang Li (University of Wisconsin, Madison), Mårten Söderblom Saarela (Max Planck Institute for the History of Science), Weirong Shen (Qinghua University), Jon Soriano (UC Berkeley), Sophie Volpp (UC Berkeley), Yulian Wu (Michigan State University), Yajing Zhang (Palace Museum, Beijing).
Organized by Patricia Berger (UC Berkeley), Nancy Lin (UC Berkeley) and Wen-shing Chou (Hunter College, CUNY).
Sponsored by the History of Art Department at the University of California, Berkeley.
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), Riad Kherdeen (University of California, Berkeley), Gregory Levine (University of California, Berkeley), Ramón De Santiago (University of California, Berkeley), Shivani Sud (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.
For conference program and paper abstracts see here.
Until 2:30 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.
South Asian Art | Past, Present, Future: A Conversation between the Dhaka Art Summit founders, Nadia and Rajeeb Samdani and New York-based Artist, Chitra Ganesh
Until 7:30 pm | 04/27/2018
Panel Discussion with Nadia Samdani, Rajeeb Samdani and Chitra Ganesh
Nadia and Rajeeb Samdani are the founders of The Samdani Art Foundation, a private foundation based in Dhaka that aims to increase artistic engagement between Bangladesh and the rest of the world and produces the Dhaka Art Summit. Nadia and Rajeeb Samdani will discuss their vision for the Dhaka Art Summit, an international, non-commercial research and exhibition platform for art and architecture related to South Asia. Founded in 2012 by the Samdani Art Foundation in collaboration with the Ministry of Cultural Affairs, People’s Republic of Bangladesh, DAS is hosted every two years at the Bangladesh Shilpakala Academy. Nadia and Rajeeb Samdani were recognized as the world's Top 100 Art Collectors by ArtNet News and received the Montblanc de la Culture Arts Patronage award in 2017.
Chitra Ganesh is a visual artist based in New York. Ganesh’s work across media includes charcoal drawings, digital collages, films, web projects, photographs, and wall murals. Ganesh’s work has been widely exhibited, including at the PS 1/MOMA, Berkeley Art Museum, Fondazione Sandretto, MOCA Shanghai, and the Dhaka Art Summit. She has been named Robina Foundation Fellow for Arts and Human rights at Yale University Law School, the Estelle Lebowitz Endowed Visiting Artist, and Artist-in- Residence at New York University’s Asian/Pacific/American Studies Program.
Sponsors: The Subir and Malini Chowdhury Center for Bangladesh Studies, Institute for South Asia Studies, Department of History of Art, Department of Art Practice, South Asia Art Initiative.