Exhibition of Modern British Crafts toured North America from 1942 to 1945, opening at the Metropolitan Museum of Art. Described by its British organizers and by American critics as a legacy of William Morris and the Arts and Crafts movement he inspired on both sides of the Atlantic, the exhibition reinforced the idea of a cultural heritage shared by Britain and the United States. It was also understood as a manifesto for modern craft. This lecture examines the contents, layout, and reception of the exhibition and compares it to related wartime exhibitions.
Imogen Hart is an Adjunct Assistant Professor in the Department of History of Art. Professor Hart works on modern art and material culture in Britain, especially the objects and interiors associated with the Arts and Crafts movement. She is the author of Arts and Crafts Objects (Manchester University Press, 2010) and co-editor, with Jason Edwards, of Rethinking the Interior, c. 1867-1896: Aestheticism and Arts and Crafts (Ashgate, 2010). She has published articles and book chapters on William Morris, the Arts and Crafts movement, and Victorian and Edwardian painting. Hart is currently working on a book, provisionally entitled Sculpture in the Age of Darwin, which explores the production and reception of modern sculpture in Britain and the United States in relation to evolutionary theory.
Organized by: Professor Todd Olson and Dr. Borja Franco Llopis
Financed by: VLC/CAMPUS. Valencia International Campus of Excellence, California Campus and sponsored by the Department of History of Art and the Designated Emphasis in Renaissance and Early Modern Studies
10.30: Welcome and presentation: Todd Olson and Borja Franco Llopis
Session 1: Chair: Beate Fricke (University of California, Berkeley)
10.40: Conference 1: Borja Franco Llopis (University of Valencia): Art to convert, Art to be destroyed? The problematic coexistence between Moriscos and Old Christians in Iberia and its visual representation (15-17th Centuries).
11.20: Conference 2: Todd Olson (University of California, Berkeley): Ribera, Bartholomew and the Terror of Resemblance
Session 2: Chair: Lisa Trever (University of California, Berkeley)
14.30: Conference 2: Thadeus Dowad (University of California, Berkeley): “Collodion & Ink: Writing Race into Mexican Antiquity with Charnay and Viollet-le-Duc”
15.10: Conference 3: Dr. Cristina Vidal Lorenzo (University of Valencia): "Tikal revisited. Post-abandonment cultural process and the perception of the ruins in Colonial and Contemporary times"
15.50: Debate and conclusions
"Imaginary Activism: The Role of the Artist Beyond the Art World" -- A Spoken Word Monologue by Guillermo Gómez-Peña
Presented by the Department of Ethnic Studies and the Department of Theater, Dance and Performance Studies in collaboration with the Center for Race and Gender and UC Berkeley’s Arts Research Center. Organized by Marco A. Flores and Stephanie Sherman. Please see this page for more information.
Colin Bailey, Director of the Fine Arts Museums of San Francisco will address the 2015 graduates at this year's Commencement Exercises. This is a ticketed event; please get in touch with us if you are interested in attending.
Scholarship in African American art history has flourished between 2000 and 2015, yet this was also when "post-black" gained currency to suggest race no longer matters in culture and society. Arguing that "Afromodernism," a term Robert Farris Thompson coined in 1991, offers a more flexible analytical tool for diaspora-based research, this paper argues that conceptual resources for such an undertaking are nothing new but have been waiting for us in the picture book Alain Locke published in 1940, The Negro in Art.
Kobena Mercer is a Professor in History of Art and African American Studies at Yale University. His teaching and research focusses on the visual arts of the black diaspora, examining African American, Caribbean, and Black British artists in modern and contemporary art, with a focus on cross-cultural aesthetics in transnational contexts where issues of race, sexuality, and identity converge.
His first book, Welcome to the Jungle (1994), introduced new lines of inquiry in art, photography, and film, and his work features in several interdisciplinary anthologies including Art and Its Histories (1998), The Visual Culture Reader (2001) and Theorizing Diaspora (2003). He initiated and edited the Annotating Art’s Histories series, published by MIT and INIVA, bringing a global perspective to modernist art history and the titles are Cosmopolitan Modernisms (2005), Discrepant Abstraction (2006), Pop Art and Vernacular Cultures (2007), and Exiles, Diasporas and Strangers (2008).
Professor Mercer is an inaugural recipient of the 2006 Clark Prize for Excellence in Arts Writing awarded by the Sterling and Francise Clark Art Institute in Massachussetts. His next book, Travel and See: Black Diaspora Art Practices since the 1980s, is a collection of essays forthcoming from Duke University Press, and also published in 2014 is, "New Practices, New Identities: Hybridity and Globalization," the closing chapter in The Image of the Black in Western Art, Volume V, The Twentieth Century (Harvard University Press).
About the other sponsors:
AHMA Noon Colloquium
Assistant Professor of Rhetoric Winnie Wong specializes in the history and present of artistic authorship, with a focus on interactions between China and the West. Her book, Van Gogh on Demand: China and the Readymade (University of Chicago Press, 2014), explores contemporary art in the world's largest production center for oil-on-canvas painting, Dafen village, China.
Van Gogh on Demand argues that the global contemporary art world is shaped by two powerful ideas: the postmodern assertion of "the death of the author" and the universalist notion that "everybody is an artist." Wong focuses on an unlikely case of global art production, China's Dafen Oil Painting Village, a production center of eight thousand Chinese painters who produce five million oil paintings per year, sourced from the Western art canon and made for the world's retail and wholesale markets. Based on five years of fieldwork in this transnational trade, Wong’s study offers a comprehensive account of this "readymade" art. Her narrative centers on two unique sets of "authors": internationally-active artists who made Dafen village into a source of appropriated paintings and a subject of conceptual art; and the Chinese party-state which turned Dafen village into a model cultural industry and the subject of extensive propaganda spanning television and the World Expo. Wong examines the encounter between contemporary artists and the Dafen painters whose labor they appropriate, tracing critical issues of artistic authorship and assessing their deployment at a site of anonymous production.
After an introduction by Michael Mascuch (Rhetoric), Wong will speak briefly about her work and then open the floor for discussion.
Diliana Angelova and Beate Fricke
Student participants in this year's Travel Seminar to Istanbul, Turkey will present their research papers at a symposium in honor of the Seminar's benefactor, Judith Stronach.
- Kristen Kido, "Light, Liturgy and Byzantine Aesthetics in the Hagia Sophia Deësis Mosaic"
- Andrew Sears, "From Constantinople to St. Louis"
- Christopher Bonura, "The Scribe John Malaxos, Post Byzantine Greek Manuscripts, and the Prophetic Topography of Constantinople"
- Grace Harpster, "Efficacy of Monumental Sculpture between Byzantine, Constantinople and Counter Reformation Italy"
- Jon Soriano, "Bloody Mary of the Mongols"
- Shivani Sud, "At the Juncture of East and West: Istanbul's Sireci and Haydarpasa Terminals"
- Thadeus Dowad, "Excavating under the Sultan's Eye: Photography at Ancient Sidon"
Lisa Trever and Victoria Lyall
Lisa Trever and Victoria Lyall (SFSU) will convene an interdisciplinary symposium on Mural Painting and the Ancient Americas, within the annual meeting of the Society for American Archaeology on Saturday, April 18, 2015, 8 a.m. to noon., at the Hilton San Francisco Union Square.
Artist and activist Judy Baca argues that “Muralism is a work made in relatedness. Related to the people that surround it; related to the place it is in and made in a public voice.” Indeed, mural paintings—made either in twentieth-century Los Angeles or in eighth-century Guatemala—are works that are often time-, place-, and community-specific. Often the life of a mural is brief, until it is expunged, repainted, or—more often in the case of ancient American examples—interred and built over. The close ties between murals and the time, place, and people of their facture make their ephemerality all the more poignant.
In the last thirty years we have witnessed extraordinary archaeological discoveries of mural paintings throughout the Americas. This has also been a period of marked advances in technical, material, and art historical research and reassessments of long-known painted walls. This symposium brings together archaeologists, art historians, archaeometrists, conservators, and curators to discuss the meanings and functions of mural paintings from the American Southwest, Mesoamerica, and South America. Emphasis is placed on the ways in which context matters in the production of meaning and how archaeological inquiry might open new vistas on murals as temporally, spatially, and socially “related” works. Papers include archaeological subjects as well as historical and contemporary subjects that relate later murals and muralisms to the ancient American past.
The 4th Mario A. Del Chiaro Lecture: The Religious Landscape of Etruria: new discoveries and interpretations
For many centuries the Tuscan landscape has provided the setting for hilltop cities and towns, undulating hills covered with olive trees or vineyards, and rivers and roads that provide avenues for trade and travels between the coast and the inland. The landscape was important to the Etruscans, but for reasons that may escape us unless we are willing to see what we look at and to develop a sensitivity for the importance of sacred places throughout ancient Etruria. Thanks to literary sources and abundant archaeological evidence it is possible, although not always easy, to recreate the religious landscape created by the Etruscans, with sacred mountains and caves, springs and lakes, combined with elaborate urban and extra—urban sanctuaries with temples and altars.
In her lecture Ingrid Edlund-Berry will present examples of known and lesser known sacred spaces of ancient Etruria and hope to show how the landscape contributed to the Etruscan perception of the world and the worship of deities that determined the wellbeing of individuals as well as communities with a sense of religious piety that the neighbors of the Etruscans, including the Romans, seem to have found both puzzling and enviable.
Ingrid Edlund-Berry is Professor Emerita in the Department of Classics at the University of Texas at Austin.
Affective Bodies - Performative Cultures and Aesthetic Practices: A Round Table with Photo and Visual Artist, Pushpamala N.
The Institute for South Asia Studies is organizing a roundtable with Pushpamala N., a renowned Bangalore-based contemporary artist. Pushpamala’s photo-performances and videos invoke a wide range of subjects from colonial photography, popular prints, premodern manuscript painting, and cinema to explore questions of gender, identity, and history through masquerade. The roundtable is a collateral event in conjunction with Postdate: Photography and Inherited History in India, an exhibition on contemporary Indian photography at the San Jose Museum of Art (February–August, 2015), the catalog for which has been published by the University of California Press.
Join Pushpamala N. in conversation with Assistant Professor of South Asian Art Sugata Ray; Associate Professor in the Department of Art Practice Allan deSouza; Assistant Professor of English Poulomi Saha; and Associate Professor of Slavic Languages and Literatures and Comparative Literature Harsha Ram on the aesthetics of the body.
In conjunction with the launching of the second, fully revised and expanded six volume edition of the Encyclopedia of Aesthetics (July 2014), the Arts Research Center will co-host a full day symposium on Friday, March 13, 2015, looking at aesthetics as both the subject and object of critique, and as a way to explore and expand new forms of aesthetics research in many disciplines. This symposium is free and open to the public.
Topics and speakers will include the following:
Arts and Humanities Dean Anthony Cascardi and Encyclopedia of Aesthetics Editor Michael Kelly
10am-12pm: When Is Art Participatory?
Shannon Jackson (UC Berkeley), Moderator
Grant Kester (UC San Diego)
Dee Hibbert-Jones (UC Santa Cruz)
Ted Purves (California College of Art)
Susanne Cockrell (California College of Arts)
Jen Delos Reyes (Artist, Educator and community arts organizer)
1-2:45pm: When is Computing Aesthetic?
Greg Niemeyer (UC Berkeley), Moderator
Edward Shanken (U Washington)
Sharon Daniel (UC Santa Cruz)
Eric Paulos (UC Berkeley)
3-5pm: When Is Art Contemporary?
Julia Bryan-Wilson (UC Berkeley), Moderator
Richard Meyer (Stanford)
Jeffrey Skoller (UC Berkeley)
SanSan Kwan (UC Berkeley)
5pm-5:30pm: Symposium Wrap-Up
Led by Michael Kelly