Until 7:00 pm | 03/12/2018
Chris Wickham, Chichele Professor of Medieval History emeritus at Oxford University and Fellow of All Souls College
Sponsored by the UC Berkeley Medieval Studies Program
Until 6:15 pm | 02/09/2018
Amateurism Across the Arts is an exploration of vernacular, popular, fannish, kitsch, informal, self-taught, user-generated, and DIY production in music, architecture, literature, the visual arts, dance, and new media– especially in relation to raced, classed, and gendered notions of value. How do the implicitly skilled “arts” rupture and reorganize themselves around hierarchies of taste? And how can critical race and feminist/queer scholarship account for “hobbyist” — that is, extra-institutional, self-organized, or improvised — modes of cultural production and circulation? If amateurism has been traditionally disavowed in modernist and avant-garde historiographies, it is at the same time persistently—even obsessively—invoked, and is hence inextricably woven into those discourses.
The symposium asks how the “high” and the “low” are porous constructions by looking at the ways that these charged terms have been deployed and dismantled across several artistic disciplines, particularly as we examine the alternative economies and systems of distribution that attend such forms of making. While it has become commonplace for “fine” artists to recruit untrained participants into their practices, it is vital to acknowledge that many non-professional forms of making grow out of necessity and survival. In addition, though “amateur” is frequently used as a shorthand for the unpracticed and/or uninteresting, this conference seeks to understand its connections to its root word amare: a complex outgrowth of critical investment, pleasure, and love.
Organized by Julia Bryan-Wilson, Director, Arts Research Center
Until 6:00 pm | 03/08/2018
Please join the Asian Art and Visual Cultures Working Group for an upcoming workshop with Stacey Sloboda, Associate Professor of Art History at the University of Massachusetts, Boston.
Professor Sloboda specializes in 18th- and 19th-century histories of ornament, decorative arts, and collecting and display and has published extensively on the global histories of Chinese porcelain. We will be discussing her recent co-edited volume Eighteenth-Century Art Worlds: Global and Local Geographies of Art, which examines the interwoven and cross-cultural histories of Chinese, Japanese, Indian, and European design. We hope that this workshop can be an opportunity to discuss Professor Sloboda's current research and, more broadly, consider our own work in relation to emergent scholarship on global art histories. Please contact Shivani Sud for readings.
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.
Until 1:30 pm | 02/15/2018
The artist Emily Jacir (Spring 2018 Regents' Lecturer) in conversation with Natalia Brizuela, Associate Professor, Film and Media, and Spanish and Portuguese; Ahmad Diab, Assistant Professor, Near Eastern Studies; and Atreyee Gupta, Assistant Professor, History of Art.
Until 7:00 pm | 02/14/2018
Speakers: Whitney Davis and Anneka Lenssen.
Until 8:00 pm | 02/13/2018
Ahmad Diab, Anneka Lenssen and Kathy Zarur
To celebrate the upcoming publication of the anthology Modern Art in the Arab World: Primary Documents (New York: Museum of Modern Art, 2018), co-editor Anneka Lenssen (Assistant Professor, Global Modern Art, UC Berkeley) joins Ahmad Diab (Assistant Professor of Arabic Literature, UC Berkeley), and Kathy Zarur (curator and Lecturer in Visual Studies, CCA) in a conversation exploring the possibilities of translation as artistic research. The event will feature brief readings in English and Arabic of texts in the anthology and a discussion of related works of art. In turn, specific of acts of translation (whether between languages, or between text and image) will be examined in relation to problems of global canon, world literature, and the internationalism of socialist pathways of cultural exchange in the 1960s and 1970s–the latter engaged in its own, important translational projects. In light of recent efforts in the United States to revisit and revive Arab modernist and avant-garde histories by means of translation, how do we understand the hopes and challenges of this period? To what extent did artists themselves, located in complicated colonial and post-colonial conditions, already work by translation—between languages, materials, and worldview? And in what ways might such translations-as-research intervene upon contemporary cultural practice?
Until 6:00 pm | 02/13/2018
The Art History/Classics Library and the History of Art Visual Resources Center are hosting an event to bring together the many arts-related and visual scholarly resources and scholarly output from around the UC Berkeley campus and beyond. Please join us and learn more about these arts/visual collections at our Open House + Collections Showcase. It will be a book-fair style event with outreach materials and collection highlights from the many collections around campus, the California Digital Library, and the University of California Press.
Until 2:00 pm | 02/02/2018
Ivy Mills, Emma R. Silverman, Imogen Hart, Rebecca Levitan and Grace HarpsterMorning Papers10:00 – 10:40 Ivy Mills, "Maimouna Guerresi's Woman-Minaret."10:40 – 11:20 Emma R. Silverman, “Making a Modern Monument: Photography and the Watts Towers.”11:20 – 12:00 Imogen Hart, "Inside Out: Exhibiting Decorative Art Between the Wars."12:00 – 12:30 Break. Coffee and light refreshments will be served.Afternoon Papers12:30 – 1:10 Rebecca Levitan, "Pasquino the ‘Speaking Statue’: How a Hellenistic Sculpture Became the Voice of Early Modern Rome."1:10 – 1:50 Grace Harpster, “Figino’s True Effigy: Portraits of Carlo Borromeo as Saintly Testimony.”
Ananda Cohen-Aponte, Cornell University
This presentation focuses on the production, modification, and destruction of images within the context of the Tupac Amaru (1780–1783) and Tupac Katari (1780–1781) Rebellions of the southern Andes. Historians and anthropologists have produced numerous studies on the sociocultural, economic, and political dimensions of anticolonial movements in the Andes. The visual and aesthetic aspects of these rebellions, however, remain largely overlooked in the scholarly literature. Drawing on new field and archival research, this presentation considers interventions into the material world as a form of political praxis. In particular, it analyzes several case studies involving the breaking, burning, and modification of artworks by rebels and royalists alike, calling into question the terms under which we define defacement and censorship. This presentation looks at a variety of objects, including portraits, textiles, sculptures, and khipus in order to highlight the diverse visual worlds that intervened in the practice of political subversion.
UC Berkeley Undergraduate Seminar Final Projects Launch Event
Please join us at La Peña in the Lounge for brief presentations and discussion of collaborative research projects developed during the Fall semester.
Free • The Public is cordially invited!
“From SFMOMA to the Ghost Ship: Exploring Bay Area Arts Ecosystems”
UC Berkeley History of Art Department and American Studies Program
Special thanks to La Peña
“Promoting social justice, arts participation and intercultural understanding since 1975”
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.
Until 4:00 pm | 11/17/2017
Talk and Q&A with writers-reporters Matthias Gaffni and Julia Prodis Sulek of the East Bay Times staff, winners of a 2017 Pulitzer Prize in Journalism for their coverage of the December 2016 Ghost Ship Fire.
Talk and Q&A with writers-reporters Matthias Gaffni and Julia Prodis Sulek of the East Bay Times
staff, winners of a 2017 Pulitzer Prize in Journalism for their coverage of the December 2016 Ghost Ship
The reporters will reflect on the fire and its cultural and socio-economic contexts, as well as discuss their
work in journalism and multimedia production - and the role narrative plays in their work.
Matthias Gafni is an award-winning investigative reporter for the Bay Area News Group. He has reported
and edited for Bay Area newspapers since he graduated from UC Davis, covering courts, crime,
environment, science, child abuse, education, county and city government, and corruption.
Julia Prodis Sulek has been a general assignment reporter for the Bay Area News Group, based in San Jose,
her hometown, since the late 1990s. She has covered everything from plane crashes to presidential
campaigns, murder trials to NBA Finals. Her specialty is narrative storytelling.
Presented in conjunction with the
UC Berkeley History of Art Department and American Studies Program undergraduate seminar
“From SFMOMA to the Ghost Ship: Exploring Bay Area Arts Ecosystems”
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**
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.