Henrike Christiane Lange, Ph.D. Candidate, Yale University
Ms. Lange is a candidate for a joint faculty position in Renaissance/Early Modern Visual Culture in the Departments of Italian Studies and the History of Art.
Feminist Translations/Queer Mobilities examines themes of genealogy, temporality, acts of translation, and metaphors of mobility in feminist and queer approaches to art, practice, and politics. Bringing together the seminars of Professors Mel Y. Chen (Queer Translations/Gender and Women's Studies) and Julia Bryan-Wilson (Feminist and Queer Theories in Art/History of Art) to foster trans-disciplinary conversation and debate, the conference aims to give equal attention to artists and art objects as to theories and methods, while presuming that such domains are deeply intertwined. Two keynote speakers — Nandita Sharma and Gaye Chan — will bookend the day of graduate student panels. Co-sponsored by the History of Art Department and the Center for the Study of Sexual Culture.
Chiara Franceschini, University College London
Dr. Franceschini is a candidate for a joint faculty position in Renaissance/Early Modern Visual Culture in the Departments of Italian Studies and the History of Art.
Margaretta Lovell and David Henkin
Art historian Margaretta Lovell and social historian David Henkin, both professors at UC Berkeley, offer a rich context for the artwork on view in American Wonder. They will discuss pre-Civil War American society and culture, touching on such issues as individual and community identity, rituals of mourning, schoolgirl skills, professional penmanship, and the role of domestic animals.
ABOUT THE EXHIBITION
Discover the early years of our nation through portraits, landscapes, commemorative mourning pictures, weather vanes, and decorative sculptures that reflect the daily lives and aspirations of Americans between the years 1776 and 1865. Drawing upon our distinguished collection of American folk art, one of the finest in California, American Wonder begins in Colonial New England, evoking the world of early settlers, and ends in the San Francisco Bay Area, where the pitched optimism of the Gold Rush met with dreams of a post-Civil War American Eden.
Anneka Lenssen, Assistant Professor of History of Art
We tend to think of the "global contemporary" as coalescing sometime near 1989, facilitated by free market flows after the fall of the Berlin Wall, or constructed, perhaps, in exhibitions such as Magiciens de la Terre. An alternative genealogy begins in the 1970s with efforts to institute a Third World cultural order through transversal circuits of communication rather than vertical dependencies. In this talk, Lenssen highlights a particularly productive circuit of Third World filiation in artist solidarity projects from the Middle East and North Africa. The talk focuses on three interrelated cases: the founding of the Arab Union of Plastic Artists in 1971, culminating in the Baghdad Biennial of 1974; the inauguration of the Asilah festival in Morocco in 1978 as both folkloric village and site for radical South-South collaboration; and the creation of the Egyptian art collective Mehwar in 1981 in response to the "Coca-Cola and Chiclets” of market liberalization. All were conducted against dramatic structural changes to local economies. And in them, artists’ collective efforts no longer had to do with the goal of entering modernity at will, but rather with inscribing new sites of creative action in an otherwise coercive international art world. Together, these cases offer the contemporary art historian an opportunity to explore the notion of solidarity anew, and to scrutinize the stakes of artistic work in non-capitalist conditions. The talk is drawn from a longer research project that - spurred by new museum projects in the Gulf states - explores the Arab liberation struggles of the 1960s and 1970s as a prehistory to the global art world of the present.
Anneka Lenssen is assistant professor of global modern art here in the History of Art Department. She writes on modern and contemporary art, with a particular specialization in the cultural politics of the Middle East. Current projects include a co-edited volume of writings on art from the Arab world (International Program of the Museum of Modern Art in New York, 2017) and a book-length study of avant-garde formations of painting in Syria under new regimes of political representation, 1940s-1960s.
Informal talk and discussion with Professor Ping Foong.
Professor Foong received her PhD from Princeton University in 2006. Her dissertation was on the Northern Song landscape paintings of Guo Xi. She will be introducing her research and presenting her experience of turning a doctoral dissertation into a book. She is visiting Berkeley for the year, teaching The Classical Painting Tradition of China this fall and Arts of China in the spring. Come say hello! Drinks and snacks will be provided.
Until 6:00 pm | 11/07/2014
Yanis Varoufakis will deliver a talk entitled, "Post-Modern Money: On the Nature and Aesthetics of Money after 2008." The talk will be followed by open discussion.
Until 6:00 pm | 11/06/2014
November 6 || 10:00 am-6:00 pm
November 7 || 3:00 pm-6:00 pm
308A Doe Library
Organized by Jordan Rose (Berkeley) and Scott Ferguson (University of South Florida)
“Money,” T. J. Clark has written, “is the root form of representation in bourgeois society. Threats to monetary value are threats to signification in general." Clark's proposition, almost aphoristic in its phrasing, turns on the kinds of questions it raises, about markets and money flows, about value and its abstraction, about whom money belongs to, about the “social reality of the Sign” and the effect money has on art-making. By the statement’s end, money becomes a central form – maybe the central form – of modern life. Over the last 15 years – the sentences come from 1999’s Farewell to an Idea – the urgency of Clark's questions has only intensified, obliging us, in turn, to confront them anew. “Modern Money” initiates this process by asking participants to consider the effect a turn toward state and credit theories of money – away, as it were, from the standard commodity theories – has on our dealings with art and aesthetics. What happens, in other words, to our understanding of value, and of social practice, if we come to recognize some distance between the social relations of the production of commodities and the social relations of the production of money?
The first day, the 6th, will consist of three panels addressing the art and money nexus. The second, which turns the table, will feature a talk by Yanis Varoufakis (Professor of Economics, University of Athens, and Visiting Professor, Lyndon B. Johnson School of Public Affairs, University of Texas, Austin).
A multimedia installation by Danae Stratou will accompany the conference. (November 3-November 7, 308A Doe Library)
Sponsored by the Department of History of Art. Co-sponsored by the Townsend Center for the Humanities, the Arts Research Center, the Department of Rhetoric, and the Department of History.
9:30-10:00 – Breakfast/Coffee
10:00-10:10 – Introduction
10:10-11:30 – Panel One
Todd Barnes (Ramapo College of New Jersey), “Striking Our Debt to Moral Tragedy: Money in Shakespeare’s ‘Julius Caesar'”
Edwin Harvey (Miami University), “(Silver) Dollars: A Chartalist Iconography of Charles Willson Peale’s Mrs. Thomas McKean”
11:30-1:00 – Lunch
1:00-2:50 – Panel Two
Richard Taws (University College London), “Paris in Code: Signs of Value in Post-Revolutionary France”
Jordan Rose (University of California, Berkeley), “The Debtor’s Frockcoat”
Darcy Grimaldo Grigsby (University of California, Berkeley), “Paper, Metal and the Civil War”
2:50-3:30 – Coffee break
3:30-5:20 – Panel Three
Danny Marcus (University of California, Berkeley) and Daniel Spaulding (Yale University), “Modernism and Capitalism, a Correspondence”
Cecilia Wee (Royal College of Art), “If Information Makes Money, Does Sharing Destroy It?”
Scott Ferguson (University of South Florida), “Risking Abstraction”
5:20-6:00 – Reception
Derek Conrad Murray, Associate Professor in the History of Art and Visual Culture, UCSCThrough a critical investigation of the controversial and polarizing notion of post-black, this lecture will explore the impact that sexual politics and queer identities have on our understanding of blackness as a set of visual, cultural, and intellectual concerns. The re-articulation of African-American identity emergent in contemporary art suggests that the visual markers of hetero-normative blackness have failed to represent the lives and identities of individuals whose gender and sexual orientations often position them outside dominant understandings of black identity. The aim of this paper is to produce new and innovative interpretive possibilities that will elucidate the specific conceptual, aesthetic, and political concerns of post-Civil Rights generation visual artists.
Derek Conrad Murray is an interdisciplinary theorist specializing in the history, theory and criticism of contemporary art. He holds a Ph.D. in art history from Cornell University. Murray is currently Assistant Professor in the History of Art and Visual Culture at the University of California, Santa Cruz. His book, Regarding Difference: Contemporary African-American Art and the Politics of Recognition, will be published by Manchester University Press in 2015, as part of the series Rethinking Art’s Histories (eds. Amelia Jones and Marsha Meskimmon). Murray is also in the process of completing his second book entitled Queering Post-Black Art: Rethinking African-American Identity After Civil Rights, forthcoming from I.B. Tauris (UK).
This lecture is presented by the Townsend Working Group in Contemporary Art, which seeks to broaden conversations about contemporary art across departments, disciplines and institutions. Our meetings feature speakers sharing their recent work or spotlighting current issues in contemporary art. We are grateful to the Townsend Center for the Humanities for their support.
C. Jean Campbell, Emory University
The lecture is sponsored by the Designated Emphasis in Renaissance and Early Modern Studies. It will be followed by a seminar on Friday, October 24, on "Pisanello and the Archaeology of a Name." The seminar will take place at noon in 308B Doe Library.
Professor Campbell is the Winship Distinguished Research Professor in Art History at Emory University.
Banu Bargu, The New School for Social Research
The posthumously published writings of Louis Althusser reveal an effort, however fragmentary, to rethink materialism on the basis of contingency and the absence of teleology. Althusser argues that there is a subterranean tradition in philosophy, which he calls aleatory materialism, a tradition that has resisted the rationalist and necessitarian tendencies of dominant idealisms and materialisms (that are also idealist). In his attempt to excavate this tradition, Althusser alludes to a dizzying range of thinkers, such as Machiavelli, Hobbes, Spinoza, Rousseau, Montesquieu, Marx, Derrida, and Deleuze, as he gestures to pinpoint the diverse ways in which they can be seen to constitute this neglected tradition. The Marx that figures in this tradition, of course, is a radically reconfigured one, distanciated not only from its Hegelian incarnations but also from the “mature” Marx emblematic of high Althusserianism. Crucial to this reconstruction, both of aleatory materialism and the new Marx in it, is the recuperation of the atomistic materialism of Epicurean (and Lucretian) inflection with the emphasis on the swerve. This paper investigates Althusser’s dual “swerve” from historical materialism to atomistic materialism and from the mature Marx to the young-est Marx, whose earliest work is a doctoral dissertation on Democritus and Epicurus. The paper reads this shift as an attempt to open up a different trajectory of political thinking after Marxism as well as a potent symptom of the rupture in Althusser’s own thought, a rupture that calls for a reassessment of Althusser’s legacy for critical theory.
This presentation is sponsored by the Department of Rhetoric and hosted by the Department of History of Art.
Erika Doss is Professor in the Department of American Studies at the University of Notre Dame, where she teaches courses in American, modern, and contemporary art. She is the author of Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth-Century American Art (2002), and Memorial Mania: Public Feeling in America (2010). Doss is also co-editor of the "Culture America" series at the University Press of Kansas, and is on the editorial boards of Memory Studies, Public Art Dialogue, and Material Religion: The Journal of Objects, Art, and Belief. Her current research project is Spiritual Moderns: Twentieth Century American Artists and Religion.
The Townsend Working Group in Colonial Latin American Art, Literature, and Visual Culture is sponsoring a lecture by Byron Hamann, Assistant Professor of the History of Art at The Ohio State University.
Spanning Mexico City, Jingdezhen, the Alexander Archipelago, Southern California, Cuzco, and Manila, this talk will explore the non-monetary uses of money in the Pacific World circa 1800. Historically, of course, “counterfeit” did not necessarily have the negative “forgery-falsification” connotations it has today. Counterfeiting could just mean copying, or, etymologically, “to make in opposition or contrast.” “Counterfeit Money, Starring Patty Hearst” imagines an inaugural exhibition at the Patty Hearst Museum of Anthropology, an exhibit centered on objects made from or inspired by coin money—that is, objects made in contrast to the usefulness of coinage as token of exchange. Surviving artifacts, as well as narrative accounts of Russian, English, and Spanish merchants involved in "the China trade," will be used to create a new kind of It-Narrative chronicling the adventures of coins as they traverse varied imperial and cultural landscapes to interact with porcelain boxes, baskets, wooden masks, and leather jackets.