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.
This roundtable addresses the transcultural nature of Indian cinema, both past and present. Following the liberalization of India’s economy in the early 1990s, histories of Indian cinema have either focused on the reception of Indian films vis-a-vis cosmopolitan constructions of South Asian diasporic subjectivities or have examined the ways in which an image of the nation has been constructed in and through Indian cinema. What is less understood and explored is the integration, consumption, and vernacularization of Indian cinema in various contexts outside India, for instance in Latin America and Africa. Cinephiles, Fandoms, and Global Media Cultures aims to highlight recent engagements with transcultural Indian cinema.
This event will be held in conjunction with the opening reception of the exhibition Love Across the Global South: Popular Cinema Cultures of India and Senegal, Bernice Layne Brown Gallery, Doe Library (curated by Ivy Mills, Sugata Ray, Liladhar Pendse, and Adnan Malik). The exhibition highlights the interconnected nature of Senegalese Indian cinema fan culture and the Indian films that inspire it.
12:00: Welcome remarks
12:10-1:25: Roundtable presentations
Ajay Gehlawat (Sonoma State University), "Black Voice, Brown Skin: Auto-tuning Akon for Bollywood"
Jayson Beaster-Jones (UC Merced): "Have Mandolin Will Travel: Musical and Affective Themes of DDLJ"
Ivy Mills (UC Berkeley): "On Ravana's Blackness: Akon's 'Chammak Challo' and Bollywood's Racial Imaginary"
1:35-3:15: Roundtable presentations continued
Usha Iyer (Stanford University): "Teaching Indian Film in Trinidad: Cinema, Gender, and the Construction of Racial Identities"
Rachael Hyland (UC Berkeley): "Boundaries in Flux: Race and Class in Indian Summers and A Passage to India"
Atreyee Gupta (UC Berkeley), Discussant
Lalitha Gopalan (University of Texas, Austin), "Dust to Digital: Tamil New Wave"
4:40: Concluding remarks
5:00-7:00: Opening reception of the exhibition Love Across the Global South: Popular Cinema Cultures of India and Senegal in the Bernice Layne Brown Gallery, Doe Library
Both the roundtable and exhibition reception are free and open to the public.
Organizers: Rachael Hyland and Shivani Sud.
Event made possible with the support of the Townsend Center of Humanities, the Institute of South Asia Studies, the Sarah Kailath Chair of India Studies, the History of Art Department, the South and Southeast Asian Studies Department, and the Asian Art and Visual Cultures Working Group.
Makeda Best and Christine Hult-Lewis
"Alexander Gardner, Sketch Book, and the Transatlantic Sphere of Reform"
Dr. Makeda Best, Richard L. Menschel Curator of Photography, Harvard Art Museums
(5pm, 308A Doe Library).
A Workshop Drawing on Photography Books in The Bancroft Library's Collections
Dr. Christine Hult-Lewis, Reva and David Logan Curatorial Assistant, The Bancroft Library
(10am-12pm and 1:30pm-2:30pm, The Bancroft Library).
Please contact Kappy Mintie at email@example.com to reserve a spot in the workshop.
This event is generously sponsored by the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography at Rare Book School, The Bancroft Library, the Jay D. McEvoy, Jr. Chair in American Art, and the History of Art Department.
Questions? Please contact Kappy Mintie at firstname.lastname@example.org.
Miguel A. López and Emiliano Valdés
Curation as Research: Contemporary Art in Central America
Miguel A. López and Emiliano Valdés
in conversation with Julia Bryan-Wilson (History of Art)
Tuesday, September 19 at 5:30 pm
Geballe Room, Townsend Center for the Humanities
López and Valdés will reflect on their experiences organizing exhibitions that focus on the visual art and performance of Costa Rica,
Guatemala, and Nicaragua, and will discuss how their curatorial research puts pressure on monolithic narratives about Central American art.
Apsara DiQuinzio, Douglas Dreishpoon, Lauren Kroiz, Jeff Gunderson, and Alexander Nemerov
Explore the arresting art of Charles Howard in this fresh, wide-ranging look at the themes and changing contexts of his work as he navigated among figurative, Surrealist, and abstract currents. Topics include his stylistic synthesis of chaos and order; his relation to both American and British modernism; and his connections with the San Francisco Bay Area art world of the 1940s.
Presenters are Apsara DiQuinzio, BAMPFA curator of modern and contemporary art and Phyllis C. Wattis MATRIX Curator, who organized the exhibition; Douglas Dreishpoon, chief curator emeritus, Albright-Knox Art Gallery; Lauren Kroiz, UC Berkeley assistant professor of art history and contributor to the exhibition catalog; and Jeff Gunderson, special collections librarian and archivist at the San Francisco Art Institute. Noted author, speaker, and curator Alexander Nemerov, chair of Stanford University's Art and Art History department, moderates the program.
Julia Bryan-Wilson with Angela Hennessy and Richard Meyer
Join Julia Bryan-Wilson as she launches her new book Fray: Art and Textile Politics (University of Chicago, 2017), in conversation with artist Angela Hennessy and art historian Richard Meyer. Thurs. Sept. 7 at 5:30pm at the Berkeley Art Museum/Pacific Film Archive.
Until 4:45 pm | 05/06/2017
Please join us for "Return of Ten Thousand Dharmas: A Celebration in Honor of Patricia Berger" on May 5–6, 2017.
Patricia Berger served as the curator of Chinese art at the Asian Art Museum, San Francisco from 1982 to 1994. She then returned to her alma mater to mentor another generation of graduate students as Professor of Chinese Art at the University of California at Berkeley. In celebration of her well-deserved retirement, we invite you to join her current and former students and colleagues to honor her contributions to the field. Professor Berger will deliver a keynote lecture on Friday, May 5 at the David Brower Center, followed by a one-day symposium on Saturday, May 6, 2017 in the Heyns Room at the Faculty Club. This event is free and open to the public.
The event is co-sponsored by the Center for Chinese Studies, Center for Buddhist Studies, Department of History of Art, Institute of East Asian Studies, and Mongolia Initiative.
For more information, please visit Return of Ten Thousand Dharmas: A Celebration in Honor of Patricia Berger, or if you have further questions, contact email@example.com.
Phillip Bloom, Indiana University, Bloomington
Crafted between 1178 and 1188 for ritual use in a small temple near Ningbo, the one hundred hanging scrolls of the Five Hundred Arhats (Daitokuji, Kyoto, Japan) possess a striking peculiarity: more often than not, the set’s eponymous semi-divine monks are simply shown gazing. They gaze at natural wonders, they gaze at supernatural feats performed by their peers, they gaze at episodes from the mytho-history of Buddhism, and most importantly, they gaze even at paintings. How are we to understand these scrolls’ insistence on acts of viewing, and how might Song worshippers have responded? Through their practice of gazing, do these arhats merely model for us how we ought to look, or are other motivations at work? To make sense of the multiple forms of spectatorial engagement facilitated by these scrolls, this presentation will bring them into dialogue with contemporaneous poems that describe imaginative acts of entering painted worlds and with liturgies that prescribe the performative inhabitation of other subject positions. Drawing on such texts, I shall argue that the Five Hundred Arhats and other works of Song Buddhist art seek to create possibilities for intersubjective experience—for viewing the world through the eyes of an awakened other.
Phillip E. Bloom is Assistant Professor of East Asian Art History in the Department of Art History at Indiana University, Bloomington. He specializes in the history of Song-dynasty Buddhist art and ritual. His work has recently appeared in The Art Bulletin and Bukkyō geijutsu, and he is currently completing a book manuscript, tentatively titled Nebulous Intersections: Ritual and Representation in Chinese Buddhist Art, ca. 1178.
Dan Orrells is the author of Classical Culture and Modern Masculinity (2011) and Sex: Antiquity and Its Legacy (2011). His latest book will be on the history of visualizing antiquity.
One of the most energetic debates in queer studies in recent years has been around the notion of “queer unhistoricism.” Theorists and literary historians have begun to argue that queer readings of texts and images might move us beyond the historicisms we have inherited from modernity. This lecture examines these claims by thinking about what it means to historicize how we have written histories of homosexuality.
Co-sponsored by the Departments of History of Art and of Rhetoric.
Michael Ashley (Codify)
Center for Digital Archaeology
Lynn Cunningham (Berkeley Visual Resources Center)
Rita Lucarelli (Berkeley Near Eastern Studies)
Matt Naglak (Michigan Classical Archaeology)
Ren Ng (Berkeley Computer Science)
Justin Underhill (Berkeley Digital Humanities)
An event bringing together technology innovators, cultural heritage workers, and scholars in a conversation about scanning, visualization, Virtual and Augmented Reality, and other digital tools that are changing the field of Archaeology. Followed by a roundtable discussion and a visit to the newly re-opened Phoebe Hearst Museum of Anthropology. 2-5 PM
The inaugural Berkeley/Stanford Symposium will be held at the San Francisco Museum of Modern Art (SFMOMA) in Spring, 2017. Not at Home is an opportunity to discuss how visual material has registered changing relations to home over time. Papers, panels, and performance pieces speak to how home and its opposites – displacement, estrangement, voyage, or exile – manifest in visual expression and material culture throughout history. They ask, among other questions, if home is denied, rejected, or destroyed, what are the spaces of not-at-home, and how are they visually created? Join us for a critically and politically engaged dialog across disciplines, temporalities, and creative practice.
Organized in the 2016/2017 academic year by Danny Smith (Stanford) and Jess Genevieve Bailey (UC Berkeley), the Berkeley/Stanford Symposium is an annual gathering of emerging voices in the arts. The symposia seek to support graduate students in all fields as well as young artists, museum professionals, and writers.
Free of charge and open to the public. Program and keynote speaker to follow.
Sacred Founders: Women, Men, and Gods in the Discourse of Imperial Founding, Rome through Early Byzantium
Berkeley Book Chats: Associate Professor Diliana Angelova in conversation with Thomas W. Laqueur, Helen Fawcett Professor of History
Diliana Angelova, associate professor in the Departments of History and History of Art, is a scholar of early Christian and Byzantine art. Sacred Founders explores deep continuities between the ancient and medieval worlds, and recovers a forgotten transformation in female imperial power.
Sacred Founders (UC Press, 2015) asserts that from the time of Augustus through early Byzantium, a discourse of "sacred founders"—grounded in the notion that imperial men and women were mirror images of the empire’s divine founders—helped legitimate the authority of the emperor and his family. Constantine and his formidable mother, Helena, initiated the Christian transformation of this discourse, which Angelova argues led to the empowerment of imperial women and a strengthening of the cult of the Virgin Mary. Sacred Founders presents a bold interpretive framework that unearths a forgotten transformation in female imperial power.
After an introduction by Thomas Laqueur (History), Angelova will speak briefly about her book and then open the floor for discussion.
Winston Kyan, University of Utah
Among the pantheon of filial offspring in China, a striking if overlooked figure is the wife of Wang Wuzi, or Wang Wuzi Qi, 王武子妻, who offers her flesh to cure her sick mother-in-law through an act of filial thigh cutting, or gegu, 割股. While the paradox of gegu as being both an act of filial caring towards one’s parents and an act of unfilial neglect towards the parental gift of the body has attracted the attention of scholars both medieval and modern, a close analysis of its figural representation remains to be done. Images of Wang Wuzi Qi are particularly intriguing since they appear across a variety of funerary media from Song, Jin, and Liao period tombs, ranging across painted murals, engraved stone slabs, painted carved bricks, carved low relief tiles, and three-dimensional tableaux of clay figurines. However, these diverse images are limited by established pictorial conventions, geographic locations in southern Shanxi and northern Henan provinces, and chronological parameters from the late eleventh- to early thirteenth-centuries. Moreover, the pictorial standardization of a controversial filial sacrifice within the hallowed filial space of the tomb raises key issues regarding the construction of a “new” filial paragon, the relationship between Buddhist caves and ancestral tombs, as well as the connection between filial efficacy as a popular belief and an elite value.
Winston Kyan was born in Rangoon, Burma. He holds a BA in Comparative Literature from Brown University and an MA and PhD in Art History from the University of Chicago. He has taught at Macalester College in St. Paul, Minnesota and the University of Utah in Salt Lake City, where he is currently Assistant Professor of Art History. His current and primary research project is rethinking the intersection of filial piety and Buddhist art in medieval China through representations of the body, sacrifice, and health as a sensorium of sight, smells, sounds, tastes, touch, and other modes of perception beyond the usual five. He is wrapping up a manuscript on this topic while continuing side interests in the relationship between contemporary Asian art and Buddhism as well as Asian American visual culture as sites of religious identity. His next research project will explore the visual and material culture of the trade and military routes between Yunnan, China and Myanmar/Burma. His publications have appeared in The Art Bulletin, Amerasia Journal, and Art Journal Open, in addition to other conference volumes and digital resources.
9:00-9:15 Welcome and Introduction
9:15-10:45 Panel 1
Erica James, Yale University
Writing Art Histories Beyond Disciplinary Boundaries: Caribbean Art in the Global Imaginary
Dwight Carey, Amherst College
Rethinking Creole Architecture: Translating Forms in the Eighteenth-Century French Colonial Empire
Respondent: Bridget Cooks, University of California, Irvine
11:00-12:30 Panel 2
Cécile Fromont, University of Chicago
Paper, Ink, Vodun and the Inquisition
Beatriz Balanta, Southern Methodist University
Photogenic Blackness: Photography and the Commodification of Subjugation
Respondent: Ivy Mills, University of California, Berkeley
2:00-3:30 Panel 3
Dana Byrd, Bowdoin College
Fly Brushes, Shoo-Flies & Punkah Fans: Towards a Material Culture of Freedom
Co-organized by the Departments of History of Art and African American Studies
H. Michael and Jeanne Williams Chair of African American Studies
Department of African American Studies
Department of History of Art
UC Consortium for Black Studies in California
Townsend Center for the Humanities
Arts Research Center
The Black Room