Jill H. Casid, Professor of Visual Culture, University of Wisconsin-Madison
What electrifies, what makes palpable the disavowed filaments of connection between the death-worlds over there and right here? Taking Guantánamo (and its phantom closure) as its improper object, this lecture offers an alternative in action to those engrained habits of method that partition death and life in ways that make illegible the extent to which we inhabit, in this extended period of endless war, a terror-zone in which the making of death-worlds of the living dead ostensibly “over there” in the occupied territories and extra-legal limbo zones of the “black sites” of unseen incarceration are also “right here” as the limits not just on right but also on the sensible. This lecture finds its opening provocation in U.S. artist Laurie Anderson’s installation Habeas Corpus (October 2-4, 2015) that cast a projection of former detainee Mohammed el Gharani from an undisclosed location in W. Africa into the interior of the Park Avenue Armory in New York City and cast his live-feed image onto a colossal white plaster rendering of a seated figure in an uncanny and virtual reversal of the Lincoln Memorial in which the imprisoned takes the grand seat, white turns to black, and the history of slavery returns as the present condition of the carceral. The projection and magnification trick of the single and massive beamed-in figure converts the over-there into the unavoidably here. But the device of the story-telling projection also, at the same time, points to the limits of the figure of the solitary witness to address the complex diagram of competing virtual, material, plant, and animal powers that proliferate the unruly necro-landscape of Guantánamo. Reckoning with the death-worlds in which we lose ourselves demands a recognition of the contaminated mixtures of affect and the development of a capacity for an improper geometry, one committed to drawing lines that connect not just the parallel but also and especially the non-reciprocal and incommensurable.
A historian, theorist, and practicing artist, Jill H. Casid is Professor of Visual Studies at the University of Wisconsin-Madison. She is the author of Sowing Empire: Landscape and Colonization (Minnesota, 2006) which received the College Art Association’s Millard Meiss award and Scenes of Projection: Recasting the Enlightenment Subject (Minnesota, 2015) as well as the coedited volume Art History in the Wake of the Global Turn (Yale, 2014). Recent articles have appeared in Women and Performance, TDR, and the Journal of Visual Culture. She is currently completing a two-volume book project on Form at the Edges of Life and co-editing a volume of essays, The Deaths and Afterlives of Queer Theory with Michael Jay McClure.
This event is co-sponsored by the History of Art Department, the Department of African-American and African Diaspora Studies, the Townsend Working Group in Contemporary Art, and the Black Feminist Epistemologies of Afro-Pessimism Working Group.
** Please see the conference website for more information. **
9:00-9:15 -- Welcome and Conference Introduction
9:15-10:50 -- Panel I
Diasporic Currents: Locating Blackness Across the Atlantic
Krista Thompson (Northwestern University)
The Photographic Archive, Disappearance, and the Black Heroic Figure in Colonial Jamaica
Olubukola Gbadegesin (St. Louis University)
The Ekphrastic Life of Sarah Forbes Bonnetta
Darcy Grimaldo Grigsby (UC Berkeley)
Brilliance and Blindness from Paris to New Orleans and Back: Creole Degas
10:50-11:00 -- Break: Pastries + Coffee
11:00–12:35pm -- Panel II
Graphing Empire: Fixed Encounters, Moving Bodies
Kailani Polzak (UC Berkeley)
Varieties of Inscription: Sydney Parkinson and the Maori Moko
Bronwen Douglas (Australia National University)
Encounters, Graphic Representation, and the Generation of Racial Knowledge in Oceania
Todd Olson (UC Berkeley)
Sea-Change: Instruments, Swimming, and Race in the Early Modern Atlantic World
12:35-2:00 -- Lunch (conference participants only)
2:00-3:35 – Panel III
Building Boundaries, Crossing Borders: Mixture, Metaphor, and the Racialization of Asia
Sugata Ray (UC Berkeley)
(Mis)Translating James Gibbs in the Indian Ocean World: Neoclassical Mosques, Subaltern Cosmopolitanisms, and the Architecture of a Muslim Modernity
Ashley Bruckbauer (UNC Chapel Hill)
Negotiating Race in French Images of Embassy
Thadeus Dowad (UC Berkeley)
“Islands in the Estranging Sea of Islam“: Ottomans, Race, and Islamic Art at the End of an Empire
3:35-4:45 -- Concluding Remarks
Stoddard Lecture 2016, featuring Suzanne Blier. The lecture will be followed on Friday, April 15, by an all-day conference on Difference/Distance: Picturing Race Across Oceans in the Eighteenth and Nineteenth Centuries. See this page for details.
Julia Bryan-Wilson on Ruth Asawa and Louise Bourgeois
Voyeurism, Virtue and Multivalence: Reframing ‘Susanna and the Elders’ in Early Modern Visual Culture
A talk by Patricia Simons, Professor in the Art History Department at the University of Michigan.
Ronak K. Kapadia, University of Illinois, Chicago
Over the past two decades, the United States has engaged in an immense data collection project on racialized “Muslim” populations not just in its endless wars in Iraq and Afghanistan, but also in the US and around the world. How have US-based Arab, Muslim, and South Asian diasporic multimedia artists grappled with these new tactics of global counterinsurgency warfare and the gendered racial violence of the national security state in their aesthetic practices?
This talk investigates the critical and social potential of contemporary visual and installation art by Rajkamal Kahlon, Mariam Ghani, and the Index of the Disappeared. Kapadia will focus on these artists' incorporation of newly released government documents detailing widespread abuses in US military practices of torture, interrogation, kidnapping, and rendition. The artists affix warmth, heat, and touch to otherwise “cold” data, thereby transforming the bureaucratic and administrative violence of the regulatory security state into an imaginative queer archive of the disappeared. Kapadia argues that the insurgent aesthetic appropriation of these declassified, but highly censored reports illuminates an alternative index of “warm data,” a way of conjuring the absences and sensory distortions in official records of military detention and warfare. This talk will explore how insurgent aesthetics utilize the torture archive as raw material for creative intervention, and in so doing, will offer a more imaginative account of security and the sensorial life of empire.
Ronak K. Kapadia is Assistant Professor of Gender and Women’s Studies and affiliated faculty in Asian American Studies at the University of Illinois at Chicago. Kapadia is completing his first book, Insurgent Aesthetics: Race, Security, and the Sensorial Life of Empire, which analyzes the contemporary US global security state in the Middle East and South Asia. The project specifically re-orients attention toward what he terms “insurgent aesthetics,” an alternative articulation of minoritarian knowledge produced by those populations most devastated by the effects of US global warfare. At once an examination of the influence of US national security culture and its permanent wars on contemporary art practices, the book also reveals the freedom dreams and radical imaginings of the Muslim International before and after the global war on terror. Kapadia’s writings are published or forthcoming in Asian American Literary Review, Journal of Popular Music Studies, South Asian Diaspora, and edited volumes that include: Shifting Borders: America and the Middle East/North Africa (Ed. Alex Lubin, AUB Press 2014), With Stones in Our Hands: Racism, Muslims, and US Empire (Ed. Sohail Daulatzai and Junaid Rana, U Minn Press 2016), and Critical Ethnic Studies: A Reader (Duke UP 2016). With Katherine McKittrick and Simone Browne, Kapadia is co-editor of the special issue on race and surveillance for Surveillance & Society. Official event page is here.
Leonardo López Luján
The Proyecto Templo Mayor of the Instituto Nacional de Antropología e Historia was created in 1978, as a consequence of the discovery of a monolith depicting Coyolxauhqui, the Aztec moon goddess. Since then, other impressive public monuments have come to light in downtown Mexico City, in the area occupied by the sacred precinct of Tenochtitlan. Archaeologists recently uncovered the largest Aztec sculpture ever found, that of the earth goddess Tlaltecuhtli. After an overview on the history of archaeology in Mexico City, this lecture will focus on the new Tlaltecuhtli stone, undertaking a formal, iconographic, and symbolic analysis in order to unveil its functions and meanings. The exceptionally rich offerings buried under this sculpture will also be described. Finally, the possible presence of a royal tomb at the foot of the Great Temple will be discussed.
Leonardo López Luján is a Mexican archaeologist and the current director of the Templo Mayor project of the National Institute of Anthropology and History (INAH). He specializes in the politics, religion, and art of Pre-Columbian urban societies in Central Mexico.
Lecture hosted by the Archaeological Research Facility at UC Berkeley in collaboration with the Departments of Anthropology and History of Art and with the Association for Latin American Art triennial conference “Art at Large: Public and Monumental Arts in the Americas."
The lecture focuses on the images in a weighty 700-year-old tome that was intended to instruct a bishop in the performance of his duties. The Metz Pontifical was made in Northern France; half of it is now in Prague, Czech Republic, and the other half is in Cambridge, England. It is one of the most luxuriously illuminated manuscripts of its type to survive. Work on the manuscript stopped in 1416 upon the death of Bishop Renau de Bar, and its unfinished state shows the evolution of images from drawings through under-painting and gilding to finished images.
Spike Bucklow is currently Senior Research Scientist at the Hamilton Kerr Institute, University of Cambridge, a centre for the conservation of paintings. His first degree was in chemistry and he made special effects for movies, including Star Wars and Indiana Jones. His research interests have turned to artists' materials and their methods, as published in The Alchemy of Paint (2009), The Riddle of the Image (2014), and Red (Reaktion Books, 2016).
A talk by New Delhi-based contemporary artist, Atul Bhalla, followed by a conversation on the politics and aesthetics of water.
Speaker: Atul Bhalla, Artist; Associate Professor, Department of Art Design and Performing Arts, Shiv Nadar University
Moderator: Sugata Ray, Assistant Professor of South Asian Art, History of Art Department
Panelists: Lauren Kroiz, Assistant Professor of 20th Century American Art, History of Art Department and Robert Goldman, Professor of Sanskrit; Catherine and William L. Magistretti Distinguished Professor in South & Southeast Asian Studies
Sponsors: Institute for South Asia Studies, Department of History of Art
U.C. Berkeley's Department of the History of Art and the Institute for South Asia Studies have organized a roundtable with Atul Bhalla, a renowned Delhi-based contemporary eco-artist. The artist's talk titled, "You Always Step into the Same River!," will be followed by an interdisciplinary conversation on the politics and aesthetics of water in a global field with Robert Goldman, Lauren Kroiz and Sugata Ray.
For the past decade, Bhalla's art has addressed the socio-historical importance of water in urban environments around the world. Bhalla earned his BFA from Delhi University and his MFA from the School of Art of Northern Illinois University; he currently teaches in the School of Art, Design, and Performing Arts at Shiv Nadar University. His work has been exhibited in museums and galleries in the United States, India, across Europe and Asia. His most recent exhibition Atul Bhalla: You Always Step into the Same River is an immersion into the knowledge that water imparts.
You Always Step into the Same River!
Artist talk by Atul Bhalla
How it contains or is contained: Harmonizing the Hoover Dam c. 1935
Lauren Kroiz (Assistant Professor, History of Art Department)
The Activist-Arts of Climate Change
This presentation considers Climate Games, the recent artistic-activist project organized around COP21 in Paris, December 2015, which brought together international practitioners and collectives in a coordinated effort to challenge the corporate-dominated climate negotiations. Participants aimed to bring attention to the invisibilities pertaining to the economic framework of climate governance, specifically neoliberalism, which has offered only failed proposals for how to address the current environmental crisis. Climate Games, organized by the France-based Laboratory of Insurrectionary Imagination, promoted creative nonviolent civil disobedience as part of a longterm strategy to democratize environmental governance, insist on a just transition to a postcarbon future, and develop alternatives outside the automatic assumptions of capitalist hegemony. I will consider the visual infrastructure of Climate Games, as well as select examples of participating contenders, and examine how the project sought to organize ethico-political action around climate justice activism, representing a developing model of visual-cultural engagement today. What are the lessons of this type of practice, and how does it reconfigure the imperatives of art historical analysis?
Jessica Sack, Jan and Frederick Mayer Senior Associate Curator of Public Education at the Yale University Art Gallery
Visual Resources Association Foundation regional workshop
University of California Berkeley
February 26th, 2016
Session 1: 10:00 a.m.-12:30 p.m., Berkeley Art Museum
Session 2: 2:00 p.m.-4:45 p.m., Visual Resources Center, 308A Doe Library
The Visual Resources Association Foundation is pleased to announce that Visual Literacy: Learning to Look and Looking to Learn will be held at University of California Berkeley on February 26th, 2016, one of two workshops being offered in the first year of the VRAF Regional Workshop Program. This workshop will be hosted by the Visual Resources Center in the History of Art Department at UC Berkeley, and is open to image management professionals, image users, and the broader information and educational community. The VRAF is grateful to the Samuel H. Kress Foundation for their generous support of this new opportunity.
Part one of this workshop will focus on visual literacy skills and pedagogical approaches by exploring objects at the new Berkeley Art Museum. In part two of the workshop, participants will discuss and develop ways to implement their own visual literacy program at their institutions, and learn how staff, students and faculty can use digital archives, art objects, and other primary sources in developing visual literacy skills.
Visual Literacy: Learning to Look and Looking to Learn will be taught by Jessica Sack, the Jan and Frederick Mayer Senior Associate Curator of Public Education at the Yale University Art Gallery. During her fifteen years in the field of museum education, Jessica has developed training programs in visual literacy for information professionals, teachers, faculty, and students. To learn more about Jessica and the workshop, please visit:
Registration for Visual Literacy: Learning to Look and Looking to Learn is now open. The fee for the workshop is $75 for either the morning or afternoon session, or $125 for the full day. You may register from the workshop website: http://vrafoundation.org.s119319.gridserver.com/index.php/projects/visual_literacy_regional_workshop/
If you have questions about registration, feel free to contact Betha Whitlow, VRAF Director, email@example.com For questions about the University of California Berkeley venue, please contact Lynn Cunningham, Curator of Visual Resources, firstname.lastname@example.org.
Read about Hannah Baader here.
This talk will take a canvas that was presented at the Salon in Paris in 1881- showing a maritime votive scenario - as a starting point for a fragmentary history of Christian maritime ex-votos. Stretching back far before the nineteenth century, this history reflects the strong fears, anxieties and hopes that arise from seafaring, leading to specific religious practices, beliefs, and aesthetics. Although there is a wide range of local documentation, we are still missing any overall research on the topic or any attempt at a more systematic approach. Maritime ship ex-votos are indeed the fragile documents of a long Mediterranean and Atlantic history, a history of longue durée, but nevertheless with significant changes and breaks. This long history might be a tacit history of the worlds of fishermen and seafarers with their specific forms of religiosity and community, but at the same time of many other parts of society - as merchants, churchman, and slaves.
The talk focuses on the status of maritime ex-votos in the form of ships as objects or things, on the metaphoricity of ships as bodies and figures of transfer, on the seriality of votive vessels, and on their capacity for creating communality.
Elizabeth Honig, Associate Professor of History of Art, UC Berkeley, specialist in European art 1400-1700
Melissa Geisler Trafton, Senior Researcher, Fitz H. Lane Project, specialist in nineteenth-century American art
Art history's data-based foundation has regained interest in the digital age, as new tools are developed to create interactive learning and research experiences. The presenters will discuss their online projects linking information about artworks to rich caches of data.
Please bring your own sandwich; sodas will be provided.
Margaretta M. Lovell, Jay D. McEvoy, Jr., Professor of American Art, UC Berkeley, specialist in American and English art and architecture 1700–present
The Townsend Center for the Humanities
Digital Humanities, Arts & Humanities Division, College of Letters & Science
Jay D. McEvoy, Jr., Chair in American Art Funds
History of Art Department
This lecture is cosponsored by the Townsend Center for the Humanities Working Group on Race, Gender, and Black Popular Culture, the Working Group on Contemporary Art and the Black Room Collective, an Interdisciplinary Faculty Program funded by the Institute of International Studies.
The talk will explore the complex web of associations Lorna Simpson evokes with her apparently minimalist work, 9 Props (1995). An homage to James VanDerZee, the work provokes thoughts about the promises and limits of photographic portraiture. Through a series of material translations, 9 Props also comments on the haptic qualities of the photograph and the touch of the photographic past. Simpson’s return to VanDerZee calls forth ideas not only about the history of photography, but also about the photography of history.
Shawn Michelle Smith is Professor of Visual and Critical Studies at the School of the Art Institute of Chicago.