Ruth Berson, Deputy Museum Director, Curatorial Affairs, SFMOMA
In this lecture UC Berkeley professor Patricia Berger considers Wen Riguan's early fourteenth-century Grapes, one of the most important early Chinese paintings in the BAMPFA collection (on view in Summer Trees Casting Shade). The artist was a well-known Buddhist abbot in the southern city of Hangzhou, equally renowned for a fluid use of the brush and an obsession with grapes. Berger will explore what Wen's focus on grapes tells us about his Buddhist practice and the reception of the painting as it made its way from China to Japan and ultimately to Berkeley.
Y.S. Alone, Professor in Visual Studies, School of Arts and Aesthetics, Jawahrlal Nehru University
This event is co-sponsored by the Department of History of Art and hosted by the Institute for South Asia Studies. Full details can be found here.
Sam Rose, University of St Andrews
The lecture will examine late nineteenth- and early- to mid-twentieth-century Western European attempts to give a unified and universalizing account of the nature of modern art. “Post-Impressionism” (a term coined by the English critic Roger Fry in 1910) has long been out of favour as a category in art history, rejected as a crude label that obscures the true nature of the artists and styles it attempted to group. In this lecture, however, it is used not as a way to categorize late-nineteenth-century French painting (as in the first “Post-Impressionist” exhibition at the Grafton Gallery in London in 1910-11), but instead in order to come to terms with post-1900 conceptions of the universal nature of modern art. In the early- to mid-twentieth century, how was this theoretically “global” account followed up, spreading its tenets by way of criticism, exhibition, and art education to many parts of the world beyond Western Europe?
Dr. Rose is a Lecturer in the School of Art History at the University of St Andrews.
Exhibition: The Papyrus in the Crocodile: 150 Years of Excavation, Exploration, Collection, and Stewardship at Berkeley
May 6 – July 29, 2016
Bancroft Library Gallery, University of California, Berkeley
(The Gallery is open M-F, 10 am to 4 pm; closed weekends and administrative holidays)
The collections assembled by Berkeley’s many patrons and collectors during the last 150 years form the foundation of research materials related to a variety of the university’s academic disciplines. The Papyrus in the Crocodile embodies Berkeley’s motto fiat lux (“let there be light”) by illuminating a selection of these invaluable objects as testaments to the cosmopolitan ideologies of Berkeley’s visionary patrons and donors—whose own lives were scarcely less fascinating than the archeological, ethnographic, and aesthetic materials they amassed. By gathering together artifacts from repositories across the university, this exhibition sheds light on the history of acquisitions and encounters that have contributed to the academic diversity celebrated on the Berkeley campus; and recognizes the remarkable men and women who enthusiastically answered the call of University President Benjamin Ide Wheeler to collect for the sake of research and the creation of new knowledge.
The Papyrus in the Crocodile begins by highlighting Phoebe Apperson Hearst, one of the university’s greatest contributors, and the exceptional collections compiled under her patronage. In 1899, Hearst funded an expedition organized by Egyptologist George A. Reisner, who hired Oxford papyrologists Bernard P. Grenfell and Arthur S. Hunt. As they excavated an Egyptian necropolis in the sands of ancient Tebtunis, they uncovered over 31,000 papyrus fragments, including second-century BCE texts stuffed into mummified crocodiles. The artifacts from that excavation entered the university’s new Museum of Anthropology (since renamed the Phoebe A. Hearst Museum of Anthropology) and many of the papyrus texts went to The Bancroft Library, where they are now housed at the Center for the Tebtunis Papyri.
For the young California university, founded in 1868, the turn-of-the-century expeditions to the far corners of the world returned with materials that propelled Berkeley forward as a beacon of research and learning on par with many of its more established East Coast and European counterparts.
This exhibition showcases the diverse nature of Berkeley’s collections, which span multiple continents, represent diverse cultures, and encompass a wide range of materials and media. For example, Phoebe Hearst’s Chinese robes and costume accessories later served as pedagogical devices for young women at the YWCA and as reference materials for Berkeley’s Design Department. After the dissolution of the Design Department, the robes came to the Hearst Museum of Anthropology. The photographs, ritual objects, and ephemera collected by Theos Bernard, “the White Lama,” straddle the divide between entertainment and ritual, the secular and the religious. He incorporated pan-Asian objects and philosophies into his work and everyday life, and was a key figure in the dissemination of Eastern esoteric practices in the West. History unfolds before the viewer in the case of the Codex Fernández Leal, a twenty-foot long sixteenth-century illustrated scroll that documents Mesoamerican history and culture. Earthenware pots and woven baskets demonstrate the diversity of indigenous cultures stretching from South America to the Californian coastline. Combined with photographs, maps, and paintings, these objects attest to ethnographic and commercial interactions between indigenous cultures and Western explorers, merchants, scholars, and settlers.
Natural history prints and paintings show how artists and scientists turned their attention to the natural world, combining the arts of illustration with empirical observation. Arts and Crafts books and interior designs detail domestic manifestations of this age of exploration in aestheticized natural motifs. Garden designers harnessed the life cycle of plants from around the world, to shape, color, and ornament the private landscape of home and garden.
The collections on display in the exhibition are not only beautiful, but they also continue to serve the research needs of students and scholars at Berkeley and around the world. The Center for the Tebtunis Papyri provides primary research materials for the Advanced Papyrological Information System (APIS) Project. Hand-printed and hand-bound Arts and Crafts books, collected and donated by advertising executive Norman H. Strouse, are used in Berkeley classes taught at The Bancroft Library on the history of printing and the hand-printed book. The garden designs of Gertrude Jekyll, at the Environmental Design Archives, have made possible the restoration of Jekyll’s gardens in England. Berkeley’s stewardship of these collections has extended their lives beyond the moment of their creation and collection so that they continue to provide research opportunities across disciplines and departments, from Classics to anthropology, from art history to zoology, from religious studies to design. This unprecedented exhibition brings to light many objects never before seen by the public, and prompts both the public and new generations of scholars to engage with these remarkable collections in formulating and answering research questions.
This exhibition is the capstone event of a three-year grant for Graduate Study in Curatorial Preparedness and Object-Based Learning from the Andrew W. Mellon Foundation. Curated by students in the Mellon Exhibition Graduate Seminar, The Papyrus in the Crocodile represents the culmination of a year’s worth of research, selection, organization, and writing by students representing the fields of art history, anthropology, history, and religion. Co-taught by Professors Margaretta Lovell and Patricia Berger from the History of Art Department, the class began with whirlwind tours through Berkeley campus collections. Students gazed upon the painted faces of Egyptian coffins, delighted in the strains of Mozart pulled from a Baroque violin, marveled at the delicate well-provenanced creatures preserved in specimen jars, and pondered the possibilities of unrealized architectural plans. They met individually with curators from each repository to begin creating a list of objects for exhibition, and learned firsthand the meticulous process of compiling object lists—striking a balance between aspiration and feasibility—preparing loan agreements, writing labels, and designing compelling object groupings.
The students of the Mellon Graduate Exhibition Seminar extend their gratitude to the directors and curators of the lending institutions, without whom this exhibition would not have been possible. Materials and consultations have been generously provided by the Bancroft Library, the Phoebe A. Hearst Museum of Anthropology, the C.V. Starr East Asian Library, the Environmental Design Archives, the Museum of Vertebrate Zoology, and the Berkeley Art Museum and Pacific Film Archive. Special thanks goes out to The Bancroft Library for the use of its gallery and the invaluable tutoring on industry standards for exhibition planning offered by its staff.
In addition to the exhibition, students are working on individual research papers based on objects in Berkeley’s collections. These papers will be presented at a public symposium on May 4, 2016 from 1 to 5 pm at the Women’s Faculty Club, UC Berkeley. All are welcome.
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).