UC Berkeley History of Art Department

Events

Archive

  • Tremors and Remedies: Images, Intercessions and Ritual Efficacy in Colonial Cuzco

    Patrick Hajovsky, Southwestern University

    Patrick Hajovsky, Assistant Professor of Art History at Southwestern University, has submitted the following abstract for his January 30 talk:

    On March 31, 1650 a catastrophic earthquake ravaged the city of Cuzco, Peru, yet its Cathedral survived and soon after housed a colossal votive painting of the event—a panorama of the city during its turmoil. This painting is one of the earliest city views of Latin America, and a visual heteroglossia of the disaster, bringing together multiple evidentiary sources into its grand perspective. While it was a collaborative project between its unidentified Andean artist and its Spanish patron, its painted image and its text-caption credit two different miraculous images for intervening on behalf of the city. This begins an era of competition between these two images—a Spanish painting of Nuestra Señora de los Remedios and a sculpted crucifix named Taytacha Temblores—whose efficacies, it appears, correlate with ethnic divisions of viewership and ritual participation into the eighteenth century.
     

  • Gaganendranath Tagore, The King of Dark Chambers, Gouache on paper, ca. 1925

    The Cubist with his Kaleidoscope, The King in His Dark Chambers

    Atreyee Gupta

    Atreyee Gupta is a candidate for our faculty position in Global Modern Art History.

  • Neoconcrete Culture: Modern Art and Rio de Janeiro in the 1950s and 1960s

    Mariola V. Alvarez

    Mariola Alvarez is a candidate for our faculty position in Global Modern Art History. 

  • The Arabesque in a Global Mode, 1930-1960

    Anneka Lenssen

    Anneka Lenssen is a candidate for our faculty position in Global Modern Art History.  A summary of her presentation follows.

    The global exceeds the nation-state. The expectation that this transition – keenly anticipated but perpetually deferred – must take place is one of the central promises of a global history of modern art, and also one of its most persistent methodological problems. In my talk, I examine this problem of forging a global conceptualization of modern art by a close historical reading of artworks that adopted a global mode, i.e. a mode of placing their spectators beyond the boundaries of state power. Specifically, I track a series of deployments of an arabesque line – a rhythmic arrangement of a continuous line that manifests itself as if in durational time rather than as gestalt effect or material presence – as a means to achieve an organization of space that rivaled the institutions of the state and their imperative to manufacture the experience of the real as different from representation. The talk begins with an elucidation of the radical qualities of the arabesque paintings that Syrian artist Adham Ismail made in the aftermath of French colonial control, and in particular the modern doctrine of self-determination that had placed the artist's hometown of Antioch in a disputed border region between Turkey and Syria into a crisis of political filiation (1936-1939). At the discursive heart of Ismail's “Arab abstraction” as he practiced it in 1950s Syria, one finds a claim to the ahistorical validity of line as pure form that derives from a lineage of French Modernist writing on the arabesque as unmediated sense-data. The second part of the talk considers contemporaneous deployments of unending or capricious lines as a site of recuperative corporeal experience – pieces by Egyptian artist Mounir Canaan, Lebanese artist Saloua Raouda Choucair, and Argentine-Italian artist Lucio Fontana – and analyzes them as analogous impulses to recalibrate the national against the state. My guiding concern is to treat these counter-deployments of Modernist theories of spatial composition not as mere colonial legacy, but rather as an effect of the modern crises of political representation that motivate the imagination of the global.

  • 'Woven Paintings?' Flemish and French Tapestry 1660-1770: A Two-Day Conference

    Until 5:00 pm | 11/23/2013

    The conference will convene for a second day on Saturday, November 23 at 9:00 a.m. in the Geballe Room of the Townsend Center. 

  • 'Woven Paintings?' Flemish and French Tapestry 1660-1770: Reception

    Until 8:30 pm | 11/21/2013

    Please confirm your and your guest's attendance by providing us with your full names by Wednesday, November 13, by RSVPing to rsvp8@flandershouse.org (first come, first served).

  • Luis Montero, Peruvian, 1826␣1869  The Funerals of Inca Atahualpa  Oil on canvas, 1867  Museo de Arte de Lima

    Indigenismos: Amerindian Inscriptions in the Art of the Americas

    Mariana Wardwell

    Mariana Wardwell is a candidate for our faculty position in Global Modern Art History.  A summary of her presentation follows.

    My presentation will examine the ideological tensions and contradictions implicit to the political use of the indigenous as a symbol—to what extent it operates as an ideological slippage between nation and state, as cultural Other and fantasy of the race, as a critique of capitalism and colonialism and as supplement to the formation of Latin American revolutionary ideology. The lines of inquiry that I will be proposing suggest that the iteration of Indigenism is in fact a constitutive element of hegemonic and counter-hegemonic cultural formations across the hemisphere. By presenting a critical revision of the many modalities of Indigenism, as discrete modernist idioms, my research premise underlines the extent to which it becomes necessary to mark a theoretical distance from the common conceptualization of the “indigenous problem” in social, political, and anthropological discourses and move toward the construction of an “empty signifier” or “constitutive foreclosure” (phantasmagoria) that punctuates and operates in the cultural text—that is, connecting the points of dissemination and tension between the figurations and inscriptions of Indigenous America during the development of modernity as a horizon of signification.

  • Huey Copeland, "Solar Ethics"

    SOLAR ETHICS
    In this lecture, art historian Huey Copeland charts Sun Ra’s evolving import as icon, model and prophet for a range of visual artists, Rashid Johnson foremost among them. Ultimately, Copeland argues, a critical re-examination of Johnson's work alongside that of the jazz musician allows us to freshly understand the ethical stakes involved when contemporary practitioners turn to the past in conjuring utopian visions of the future. 

  • Stoddard Lecture -- Beyond Aniconism and Iconoclasm: Refiguring the Image in Islam

    Finbarr Barry Flood, New York University, is this year's Stoddard Lecturer.

  • Amy Powell, "A (Long) History of the Picture as Box"

    Amy Powell, UC Irvine

  • From Francisco Pizarro to Louis Sullivan: A Short (Confused) History of Inca Architecture

    Stella Nair, University of California, Los Angeles

    Stella Nair

  • Now Here! History of Art 2013-14 Visitors

    Visitors Roundtable: Qamar Adamjee (Asian Art Museum of San Francisco), Imogen Hart (formerly Yale Center for British Art), Jessica Maxwell (formerly Princeton University), and Heba Mostafa (formerly University of Cambridge), all teaching for the Department in 2013-14, present their recent work in an informal roundtable moderated by Associate Professor Julia Bryan-Wilson

  • Castrum Inui Rediscovered: Sixth Century BC Sanctuary in Latium

    Mario Torelli

  • To Catch the Eye: Revisiting Harriet Powers's Visionary Textiles

    Laurel Thatcher Ulrich

    When Harriet Powers' "Bible Quilt" was exhibited at the Smithsonian in 1974, its label read, "Made by Harriet, An Ex-slave, Athens, Georgia." A curator at the Boston Museum of Fine Arts, which had recently acquired another of her visionary textiles, quickly provided Harriet’s last name and a bit more of her history. Made in Georgia in the late 1880s, Powers' quilts had been exhibited at so-called "Colored Fairs" in Georgia and then at the Atlantic Exhibition in 1895, but for most of the twentieth century, they remained in private hands. Their rediscovery in the 1970s reinforced an already growing interest in American quilting and in the African roots of American culture. By 1991, Powers was so-well known among the general public that when the Smithsonian attempted to have her "Bible Quilt" reproduced in China, a phalanx of quilters picketed the museum. Powers' continues to inspire contemporary quilters, poets, filmmakers, writers, artists, and amateur historians. But, curiously, her work has received surprisingly little attention from scholars, including those who specialize in women's history or the American south. Ulrich’s lecture will introduce Powers' quilts to those who don't yet know them and make an argument for why they matter.

  • Etruscan snakes

    Five Centuries of Etruscan Tomb Painting (700-200 BC): New Discoveries, Research, and Approaches

    Stephan Steingräber