The Circulation of Japanese and Mexican Art in the Colonial World
Sofia Sanabrais, Getty Research Institute.
A talk by Gray Brechin, Project Scientist, Department of Geography. Followed by a round-table discussion with Margaretta Lovell, Professor of History of Art, and Roberta Park, Professor Emerita, Department of Integrative Biology.
As costly new structures rise around the campus perimeter, neglect eats the historic buildings at its core. Do administrators regard the older structures as sites of opportunity for yet more revenue-enhancers? In 1898, Phoebe Hearst launched an international competition to make the University of California an incomparable "Acropolis of Learning" facing the Golden Gate. Her subsequent generosity built a preeminent public university available to all eligible Californians. After her death in 1919, William Randolph Hearst paid for a magnificent women's gymnasium to launch a vast memorial to his mother. As Hearst Gym approaches irreparability and other extant structures of the two Hearst plans face a similar fate in the midst of a manic building boom, the Berkeley campus offers a textbook of changing priorities in a time of forgetting. Audience participation is invited.
Henry Glassie, Professor Emeritus, Indiana University
During years of ethnographic work in Bangladesh, living with creators and talking with them about their work, Henry Glassie came to an understanding of their idea of art. Their ideas, grounded in ecology and religious principle, united use and beauty, need and aspiration, providing a challenge to Western conventions. History of Art is happy to have the annual Alan Dundes Lecture in Folklore in Doe Library this year.
Until 8:00 pm | 02/27/2014
David Bindman, Professor Emeritus, University College London and Visiting Professor, Harvard University, Spring 2014
Andrew Watsky, Princeton University
Chanoyu has always entailed multiple overlapping activities, including the preparation and consumption of tea, the collecting and use of a repertoire of requisite objects, and the understanding and articulation of the relative quality of those objects. This paper focuses on sixteenth-century chanoyu, for which there are both extant objects and a rich trove of textual evidence, and especially on ōtsubo, “large jars,” then the most highly valued of all chanoyu objects. We will consider how sixteenth-century tea men assessed and amplified the significances of treasured ōtsubo, through the formulation of aesthetic criteria, the bestowal of proper names, and an inclination for anthropomorphic embrace.
Co-sponsored by the Center for Japanese Studies.
Edward William and Jane Marr Gutgsell Professor of Art History Emeritus
University of Illinois at Urbana-Champaign
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.
Atreyee Gupta is a candidate for our faculty position in Global Modern Art History.
Mariola V. Alvarez
Mariola Alvarez is a candidate for our faculty position in Global Modern Art History.
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.
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.
Until 8:30 pm | 11/21/2013Please confirm your and your guest's attendance by providing us with your full names by Wednesday, November 13, by RSVPing to email@example.com (first come, first served).
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.
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.