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12:00 pm | 4/29/2022 | 308A Doe Library | Until 1:30 pm | 4/29/2022
Marci Kwon, Assistant Professor of Art History, Stanford University
This lecture considers Martin Wong’s pictures of San Francisco Chinatown alongside the rich legacy of Asian American artists working in post-earthquake San Francisco Chinatown. For Wong and others, the neighborhood’s orientalizing architecture staged questions about the role of aesthetics and material culture in the construction of race, community, and cultural authenticity. Ultimately, this lecture asks: What does it feel like to live within someone else’s fantasy?
Marci Kwon is Assistant Professor of Art History at Stanford University, and co-director of the Cantor Art Center’s Asian American Art Initiative. At Stanford, she is a faculty affiliate of Modern Thought and Literature, the Center for Comparative Studies in Race and Ethnicity, Asian American Studies, American Studies, and Feminist and Gender Studies. She is the author of Enchantments: Joseph Cornell and American Modernism (Princeton, 2021), and her work has appeared in Third Text, Modernism/Modernity Print +, Panorama: Journal of the Association of Historians of American Art, and edited volumes on social art history, self-taught art, race and representation, and the early history of the Museum of Modern ... [show more]
12:10 pm | 4/26/2022 | Live on Zoom | Until 2:00 pm | 4/26/2022
Stephen Whiteman, Courtauld Institute of Art, University of London
In the webinar, we will discuss Dr. Whiteman’s Editorial in the June, 2021, issue of The Art Bulletin: “Beyond the Perspective Paradigm: Early Modern Pictorial Space and Digital Challenges to the Field.” Broadening an existing approach to generating three-dimensional reconstructions of the spaces depicted in pictures organized according to the rules of early modern European perspectival projection, Whiteman investigates the problems and possibilities of the approach with respect to early modern Chinese, Japanese, and Indian visual cultures, focusing on their “strategic and highly sophisticated” incorporation of linear perspective techniques as “selectively integrated into locally legible compositions, genres, and techniques.” He presents a detailed study of a monumental hanging scroll produced in the Qing court around1709 by the artist Leng Mei. Beginning with an examination of Leng Mei’s diverse amalgam of local perspectival techniques, which he and other court painters adapted from those taught by Jesuit missionaries to China, Whiteman introduces several digital approaches aimed at understanding the artist’s methods. His essay concludes with... [show more]
5:00 pm | 4/25/2022 | In-Person and Zoom Event: 308A Doe Memorial Library | Until 6:30 pm | 4/25/2022
David Gissen, Georgina Kleege, and Carmen Papalia
11:00 am | 4/23/2022 | San Francisco Museum of Modern Art, Phyllis Wattis Theater, Floor 1 | Until 4:30 pm | 4/23/2022
Keynote Speaker: Kenneth Tam
The concept of the non-finito, or unfinished artwork, has been a crucial concept in art history and visual culture since the 16th century. The sculptures lining the Hall of the Prisoners in the Galleria dell’Accademia in Florence — works left unfinished by Michelangelo at the time of his death — stand as exemplary cases of artworks that have remained perpetually in progress. Unfinished or partially completed artworks retain a critical purchase within and outside of the Western canon, and central to the understanding of the non-finito are questions of intent. This discrepancy between works of art deliberately left incomplete and those that must remain unfinished due to social, political, and aesthetic circumstances is among the many salient questions for art historians, curators, artists, and viewers today — questions that challenge ideas about temporality, labor and value, and techniques of appreciation and assessment.
Work in Progress, the Sixth Annual Berkeley-Stanford Symposium, takes on these questions across a range of disciplines, styles, periods, and geographies to draw connections between the unmade, unfinished, and the yet-to-be uncovered. Our Keynote Speaker... [show more]
4:30 pm | 3/29/2022 | 308A Doe Memorial Library, UC Berkeley | Until 6:00 pm | 3/29/2022
Prof. Diliana Angelova, History of Art
The purpose of the Spring 2022 Digital Art History workshop series is to brainstorm around faculty and student projects that use or could use concepts, methods, and/or technologies in current digital art history, emphasizing how new questions and new answers can be approached only through these directions and can thereby generate categorically transformative knowledge in art history and visual culture studies. Projects can be very preliminary or fairly polished. The workshops are open to all; they will be conducted in person (health restrictions permitting).
Professor Diliana Angelova will present the website/digital catalogue of Byzantine ivory boxes that she is building with the support of URAP students and Justin Underhill at the V-Lab. The presentation will address Photogrammetry, Reflectance Transformation Imaging, work with museums, and the nuts and bolts of building a website.
4:10 pm | 3/16/2022 | Hybrid Event: 1303 Dwinelle Hall & Live on Zoom | Until 5:30 pm | 3/14/2022
Ed Fields, Cherokee Nation
Anyone who wants to watch the zoom in person can join us in 1303 Dwinelle Hall (mask required).
The UC Berkeley Language Revitalization Working Group Designated Emphasis in Indigenous Language Revitalization, History of Art Department, Doreen B. Townsend Center for the Humanities, Center for Race and Gender at UC Berkeley, The American Indian Graduate Program at UC Berkeley are proud to host a special conversation with Ed Fields, citizen of Cherokee Nation and Cherokee language instructor at Cherokee Nation in Tahlequah Oklahoma. Mr. Fields grew up speaking Cherokee and actively preserves the language by teaching Cherokee at all levels. His classes are full of traditional Cherokee folklore he remembers from his childhood. He is widely regarded as a Cherokee national treasure.
For more information contact:
Beth Piatote – piatote@berkeley.edu
Lisa Pieraccini – lisap@berkeley.edu
Allegra Robertson – allegra_robertson@
12:00 pm | 3/11/2022 | Hybrid Event: 308A Doe Library & Live on Zoom | Until 1:30 pm | 3/11/2022
Stephanie Su, Jordan Troeller, and Katrien C. Verbeke
This roundtable event brings together visiting scholars Stephanie Su, Jordan Troeller, and Katrien C. Verbeke, who are on campus at UC Berkeley during the 2022 Spring Semester, to discuss aspects of their current and ongoing research projects.
Stephanie Su is Assistant Professor of Asian Art at the University of
Colorado, Boulder. Her research interests include global modernism,
history of collecting and exhibition, historiography, the Sino-Japanese
relationship, and print culture. Her articles have appeared in The Art
Bulletin, Frontier of Literary Studies in China, and Kimono in Print: 300
Years of Japanese Design, among others. She is currently completing a
book manuscript tentatively titled Entangled Modernities: Constructing
East Asian Classicism in Early 20th Century Chinese and Japanese Art.
Jordan Troeller is an art historian of modern and contemporary art, and a
postdoctoral researcher at the Freie Universität Berlin. Her research
addresses the relationship between gender, representation, and
historiography across a range of media. Recent publications have
appeared in October, Womenʼs Art Journal, and Hyperallergic as well as
the exhibition catalogue Object L... [show more]
4:30 pm | 3/9/2022 | 308A Doe Memorial Library, UC Berkeley | Until 6:00 pm | 3/9/2022
Iheanyi Onwuegbucha, Princeton University; Discussant: Ivy Mills
Iheanyi Onwuegbucha, Princeton University; Discussant: Ivy Mills
In the last decades of the 20th century, the sweeping political and cultural changes in Africa gave rise to schools of artists with radical ideologies. The Nsukka School, associated with the Uli movement, emerged from the art department of the University of Nigeria, Nsukka, in Eastern Nigeria, after the Biafra war (1967 – 1970). This school of artists and the Uli aesthetics have been traced to the decolonization project that began with the Natural Synthesis ideology of the Zaria Art Society.
In this lecture, Iheanyi Onwuegbucha will draw from his ongoing research on the yet-to-be-examined aspects of the history of the Nsukka art school to explore how sociopolitical and economic crisis could become a catalyst for creative experimentation. In the aftermath of the Biafra war, the people of Southeastern Nigeria became creative and innovative in their various endeavors to cope with the harsh realities of the living condition that followed. How do we make sense of this survivalist framework in relation to the post-civil war art program of the University of Nigeria, Nsukka which produced the Nsukka art school? ... [show more]
4:30 pm | 3/8/2022 | 308A Doe Memorial Library, UC Berkeley | Until 6:00 pm | 3/8/2022
Yassin Oulad Daoud (undergrad, HA, CS)
The purpose of the Spring 2022 Digital Art History workshop series is to brainstorm around faculty and student projects that use or could use concepts, methods, and/or technologies in current digital art history, emphasizing how new questions and new answers can be approached only through these directions and can thereby generate categorically transformative knowledge in art history and visual culture studies. Projects can be very preliminary or fairly polished. The workshops are open to all; they will be conducted in person (health restrictions permitting).
UC Berkeley undergraduate Yassin Oulad Daoud will present his concept of “proactive spatial composition,” which seeks to demonstrate how picture making and designing real architectural spaces became entwined after Brunelleschi’s discovery of linear perspective. He is currently working on how to understand this relationship between real 3D space and 2D representation using digital image analysis.
