Bard College ART HISTORY PROGRAM

Posts from the 'Happenings at Bard' Category

Happenings at Bard

Joseph Salvatore Ackley will lecture

Silver Faces in Late Medieval Sculpture: Just How Charismatic, Just How Lifelike?

St. Christopher, c.1375-1425, French, Metropolitan Museum of Art

Sculpture and painting in the late Middle Ages tends to be written as a narrative of increasing verisimilitude and lifelikeness – and indeed, when played out across paint and wood, the naturalistic representation of human presence (charismatic, bodily, idealized, and gruesome alike) appears paramount. This trajectory, however, becomes complicated when examining figural sculpture in gold and silver: How did these media, cast for centuries as vehicles of heavenly light and otherworldly irruption into the mundane, participate in late medieval practices of mimetic representation, particularly when figuring the human body? In considering figural mimesis in northern Europe during the fifteenth and early sixteenth centuries, do we detect a competitive antagonism or a fertile codependence between faces rendered with paint and faces rendered with metal? Considering the place of gold and silver in Gothic and early Renaissance sculpture serves to expand our sense of the pictorial priorities of this pivotal transitional period, and it also sets up a retrospective glance at earlier medieval centuries, thereby offering another approach to the ceaselessly complicated question of material, mimesis, and meaning in medieval art.

Thursday, November 2, 2017
5:00 pm, Weis Cinema

sponsored by the Art History Program

Happenings at Bard

Before the Arab Revolutions: Art, Dissent, and Diplomacy in Amman, Beirut, and Ramallah

Rabih Mroue and Lina Saneh, “Biokraphia” (2002) Courtesy of Askhal Alwan

Hanan Toukan
Brown University

Monday, April 3, 2017
6:30 p.m.
Olin, Room 102

This talk is about the relationship between contemporary art, dissent, cultural diplomacy and cultural politics in the Arab Middle East. Since the start of the Arab revolutionary process and the violence that has accompanied it, the culture and arts domain has come to play an ever more crucial role as mobilizer, witness, and archivist of historical events. As a result the domain has enjoyed an exponential growth in the technical and financial support it receives from US and EU funding bodies. This growth has provoked intense debates within policy circles and a plethora of academic literature on what the role of visual and cultural practices are and should be in violent warfare, political change, and the study of politics and culture in the region.

This talk will historicize and contextualize this phenomenon as its focus predates 2011 and grapples with it from its first appearance in the 1990s and until its consolidation in the aftermath of 9/11. Specifically the talk examines the ways in which transnational circuits of visual cultural production are related to how society makes, sees and experiences the political in art and its relevance to the wider publics in Jordan, Lebanon and the Occupied Palestinian Territories. I address prevalent debates about the nature of the political in art as well as the role of art and the intellectual in political change. It shows that both are part and parcel of shifting structural dynamics in local and international politics that directly impact the production of culture and how different generations practice them, perceive them and process them. Hence this talk is not is not so much about “art”, as much as it is about the “artworld” from a local perspective, and how culture in it is produced in a global world. It is equally about some of the centers of power that fund and disseminate visual knowledge about the Middle East.

Hanan Toukan is Visiting Assistant Professor of History of Art and Architecture and Middle East Studies at Brown University.
This event is co-sponsored by the Human Rights Project and the Art History program
For more information: contact Dina Ramadan at 845-758-6822, or e-mail dramadan@bard.edu.

Happenings at Bard

Shelleen Greene to Speak

 

A lecture on Kevin Jerome Everson’s Rhinoceros (2013), an imagined staging of the last speech of the first Duke of Florence, Alessandro de’ Medici (1510-1537), also known as the first black European head of state due to his mixed Italian and African ancestry.

Tuesday, March 7, 2017

6:30 pm
Olin 203

Happenings at Bard

Tauba Auerbach’s Diagonal Press in the Vitrines

Join Bard Art History alum Emma Weinman ’14 for a short talk about the show she helped curate at Bard’s Stevenson Library featuring contemporary artists Tauba Auerbach’s Diagonal Press.

When:  Tuesday, March 7, 2017
               4:00 – 4:45 pm
Where: Stevenson Library lobby

Followed by Tauba Auerbach’s talk at 5:00 pm in Fisher Studio Bldg. Center Studio.

All are welcome!

Happenings at Bard

Carrie Lambert-Beatty to Speak

The Brant Foundation Lecture in Contemporary Art Series presents
 Carrie Lambert-Beatty

“How do you know? Contemporary art and the politics of knowledge”

When: Wednesday, February 15, 2017 at 5pm
Where: Weis Cinema, Bertelsmann Campus Center, Bard College

The Center for Curatorial Studies, Bard College (CCS Bard) is pleased to present the first in The Brant Foundation Lectures in Contemporary Art series with a lecture by art historian Carrie Lambert-Beatty entitled How do you know? Contemporary art and the politics of knowledge . Lambert-Beatty will give the lecture at 5pm on Wednesday, February 15th in Weis Cinema, Bertelsmann Campus Center at Bard College. This lecture is made possible by the major grant given from The Brant Foundation to Bard College to support The Brant Foundation Fellowship in Contemporary Arts.

Carrie Lambert-Beatty is Professor in the Department of History of Art and Architecture and the Department of Visual and Environmental Studies at Harvard University, and Director of Graduate Studies for the Ph.D. in Film and Visual Studies.

An art historian with a focus on art from the 1960s to the present, and a special interest in performance in an expanded sense, she is currently at work on a book for University of Chicago Press expanding on her 2009 October magazine essay “Make-Believe: Parafiction and Plausibility.” What happens, aesthetically and ethically, when artists deceive their audiences? Why has the presentation of fiction as fact—“parafiction,” in Lambert-Beatty’s term—become such a common way of working in contemporary art, and in culture more generally, since the early 1990s?

In the past decade one of Lambert-Beatty’s chief research concerns has been the potential and limits of political art in contemporary practice, which she has explored through work on hybrids of art and activism such as Women on Waves and The Yes Men. Her essay on recuperation —both neurological and ideological—in the work of the art team Allora + Calzadilla accompanied their representation of the United States at the 2011 Venice Biennial. Her 2008 book Being Watched: Yvonne Rainer and the 1960s (MIT Press) was a study of the art of a signal member of the American avant-garde. Treating aesthetic issues such as minimalism, dance, documentation, and the problem of politics in Rainer’s work, the book is also driven by the problem of how artists responded, often at unconscious levels, to the burgeoning media culture of the 1960s. Being Watched was awarded the 2008 de la Torre prize for dance studies.

Lambert-Beatty’s writing has also appeared in collections such as the Blackwell-Wiley volume Contemporary Art 1989 to the Present, exhibition catalogs including Dance/Draw and A Minimal Future? Art as Object 1958-1968 and journals such as Artforum, Art Journal, and Signs , as well as October magazine, of which she is an editor.

Free and open to the public

Happenings at Bard

S/Election Screening

In conjunction with the exhibition S/Election, curated by Maxwell Barnes, Sarah Bastacky, Aaron Boehlert, Anne Burnett, Issy Cassou,
Adrienne Chau, Reza Daftarian, Hannah Kay, Alex Kitnick, Harrison Kroessler, Alex Lau, Sondra McGill, Erin O’Leary,Flannery Seager-Strode, Raphael Wolf, and Sam Youkilis, there will be a screening of two videos at:

6pm on Thursday, December 8, 2016
Center for Curatorial Studies
Bard College

Paul Chan’s Now Let Us Praise
American Leftists
(2000) and

Jacqueline Goss’s Hart’s Location (2016)

There will be a discussion after the screening. All are invited to attend.

Happenings at Bard

MoMa Data: A Critical Potluck

skm_c284e16113010560_0001Wednesday, November 30th, 6pm
Henderson Annex 106
The Museum of Modern Art in New York has just released an amazing set of data pertaining to its exhibition history, beginning with the institution’s founding in 1929 and spanning up until the epochal year of 1989. The question that presents itself to us now is how to use it. What questions should we ask of this enormous trove of information, which includes not only things like installation photographs but also press releases? This Experimental Humanities Critical Potluck will consider questions of canon formation (how, for example, did Picasso come to be thought of as the modern artist par excellence?) as well as changing conceptions of the exhibition format itself. While techniques of “distant reading” have recently become important in the field of literary studies, art history is just starting to assimilate these methods. EH Fellow Collin Jennings will lead us through some of these methods, and Alex Kitnick from the Art History Program will serve as interlocutor. Both faculty and students are invited to attend.

Sponsored by Experimental Humanities

Happenings at Bard

Art History Program’s Annual Majors Event

ASCHALKWIJKIG_10313990436

THE ANNUAL ART HISTORY MAJORS EVENT!
Wednesday, November 9, 2016
5:00 pm
Fisher Studio Arts Center Studio

Students learned about Spring 2017 course offerings and heard 
presentations by three alumni art history majors on 
their experiences since graduating from Bard.  Claire Demere ’14, Fiona Laugharn ’12 and Max Yeston ’08 shared their journeys into the work world.

Happenings at Bard

Day of the Dead Ofrenda

image1

 

For Day of the Dead celebrations at Bard College an ofrenda was created in the campus center. Prof. Susan Aberth, (Latin American Art History),  along with students from the Queer/Straight Alliance, Latin American Students Organization, Caribbean Students Organization and Black Students Organization created this altar to those who died at Pulse in Orlando, Florida this past summer. The students found a Mexican bakery that sold Bread of the Dead, Prof. Aberth lent her calaveras and finally photographs of all those murdered in Orlando were placed as a memorial backdrop. A very meaningful event that honored the dead and brought solidarity to the Bard community. image2

Happenings at Bard

Humanitarian Heritage and Anxious Architectures in East Africa: A Long History of the Dadaab Refugee Camps

Amin Shopping Mall

Amin Shopping Mall

A lecture by
Anooradha Iyer Siddiqi, Assistant Professor and Faculty Fellow (NYU)

Tuesday, November 1st, 6:30pm
Olin 102
Co-sponsored by the Art History, Africana Studies, and Human Rights Programs (maybe Anthropology as well?)

This talk examines a history of the world’s largest designated set of settlements for refugees through its constructed environment and archival record, interrogating an ephemeral territorial form and the paradoxical heritage it proposes. If architecture and infrastructure have entrenched a quarter century of humanitarian intervention by the United Nations at Dadaab, Kenya, the site has been depicted instead as precarious. Occluded at once through aesthetic codings and archival silences, its permanence has been veiled in fragile architectures of an international humanitarian aid operation and in pastoral landscapes of a contested desert borderland traditionally inhabited by nomadic Somalis. Rather than a provisional artifact of the 1991 crisis that occasioned humanitarian operations in northeast Kenya, I posit that this territory unfolded as exceptional and emergent over the course of a century: knowable through visual, historical, and ethnographic study of architecture and territory. My research recuperates a figuration and construction of humanitarian territory in missionary settlements for freed slaves in the nineteenth century, imperial and postcolonial systems of land tenure in the twentieth, and forced sedentarization of pastoralists in the twenty-first. Through this analysis, I interrogate a problematic humanitarian heritage of furtive architectures, which at once liberate and coerce, resist as well as assert colonial and national borders, and make claims upon abject suffering as well as its salvation. These confront and index our representations and constructions of emancipation, emergency, city, Africa, the native, and the precariousness of ephemerality itself.

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