Events Archive

Abstract: Medieval Latin Christianity harbored at its core a paradox in terms of the presence of the sacred in the world. On the one hand, the natural world and all it contains were God’s creation; in this sense divinity inhered within. On the other hand, specific locations were constituted as nodes of concentrated sanctity, primarily through human activities that summoned, witnessed, or were abetted by the divine. Processes of Christianization are typically understood through this latter anthropological lens: the arrival of holy persons, the teaching of Christian history and principles, the construction and embellishment of churches and related structures. As recent research in history, literature, and art history has shown, ecological considerations were also very much present in representational strategies, sites, and materials. This talk explores the exchange between humans and nature in the sanctification of the Italian peninsula using as a heuristic the miracles presented in the Dialogues of Pope Gregory I (d. 604), one of the most widely distributed texts of the early Middle Ages. The talk highlights the ways in which this text harbors traces of an ecological understanding of sanctity and examines the translation of that understanding into the representational art of medieval Italy, primarily wall paintings, manuscript illuminations, and architectural sculpture. The talk centers around two case studies that themselves express this tension: the life of Saint Benedict and miracles involving water and fish.

Please join the Institute of Fine Arts with soprano Sylvie Robert and pianist Steve Beck in a recital celebrating the works of Guillaume Apollinaire.

Program:
Welcome and Opening Remarks: Edward Sullivan, Deputy Director; Helen Gould Shepard Professor of the History of Art at New York University, The Institute of Fine Arts

Recital:
Sylvie Robert, voice; and Steve Beck, piano

Clara Schumann, Lorelei, 1843 Claude Debussy, recueillement, 1887 Christian Morgenstern, calligramme la nuit les poisson, 1905 Marcel Duchamp, erratum musical, 1912 Serge Prokofiev, opus 27, 1916 Arthur Honegger, Six Poemes d’Apollinaire, 1917 Germaine Albert-Birot, les mamelles de Tirésias, beginning, 1917 Francis Poulenc, les mamelles de Tiresias, beginning, 1947 Georges Auric, Adieu New York, piano solo, 1920 Virgil Thomson, Preciosilla, 1926 Francis Poulenc, si tu veux, 1931 Francis Poulenc, la petite servante, 1931 Francis Poulenc, banalités, 1940

The Institute of Fine Arts at NYU Great Hall Exhibition Series invites you to a symposium on Elaine Lustig Cohen's multifaceted career as an artist and graphic designer. Presented as the closing event for the exhibition Graphic Objects: Elaine Lustig Cohen's Sculptural Works, the symposium will explore Lustig Cohen's interdisciplinary approach to art making and graphic design, her adoption of European avant-garde movements and styles, and the legacy of geometric abstraction in a transnational context.

Speakers include:
Steven Heller, Design author and art director
Abigail McEwen, Associate Professor, Latin American Art, and Director of Undergraduate Studies, University of Maryland
Shira Backer, Assistant Curator, The Jewish Museum
Francesca Ferrari, PhD Candidate, Institute of Fine Arts
Kolleen Ku, MA Candidate, Institute of Fine Arts

As part of the Duke House Exhibition Series, the Institute of Fine Arts is pleased to present the work of the Argentinian artists Sarah Grilo (1920-2007) and José Antonio Fernández-Muro (1920-2014). Opening February 12, 2019, the exhibition Grilo/Fernández-Muro: 1962-1984 seeks to map the influences and movements that inspired their artistic practices from the 1960s through the 1980s. The show features a selection of abstract paintings which create an intimate dialogue between Fernández-Muro’s mimicry of urban and industrial patterns and Grilo’s morphological style. In addition to these paintings, the exhibition also includes an array of exhibition catalogues, publications, documentary photographs, and other rare archival materials. This exhibition is accompanied by a forthcoming panel discussion that includes a conversation with the participation of the artists’ grandson, Mateo Fernández-Muro, moderated by Professor Edward Sullivan.

Grilo/Fernández-Muro: 1962-1982 was organized by Andrea Carolina Zambrano, Damasia Lacroze, Emireth Herrera, and Juan Gabriel Ramírez Bolívar, and was made possible through the support of the Institute of Fine Arts, NYU, Cecilia de Torres Ltd. New York, and Mateo Fernández-Muro. This exhibition is generously funded by the Institute for Studies on Latin American Art (ISLAA).

The National Committee of the History of Art invites all CAA members to a special session on “New Research on Brazilian Art.” This session is planned in conjunction with the international CIHA congress in São Paulo (2020). The session is chaired by Edward J. Sullivan (Institute of Fine Arts, New York University), who will also lead off with a paper on 20 years of research on Brazilian art in the US Luisa Valle (The Graduate Center and Hunter College, City University of New York) will follow with a presentation on Roberto Burle Marx and Brasilia, followed by Esther Gabara (Duke University) on her current Pop América exhibition, Brian Bentley, Institute of Fine Arts, New York University, on Pop Art in Brazil and Vivian Crockett, Columbia University, on Lygia Pape.

Working primarily in sculpture, video, and installation, Josh Kline (b. 1979) creates artworks and exhibitions that consider the ways in which our humanity has been transformed, commodified, and instru­mentalized within neoliberal society. Examining the regimes of control to which the human body is increasingly subjected—ranging from governmental and corporate surveillance to the relentless pursuit of youth—Kline addresses the erosion of boundaries between labor and leisure and the incursion of consumer culture into the most literally intimate aspects of life: blood, DNA, neurochemistry. More recent projects have explored the impact of emerging technological innovations including automation, AI, and deep fakes on society. In 2015, Kline began a major cycle of installation-based projects exploring the politics and economics of the 21st Century.

Abstract: The conceptual artwork #TheTruth (2013-ongoing) by Oakland-based artist Anthony Discenza embodies qualities that characterize many of today’s media artworks: variability of display, modification of source code, and a master composed of information. As custodians of such artworks, how can we best manage the change we’re already anticipating? How can we manage our own discomfort, evoked by a lack of clear boundaries of what the work can be and can become? Employing this artwork as a reference point, this talk explores the challenges institutions and collectors face when acquiring, exhibiting, and preserving media art, and presents one museum’s approach to collection care and stewardship. About the Speaker: Martina Haidvogl is the Associate Media Conservator at SFMOMA, where she has piloted documentation and preservation initiatives for the Media Arts collection since 2011. Martina has lectured and published internationally on media conservation and its implications for museum collections, as well as multi-voice documentation strategies using a MediaWiki platform. She studied conservation and restoration at the Academy of Fine Arts Vienna, Austria, and the Bern University of the Arts, Switzerland, majoring in conservation for modern and contemporary art. Before joining SFMOMA, she worked in a film lab, for the Austrian Filmmuseum, and for Agathe Jarczyk's Atelier fuer Videokonservierung in Bern.

The symposium will start with a keynote speaker on Friday evening, and continue with graduate student panels (moderated by NYU faculty) on Saturday.

Organizing committee: Erich Kessel, Christopher T. Richards, Ksenia M. Soboleva

The last few decades have witnessed a proliferation of approaches and methods influenced by queer theory within the humanities. Simultaneously, both academics and the general public have become increasingly interested in so-called "queer art," especially in the field of modern and contemporary art. Yet while scholars have assembled queer theory into an academic discourse and perhaps even a discipline, internal debates continually redefine the parameters and stakes of the term. However, the ways in which queer theory has and could further influence art historical methods and projects, has yet to be properly explored, particularly within a transhistorical dialogue. How does looking through the lens of queer theory shift our relationship to the object of inquiry? What is art history if history is queered? Moreover, how does queer theory relate to prior art historical engagements with gender and sexuality? This conference will offer a platform for many different voices to work through these and related questions. As we raise these questions, we also ask: What are the limitations or possibilities of ‘queer' as it relates to analyses of race, economic position, and the political?

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Abstract: This lecture explores how Miró and Dalí were promoted by their New York dealers, and how their approaches to the design and distribution of the ephemera that accompanied their exhibitions ultimately correlated to differences in their critical fortunes, especially as related to their paired exhibitions at the MoMA in 1941. Miró and his dealer Pierre Matisse represent a craftsman’s concern with paper and the prestige of a well-made publication; Dalí and his dealer Julien Levy represent a much closer connection with the surrealist use of and interest in ephemera. Both artists brought to their experiences in NYC the European avant-garde’s fascination with paper as a tool for promotion and controversy.

Of the forty-one paintings that entered The Metropolitan Museum of Art as Rembrandt, twenty retain an attribution to this great 17th century Dutch artist. The lecture will focus on conservation history, exploring the campaigns of restoration that took place over the decades as the paintings were prepared for public view, as well as examined and cleaned in connection with curatorial research and matters of reattribution. A technical investigation of Aristotle with a Bust of Homer will be highlighted, along with the recent conservation of the 1658 Self-Portrait in The Frick Collection and the 1660 Self-Portrait in The Metropolitan Museum of Art.

As part of The Duke House Exhibition Series, the Institute of Fine Arts at NYU is pleased to present the work of Argentinian artists Sarah Grilo (1919-2007) and José Antonio Fernández-Muro (1920-2014). Opening February 12, 2019, the exhibition presents a comprehensive overview of two prominent Latin American artists of the postwar era.

Grilo/Fernández-Muro: 1962-1984 traces the artists’ mid-to-late careers and explores their involvement in the influential Grupo de Artistas Modernos de la Argentina [Group of Modern Artists of Argentina] (1952-1955) and Grupo de los Cinco [Group of Five] (1960-1964). Seeking to map influences and movements that inspired their artistic practices from the 1960s through the 1980s, the exhibition features a selection of abstract paintings creating an intimate dialogue between Fernández-Muro’s engagement with urban, industrial patterns and Grilo’s lyrical abstractions. In addition to these paintings, the exhibition also includes an array of rare archival materials including exhibition catalogues, publications, and documentary photographs.

This exhibition is accompanied by a panel discussion to be held on Monday, March 25, 2019 that includes a conversation between the artists’ grandson, Mateo Fernández-Muro and photographer Lisl Steiner, moderated by Dr. Edward Sullivan.

Grilo/Fernández-Muro: 1962-1984 is generously funded by the Institute for Studies on Latin American Art (ISLAA). Special thanks to the Institute of Fine Arts, NYU, Cecilia de Torres, Ltd., and Mateo Fernández-Muro, Co-executor of the Estate of Sarah Grilo and Jose Antonio Fernández-Muro. The exhibition was curated by Andrea Carolina Zambrano, Damasia Lacroze, Emireth Herrera, and Juan Gabriel Ramírez Bolívar.

Anne Umland discusses the exhibition “Joan Miró: Birth of the World,” currently on view at The Museum of Modern Art, New York through June 15, 2019. She considers its relation to past Miró exhibitions at MoMA and elsewhere, and reflects on new directions in Miró scholarship.

Conservators often find themselves negotiating contested territory. Conflicting values between the culture that created a work and the culture that now seeks to preserve it seek resolution. The contest between the various histories of an object within a culture invoke similar debates of whose history shall be privileged. Questions of authenticity and the ensuing tension between material study and style are familiar. Contested territory is not just a condition of conservation but seems to surround us ever more loudly in our daily lives. This lecture will seek to place the day to day work of conservation, where resolution of contested ideas takes form, as an essentially humanistic and thus vital undertaking in that world.

Colombia has one of America's richest Pre-Columbian artistic traditions, especially gold work. This talk will explore the intersection between architectural spaces, metalworking, textiles, and rock art of the Muisca (CE 1200–1500). Emphasis will be placed on the ritual use of objects as well as the representation of ritual objects and spaces, particularly in gold as it is described in colonial texts. Muisca myths will be explored to help understand how ancient images, especially rock art, were understood by the Muisca.

The Institute of Fine Arts-Frick Collection Symposium on the History of Art was first held in 1940 in order for art history graduate students from six institutions to meet one another and compare their research and methods, and was the first symposium of its kind to be held in the United States. Since then, the symposium has expanded to include fifteen schools. The events to be held on April 5 and 6, at the Institute of Fine Arts and The Frick Collection, respectively, represent an elite group of emerging scholars, selected by their institutions for their contributions to the field.

Abstract: Théodore Géricault, lifelong melancholic and depressive, may be seen as an embodiment of the dispirited French nation in the aftermath of Waterloo and the collapse of the Napoleonic Empire, followed by the stalemate of the Bourbon Restoration. But while acutely aware of his own ailments, the painter observed and rendered the sufferings of others with the trenchant objectivity that fueled the emerging clinical medicine in the late eighteenth and early nineteenth centuries founded on experiential positivism and philosophical-medical debates about the elusive synergy between the physiological and the spiritual, the idea of the self and of individual consciousness.

Join us for a panel discussion with María Amalia García Researcher, CONICET at TAREA-Instituto de Investigaciones sobre Patrimonio Cultural, Universidad de San Martín, Teaches at Universidad de Buenos Aires; Andrea Giunta, Visiting Scholar, University of Texas at Austin, Professor, Universidad de Buenos Aires, Principal Researcher, CONICET; and Iria Candela, Estrellita B. Brodsky Curator of Latin American Art in the Department of Modern and Contemporary Art, The Metropolitan Museum of Art. Moderated by Edward J. Sullivan, Helen Gould Shepard Professor of the History of Art, The Institute of Fine Arts, NYU.

Organized by The Institute of Fine Arts, New York University, Institute for Studies on Latin American Art, and The Metropolitan Museum of Art

About: The cathedral at Chartres is one of the most dazzling monuments of medieval Europe. It brings together some of the finest architecture, sculpture and stained glass produced in the Gothic period. While elements of the cathedral have been conserved and restored over the past two centuries, such projects intensified in the past two decades. This Medieval Art Forum event takes a closer look at the restoration program undertaken from 2014 to 2016. That program focused on the nave architecture and its stained-glass windows, along with some sculptures in the ambulatory. The 2016 film Chartres: la lumière retrouvée, documents this meticulous process through observation and conversations with numerous restorers, archaeologists, scientists, and architects. The screening is followed by a panel discussion.

This event is presented in partnership with the Cultural Services of the French Embassy and American Friends of Chartres.

Yoginis Across Borders

The identities and practices of Yoginis –mortal women and goddesses engaged with yoga – are, like those of yoga, remarkably diverse and notoriously multiple. This lecture re-examines the identification of Yoginis and their contexts through three case studies: Yogini temples ca. 1000, Indo-Islamic manuscripts ca. 1600 and European print media ca. 1930. In each instance, the Yoginis remain agents of power, but take on singular forms and historically contingent identities as they emerge within distinctive arenas of practice. As a corollary, the paper demonstrates that tracing the border-crossings of yoginis over time productively destabilizes inherited contexts.

Claude Debussy: Sonata for Flute, Viola, and Harp
Dana Nix, flute, MM '20
Yicong Zhang, viola, MM '18/AD '19
Eliza Holland, harp, MM '20

Johannes Brahms: Piano Quintet in F minor, Op. 34
Pearl Sasanuma, violin 1, MM '20
Jessica Bauer, violin 2, MM '20
Harper Randolph, viola, BM '18/MM '20
Michael Warrick, cello, MM '20
Markus Kaitila, piano, MM '20

Working primarily in drawing and animation, Sun Xun creates artworks that challenge the boundary between reality and fantasy. In recent years, Sun Xun uses New Media Art as a starting point to explore more possibilities within the expansive realm of visual art: he explores narrative methods using diverse mediums such as newspaper, book, woodcut print, Chinese ink, pigment powder, probes into non-linear expressions of time and space, and inquires into both realistic and fantastical representations based on his own understanding of society and sociological theories. Sun Xun (b. 1980, Fujian, China) lives and works in Beijing. Sun Xun has recently had solo exhibitions at Museum of Contemporary Art, Australia (2018); Saint Louis Art Museum, USA (2018); Museum of Contemporary Art (MOCA), Taipei (2017); 2016 Audemars Piguet Art Commission, Miami Beach, USA (2016); Solomon R. Guggenheim Museum, New York, USA (2016); Yuz Museum, Shanghai (2016); National Taiwan Museum of Fine Arts, Taichung, Taiwan (2015); Lehmbruck Museum, Duisburg, Germany (2015); Hayward Gallery, London, UK (2014); Vancouver Art Gallery, Vancouver, Canada(2014); The Metropolitan Museum of Art, New York, USA (2013) etc.

To what extent do Asian artists’ engagements with materiality call for a reading of Minimalism against the grain? Through works produced in the 1960s and 70s by artists like Roberto Chabet, Redza Piyadasa, Kim Lim and Yoli Laudico, this talk gestures to a contemporary art geography unmoored from received political and discursive configurations.

In 1970, a group named Experiments in Art and Technology unveiled an utterly alien construction at the World’s Fair in Osaka. Rising from a thick mist, the Pepsi Pavilion was even more confounding inside, where a complete 210-degree spherical mirror dome—the largest ever built—produced fully three-dimensional reflections. This talk will explore the stunning convergence of transparency and opacity, the real and the virtual, in this singular postwar project.

Water is essential for all life, including humans. Today we attempt to control water primarily through technological approaches. Ancient Mesoamericans employed both technology and religious beliefs and practices to obtain an abundant supply of this precious liquid. My talk includes discussions of how the pre-Columbian approach contrasted with those of the Spanish conquerors, and modern day hydrologists and politicians who confront the increasing water needs of an exploding population in the Basin of Mexico, home to 23,000,000 descendants of the Aztecs.

Description: Scholars of Chinese art have only just begun to recognize that modern trends in painting began neither with the Revolution of 1911 nor with the wartime displacement of artists and patrons to Shanghai in the 1850s. Instead, as new research in art history, literature, and cultural history is beginning to show, the attitudes of later Chinese painters were rooted in the work of painters active from 1790 to 1830.

This workshop brings together scholars of early nineteenth- century Chinese painting to showcase this research and to share their ideas on how to innovate outdated methodologies. Structured as a two-day event, the workshop considers a body of material that has remained largely unknown and which is notoriously difficult to classify, even to specialists. This is a crucial moment for the collective reconsideration of key issues in painting studies, and a workshop on painting in China around 1800 will catalyze a reconsideration of the field of modern Chinese painting at large.

Schedule of Events:

June 6, 2019

5:00pm – 6:00pm
Keynote Lecture
“China, 1800,” Tobie Meyer-Fong, Johns Hopkins University

June 7, 2019

9:15am - 9:45am
Opening Remarks

9:45am - 11:00am
Session I: Networks
Michele Matteini, New York University
Marion S. Lee, Ohio University

11:15am - 12:45pm
Session II: Antiquities
Lillian Lan-Ying Tseng, Institute for the Study of the Ancient World
Michael J. Hatch, Miami University
Michelle H. Wang, Reed College

2:15pm - 3:45pm
Session III: The Larger World
Ja Won Lee, Columbia University
Wen-Shing Chou, Hunter College
Eleanor S. Hyun, British Museum

4:00pm - 5:00pm
Graduate Student Panel
Tian Mi, Princeton University
Yan Weitian, University of Kansas
Ricarda Brosch, The Courtauld Institute of Art

5:15pm - 6:30pm
Final Roundtable
Moderator: Claudia Brown, Arizona State University

6:30pm - 7:30pm
Reception

Description: In conjunction with Amy Yao: Authorized Personnel, the Great Hall Exhibition Series is excited to present an artist talk and conversation moderated by exhibition co-curator Kolleen Ku. Authorized Personnel consists of a large-scale installation that blocks off the Great Hall’s marble platform with chain-link fencing, sheathed with laser-cut faux silk fabrics. By staging a mock, inaccessible construction site within the landmarked historic building of the Duke House, Los Angeles-based artist Amy Yao addresses pressing issues of division, identity, and authenticity.

Yao’s sculptural projects are playful, subversive and strategic in their manipulation of familiar forms through unexpected materials. Her work has been exhibited at the Musée d’Art Moderne de la Ville de Paris; MoMA PS1, New York; the 8th White Columns Annual, New York; He Xiang Art Museum, Shenzhen; the Institute of Contemporary Art, Philadelphia; the Whitney Museum of American Art, New York; and the Museum of Chinese in America, New York. She is represented by 47 Canal, New York; Various Small Fires, Los Angeles; and vi vii, Oslo. The artist lives and works in New York and Los Angeles. Yao will explore some of the ideas and perspectives that shape her work, and will take questions from the audience during a Q&A session.

Description: Alexander von Humboldt was arguably the most important naturalist of the 19th century. He lived for 90 years, published more than 36 books, traveled across three continents, and wrote well over 25,000 letters to an international network of colleagues and admirers. In 1804, after traveling almost five years in South America and Mexico, Humboldt spent exactly six weeks in the United States. Humboldt—through a series of lively exchanges of ideas about the arts, science, politics, and exploration with influential figures such as President Thomas Jefferson and artist Charles Willson Peale—shaped American perceptions of nature and the way American cultural identity became grounded in our relationship with the environment. This lecture examines the legacy of that short trip in American art and culture.

Description: 1898 has been called “the greatest year” of New York City, marked by the unification of the boroughs and a generalized expansion. The American Museum of Natural History was also in the middle of a golden age, with new building expansions underway, and rapidly expanding collections. That year, the museum acquired one half of a collection that originated from the“American Pompeii,” a site in the Antigua Guatemala valley. Following common practice at the time, the other half went to the Museum of Ethnology in Berlin, Germany, while some pieces remained scattered in Guatemala. Despite the initial interest, the site and the collection were soon forgotten and relegated to obscurity, to the point that the origins of the artifacts are sometimes regarded as dubious. In this talk, I trace the origins of the collection using textual and photographic sources from the time of the initial discovery. Despite the incomplete documentation, these sources demonstrate the integrity of the collection and provide some details about its original context. In the light of recent research, the collection becomes relevant for the study of Classic communities in the Antigua valley and their relationship with the great city of Cotzumalhuapa in the Pacific coast.

Description: How do politics, diplomacy, and other worldviews influence both private collecting and exhibition organizing? What factors enter into a curator’s selection of works for a show? How do museums and other institutions help shape a collector’s identity? These questions and more will be considered by speakers Saloni Mathur, Professor of Art History, UCLA; Sean Anderson, Associate Curator, Department of Architecture and Design, MoMA; Beth Citron, Curator, Modern and Contemporary Art, Rubin Museum of Art; and Lynn Gumpert, Director, Grey Art Gallery, NYU.

Co-sponsored by South Asia @ NYU; and Grey Art Gallery.

Description: What do we expect from a performance’s documentation? How do we integrate performance art into a collection? What are we trying to find when we research a work’s past iterations and persistent forms, and what do we demonstrate when we curate, or translate, such objects out of the archive and into exhibitions? How should we conceive this production prospectively—what constitutes good documentation? If performance itself is notoriously difficult to wrangle as a category, the corollary question of how to understand and handle its associated artefacts (both material and otherwise) is no less daunting and no less necessary. For a long while, discussions about performance and its medium-identity have centered on questions of time. This talk will explore this temporal emphasis and offer alternate models for approaching the collection, conservation, and exhibition of performance.

Description: This concert coincides with the exhibition BRAZILIAN MODERN: THE LIVING ART OF ROBERTO BURLE MARX on view at the New York Botanical Garden until September 29. Burle Marx was an extraordinary figure within modern Brazilian culture. He was a master garden-architect, painter, sculptor and designer. Much less well known is the immense significance that music played within both his youth and maturity. He trained as a young man for a career in opera and well into his late life he played piano and guitar. Growing up in a German and Portuguese-speaking household of intellectuals, he was deeply immersed in the repertory of German 19th century musical classics, and had a great love of modern classical and popular music from Brazil. This concert will feature works by the composers known, loved and played by Burle Marx.

Tyrone Whiting is a prize-winning British conductor, organist, pianist, and teacher. Currently, Director of Music at the historic Grace Church in Newark, NJ, Tyrone has performed throughout the UK and USA. He has chosen a wide-ranging repertory for this event, evoking the varied musical tastes of Burle Marx. More information about Tyrone can be found at www.tyronewhiting.com

The Institute of Fine Arts invites you to an evening of presentations by current conservation graduate students on their summer experiences at IFA-sponsored and co-sponsored archaeological excavations.

Presentations will include:

Natasha Kung, Aphrodisias Excavations, Turkey
Tess Hamilton, Archaeological Excavations in Samothrace, Greece
Nicole Feldman and Derek Lintala, Selinunte Archaeological Excavations, Sicily
Sarah Montonchaikul, The Archaeological Exploration of Sardis, Turkey

A question and answer session will follow the first two presentations and again after the last.

Description: This panel is held to discuss and celebrate the multifaceted art of Roberto Burle Marx (1909-1994), master garden-architect, painter, sculptor, designer, musician. Burle Marx was directly involved with virtually every avant-garde movement in Brazilian modernism in the mid-twentieth century. Panelists will discuss various facets of his work as well as international connections with other parts of Latin America and beyond. Burle Marx is currently the subject of a major exhibition at The New York Botanical Garden (until September 29).

The rise of global contemporary art has occurred in tandem with the emergence of a global art market and with economic and political polarization on a global scale. While many artists are eager to use their work as an instrument for social and political change, certain collectors and donors often use the cultural prestige of contemporary art to legitimize their economic and political activities. This conference will address the ways these issues impact the making and exhibition of contemporary global art, and the display and ownership of the art of formerly colonized peoples. What are the key political issues addressed by contemporary artists, and how do they imagine the political agency of their work? Can art serve as a form of historical reparation? Who has the right to speak for the victims of past injustice? How can curators be culturally inclusive without falling into the trap of tokenism? To what extent does structural racism persist in the contemporary art world? How can new curatorial strategies highlight the colonial histories imbedded in museum collections? When and how should art be repatriated to its place of origin?

Panelists:

Sandrine Colard, Assistant Professor of African Art History, Rutgers University

Prajna Desai, Asia Research Fellow in the Global Research Initiative at the Museum of Modern Art, New York

Adrienne Edwards, Engell Speyer Family Curator and Curator of Performance, Whitney Museum of American Art

Sohl Lee, Assistant Professor in Modern and Contemporary East Asian Art History and Criticism, Stony Brook University

Ana María Reyes, Assistant Professor in the history of Latin American art and architecture, Boston University

Allison Young, Assistant Professor for Contemporary Art History, Louisiana State University

Description: Traditionally, to visualize the Greco-Roman gods has been to focus primarily upon their bodies: their degree of anthropomorphism, the beguiling power of naturalism, and the subtle means of iconographic differentiation by which individual deities might be defined and recognized. But to ‘imagine the divine’ in antiquity was to engage with a far broader and more complex set of visual strategies.

Focusing on representations of Athena on the Athenian Acropolis, this paper focuses on those elements of divine depiction that might be considered ‘parergonal’ – the panoply of ‘columns, drapery and frames’ that post-Kantian art history deemed superfluous to the work (that is, the deity itself). Together, Greco-Roman bodies and frames worked to construct a notion of interiority that served to make the gods present for their worshippers – to give their images agency. Yet this concentric system of frames also extended to the surfaces of cult statues themselves – to the colors, materials, attributes and clothing that defined the gods’ external appearances. To view sacred images in this way not only decenters the role of the body in the Greco-Roman religious imagination, but also recognizes the inherent flexibility and improvisatory nature of a visual system that would have abiding influence over the great religions that superseded it.

Abstract: Made during the Carolingian Renaissance, the Drogo Sacramentary (Paris, BnF latin 9428) is famous for its history – it was commissioned between 827/836-855 by Drogo, Charlemagne’s illegitimate son, bishop of Metz and great patron of the arts – and for its refined and sumptuous decoration that consists of several illuminations throughout the text and of eighteen ivory plates fixed on an 18th-century binding. The iconography of the illuminations and that of the sculpted ivory plates are very close, but the wrong order in which the ivory plates were reassembled during the modern era has made it difficult to understand the Christological and liturgical context of the scenes in the light of the Christian typology. Recent support from the King Baudouin US Foundation for conservation study, however, has now yielded major discoveries about the original order of the plaques, about their origin, and about the meaning of their iconography in relation to the manuscript. The lecture will focus on the different steps of the restoration and those discoveries.

The Institute of Fine Arts Great Hall Exhibition Series is pleased to present its Fall 2019 show, Glossolalists, featuring work by New York-based artist Sarah Peters.

The exhibition proudly continues a commitment to showcase the work of mid-career women artists at the Institute’s James B. Duke House. Peters’ figurative art emerges from her interest in the formal sculptural practices of distinct historical periods, from ancient to modern, resulting in a unique visual language creating a dialogue between the past and the present. Set within the Institute’s beaux-arts interior, Peters’ mid-size plaster sculptures embody and address aspects of human nature while resonating with the Great Hall’s marble floors, gilded wrought iron details, and Neoclassical statues.

Today we celebrate the work of Sarah Peters (b. 1973, Boston, MA) who lives and works in Queens, NY. She earned a BFA from the University of Pennsylvania, an MFA from Virginia Commonwealth University, and a certificate from the Pennsylvania Academy of the Fine Arts. She is the recipient of numerous awards and residencies, including a National Academy Affiliated Fellow at the American Academy in Rome this fall 2019. Featuring her work in the Great Hall follows a series of other acclaimed artists such as Lynda Benglis, Rachel Harrison, Martha Friedman, Judith Hopf, Jamie Eisenstein, Elaine Lustig Cohen, and most recently Amy Yao among others.

Description: Colonial Nahuatl Passion plays relived the sequence of events from Jesus Christ’s triumphal entrance into Jerusalem to his agonizing and bloody death. Given Mesoamerican ritual traditions of deity embodiment and sacrifice, for an Indigenous man to embody Christ created a striking conjuncture between the emotive mysticism of European Passional practices and the world-renewing efflorescences of sacred power precipitated by Mesoamerican rituals.The threat these Passion productions posed to the colonial Church’s project of controlling Indigenous religiosity led, in the eighteenth century, to the confiscation of plays and efforts to suppress the performances. In this talk I focus on one particularly controversial aspect of the plays: the staging of the Last Supper, at which Jesus initiated the consecration of bread and wine at the heart of the Roman Catholic mass and the sacrament of communion. Six eighteenth-century Nahuatl Passions reveal the different strategies employed for this scene, ranging from more daring appropriations of priestly prerogative to more cautious approaches—which, in contrast to Spanish-language plays modeled on the Nahuatl tradition, nevertheless reference the consecration in some manner. The variations indicate that, even as they perpetuated archaic Nahuatl and staged very similar productions, Indigenous dramatists were responding to the surveillance and suspicion jeopardizing their communities’ most elaborate annual religious event.

OBJECTS CONSERVATION
Adrienne Gendron
University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, PA

Celeste Mahoney
Rosa Lowinger Associates to: RLA Conservation of Art + Architecture

TIME-BASED MEDIA
Taylor Healy
The Scottish National Gallery of Modern Art, Edinburgh, UK

PAPER, BOOK, AND PHOTO CONSERVATION
Catherine Stephens
New York Public Library, New York, NY

Shaoyi Qian
Shanghai Museum, Shanghai, China

PAINTINGS CONSERVATION
Kristin Holder
Museo Nacional del Prado, Madrid, Spain

Emma Kimmel
Kunsthistorisches Museum, Vienna, Austria

For the past twenty years, the Dedalus Foundation has provided fellowships to outstanding graduate students specializing in modern and contemporary materials at the Conservation Center of the Institute of Fine Arts, New York University.

On the occasion of the Fellowship's 20th anniversary, the Foundation will host an event to highlight the work of past fellows, bringing together conservators who specialize in a broad range of media. The symposium will encompass a variety of topics relevant to the conservation of modern and contemporary art, as well as current approaches to conservation practice.

Speakers:
CHRISTINE HAYNES, 2015-2016 Dedalus Fellow, Assistant Objects Conservator, Preservation Arts, Preserving Public Art: Collaboration and Conservation of an Outdoor Installation by Po Shu Wang

TAYLOR HEALY, 2017-2018 Dedalus Fellow, Andrew W. Mellon Foundation Fellow in Time-based Media Conservation, Inside Out: An Investigation of a David Wojnarowicz Flexible Mold

DEBORAH CARTON LACAMERA, 1999-2000 Dedalus Fellow, Partner and Senior Conservator, Studio TKM Associates, Looking Back: Twenty Years of Conserving Works of Art on Paper

KATE MOOMAW, 2004-2005 Dedalus Fellow, Associate Conservator of Modern & Contemporary Art, Denver Art Museum, Learning Together: Time-Based Media Conservation at the Denver Art Museum

MEGAN RANDALL, 2013-2014 Dedalus Fellow, Assistant Projects Conservator, Museum of Modern Art, What's in a Pane? Conservation of Larry Bell's Shadows (1967)

LINDSEY TYNE, 2007-2008 Dedalus Fellow, Associate Paper Conservator, Thaw Conservation Center, The Morgan Library & Museum, Memory and Evidence: Documenting Modern and Contemporary Drawings

Panel discussion moderated by Jennifer Hickey, Paintings Conservator, Hirshhorn Museum and Sculpture Garden

Reception to Follow

The Admonitions of Ipuwer, an ancient Egyptian text penned in the late New Kingdom (c. 1300-1200 BCE), is often maligned for its seemingly histrionic tone and strident insistence that in the period of chaos it depicted, the poor became rich and the rich poor. Drawing upon archaeological, art historical, liturgical, and ethnohistoric evidence, it will be argued in this talk that this papyrus sheds valuable light both on social history during and in the aftermath of famine and plague and also on the surprisingly ludic process of encoding memories of potentially recurrent trauma into societal practice.

Ellen Morris is an assistant professor in the Classics and Ancient Studies Department at Barnard College, Columbia University. She has excavated in Dakhleh Oasis, Abydos, and Mendes and is currently involved in a collaborative multidisciplinary effort aimed at exploring the transition from the Late Bronze to the Early Iron Age in the Southern Levant. Her work focuses on ancient Egyptian imperialism, sacred sexuality and performance, retainer sacrifice, divine kingship, landscape theory, and life in “interesting” times.

Description: Aby Warburg’s Bilder Atlas has been the recent focus of a great deal of scholarly interest. Described variously as resembling a bulletin board, a cinematic montage or a cubist collage, the Atlas has been understood as an unruly and boisterous display of images indicative of Warburg’s brilliant eccentricity. In this year’s Cook Lecture, Zainab Bahrani present her study of unpublished materials in his archive, arguing that these handwritten notes on cards and scraps of paper, filed in Warburg’s uniquely organised Zettelkasten reveal that he had a deep interest not only in ancient Near Eastern images, but also languages and semiotic systems, and that this interest was more focused on Mesopotamia and Anatolia than it was on ancient Egypt, despite the Egyptomania that excited Europe at the start of the twentieth century. Bahrani argues that the first panel is pivotal for understanding the larger Mnemosyne project as it stands at the beginning of the series of assemblages of images, and points to Warburg’s desire for an epistemology of the irrational.

Biography: Zainab Bahrani is the Edith Porada Professorship of Art History and Archaeology at Columbia University in New York. She is the author and editor of twelve books, including Rituals of War: the body and violence in Mesopotamia (New York: Zone Books, 2008) which was awarded the James Henry Breasted Book Prize by the American Historical Association and The Infinite Image: Art, Time and the Aesthetic Dimension in Antiquity (Reaktion/University of Chicago Press, 2014), based on her 2010-2011 Slade Lecture in the Fine Arts at Oxford, which won the 2015 Lionel Trilling Prize. She is the recipient of numerous fellowships and awards for her research and writing including awards from the Getty Foundation, the Mellon Foundation, a 2003 Guggenheim and a 2019 Andrew Carnegie award. She is currently the Director of the Columbia field survey, Mapping Mesopotamian Monuments.

Biography: Paul Chan lives and works in New York. He was the 2014 recipient of the Hugo Boss Prize, which coincided with his solo exhibition Nonprojections for New Lovers at the Solomon R. Guggenheim Museum, New York, 2015. Chan is one of six artists to co-curate the group exhibition, Artistic License: Six Takes on the Guggenheim Collection, currently on view through January 12, 2020. Recent solo exhibitions include Odysseus and the Bathers, Museum of Cycladic Art, Athens (2018); Bathers at Night, Remai Modern, Saskatoon, Canada (2018); Rhi Anima, Greene Naftali, New York (2017); Pillowsophia, Pennsylvania Academy of Fine Arts, Philadelphia (2017); Hippias Minor, Deste Foundation Project Space, Slaughterhouse, Hydra, Greece (2015); Selected Works, Schaulager, Basel (2014); My laws are my whores, The Renaissance Society at the University of Chicago, Chicago (2009); The 7 Lights, New Museum, New York (2008); and The 7 Lights, Serpentine Gallery, London (2007).

Jean Marie Leclair: Sonata for Two Violins, Op. 3, No. 2 in A Major
I. Allegro
II. Sarabanda largo
III. Allegro
Pearl Sasanuma and Michael Abramyan, violins

Gabriel Fauré: Sonata No. 1 in A major for Violin and Piano, Op. 13
I. Allegro molto
II. Andante
Ausar Amon, violin
Hannah Harnest, piano

Antonín Dvořák: String Quintet No. 2 in G major, Op. 77
I. Allegro con fuoco
II. Scherzo: Allegro vivace
III. Poco andante
IV. Finale: Allegro assai
Flora Hollifield and Sienna Peck, violins
Harper Randolph, viola
Mahina Sheikh, cello
Meron Sebhatu, double bass

The Institute of Fine Arts invites you to an evening of presentations from current conservation students about their 2019 spring break and summer work projects at Villa La Pietra, NYU’s campus in Florence, Italy. Presentations will include:

Sasha Arden
Flash Migration Prototypes for Lynn Hershman Leeson’s "Agent Ruby," SFMoMA

Sarah Montonchaikul
Armorial Tapestry treatment from Camera Blu
Consultant & Supervisor: Deborah Trupin ‘82

Celeste Mahoney & Sarah Montonchaikul
Treating statues from the Villa gardens
Consultant & Supervisor: George Wheeler ‘81

Nicole Feldman & Tess Hamilton
Stabilization and surface cleaning of polychrome sculpture, including “St. John” and “St. Jerome” from Sala Rossa, and “Bust of a Saint” from Sala Crocifisso
Consultant & Supervisor: Jack Soultanian, Jr. ‘79

Tess Hamilton & Natasha Kung
Treatment of 18th-century Medici prints from the Corridoio technico Consultant & Supervisor: Rachel Danzing ‘92

Nicole Feldman, Emma Kimmel & Derek Lintala
Stabilization and toning of paintings in the Camera Blu (two Cretan panels; one Greek panel) and “Landscape with Ferry on a River” from the Corridor
Consultant & Supervisor: Jean Dommermuth ‘96

Soon Kai Poh ‘19
Preventive conservation
Consultant & Supervisor: Hannelore Roemich

Adrienne Gendron
Conservation treatment of a maiolica pharmacy jar
Consultant & Supervisor: Pam Hatchfield ‘86

Johannes Vermeer's luminous paintings are loved and admired around the world, yet we do not understand how they were made. We see sunlit spaces; the glimmer of satin, silver, and linen; we see the softness of a hand on a lute string or letter. We recognise the distilled impression of a moment of time; and we feel it to be real. The few traces Vermeer has left behind tell us little: there are no letters or diaries; and no reports of him at his easel. Jane Jelley has taken a new path in this detective story. A painter herself, she has worked with the materials of his time: the cochineal insect and lapis lazuli; the sheep bones, soot, earth and rust. She shows us how painters made their pictures layer by layer; she investigates old secrets; and hears travellers' tales. The clues were there all along. Now we can unlock the studio door, and catch a glimpse of Vermeer inside, painting light.

Jane Jelley is a painter and researcher based in Oxford. As a reconstructive art historian, she has pieced together a credible hypothesis on how Johannes Vermeer could have used a camera obscura directly in his work, and her experiments provide answers to a number of technical and visual puzzles in his paintings. She shares her discoveries, and her own encounters with 17th century painting materials and methods, in her book Traces of Vermeer (Oxford University Press, 2017).

The title refers to the cognitive process by which newly acquired information is paired with historical knowledge to form a new understanding— in this case, how contemporary art itself has interpolated modernist image paradigms by critically adapting digital behaviors. Much of contemporary art can be understood through the following four concepts: 1. Interface instead of Medium; 2. Iteration over Originality, 3. Compositing rather than Assemblage and 4. Compression, not Abstraction. By offering a critique of the immersive, a term that has become a default descriptor for time based media often unmarked by the lived experiences of race, gender, class, and ability, not only shape and condition how people experience art, but also regulate and legislate their bodies in real time and real space. Ultimately, Pattern Recognition, outlines how digitality both reveals and occludes the mutual embeddedness of media and identity within contemporary art.

Gloria Sutton is Associate Professor of Contemporary Art History at Northeastern University and a Research Affiliate in the Art Culture Technology Program at MIT. Sutton’s book The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema (MIT Press) was the first study of a signal member of the American avant garde whose experimental art works combined the logic of painting, film, video, photography, dance, television, computer programming and architecture to anticipate the current ways contemporary art operates under the pressure of digital networks. Sutton’s recent essays have centered on Hans Haacke and notions of animacy (New Museum); Elaine Summers and Intermedia (MoMA); Jennifer Bornstein’s monoprints (Radcliffe Institute for Advanced Study/ Sternberg Press); Simone Forti’s holograms (LACMA); Yayoi Kusama’s mirror rooms (Prestel/Hirshhorn). She is currently working on a monograph on the artist Shigeko Kubota (1937-2015).

South & About! is a student-organized research workshop on the arts from Latin America and the Caribbean. This program invites graduate students and emerging scholars in art history and related disciplines to participate in informal discussions amongst their peers

This session’s discussions include:

Paper title: Axonometry Across the Atlantic: Architectonic Arte Madí
Elise Y. Chagas, Ph.D. Student in Art History, Princeton University.

Paper title: Twisting the Modernist Curve: Mary Vieira’s Polyvolume: Meeting Point, 1960-1970.
Luisa Valle, Ph.D. Candidate in Art History, The Graduate Center, CUNY

Lead was ubiquitous in the Roman world, employed in quantities unknown before, and it remained in heavy use through the late Roman period. The environmental record is clear that by around CE 400 an age of mining and smelting, of industry and pollution, of long-distance shipping and large-scale building of infrastructure, had ended. This age, the Roman age, has left signals across northern Europe and the northern Atlantic world, including in Ireland, Sweden, Iceland, and Greenland, as well as in peat bogs and lake beds, salt marshes and glaciers closer to centres of Roman metal production, notably Spain, the Balkans, and Britain. As the production and exportation of lead declined in fourth-century Britain, where lead sulphide ores and mines were peculiarly abundant, lead and put to many uses, in the manufacture of brine pans and sieves, more decorated lead coffins even than those known from the Levant, in circular tanks often interpreted as fonts, and in a group of rectangular caskets discovered across the East Midlands of England, focussed on the Roman city of Lincoln.

Paul Stephenson is currently Andrew W. Mellon fellow at the Metropolitan Museum of Art, where he is exploring early Byzantine culture through human responses to and interactions with things fashioned from natural materials, elements and alloys: lead and silver, copper and bronze, wood, soil, sand and clay, stone, water and air, flesh and bone. He is author or editor of nine books, most recently The Serpent Column: a cultural biography (Oxford University Press, 2016), and Fountains and Water Culture in Byzantium (Cambridge University Press, 2016), edited with Brooke Shilling. He has held chairs at the University of Wisconsin - Madison, Durham University (UK), and Radboud Univerity Nijmegen (Netherlands). His research has been supported by the Swedish Collegium for Advanced Study, the Onassis Foundation, The Alexander von Humboldt Foundation, the British Academy, Dumbarton Oaks, and the Met.

When plastics were first made available to the public in the 1950s, they were considered unique and everlasting materials. Plastics manufacturers promised that the material would change our lives, providing lower cost and more highly functional alternatives to paper, natural fibers, ceramics and metals. This has proven to be correct, but the impacts of plastics on our society have been both positive and negative. The use of plastics in designs, artworks, medicine and information storage have greatly improved the quality of our lives while pollution from post-use disposal of plastics has had the opposite effect. Today, plastics pollution is the fastest growing threat to our ecosystems and health and current predictions indicate that 15 shopping bags filled with plastic, per meter of coastline, will be added every year.

Museums offer a unique possibility to study the major degradation factors, rates and pathways for plastics in real time because they collect, study and conserve for future generations the materials made and used by societies. Since 2016, collaborative research between the speaker, a conservation scientist at the National Museum of Denmark, environmental biologists and ecotoxicologists from Roskilde University in Denmark has identified chemical markers that define degradation of plastics. These markers define the rate of degradation in plastic artworks, objects and in plastics litter more accurately than current industrial predictions. This lecture will discuss how the knowledge and experience obtained from conservation research into synthetic materials can be transferred to conservation of our natural environment.

Yvonne Shashoua is currently a Senior Researcher at the National Museum of Denmark and a consortium member of the Velux MarinePlastic research center leading the interdisciplinary research into degradation of plastics. She has researched plastics in cultural heritage at the British Museum and National Museum of Denmark since 1989 and has more than 100 publications. Her book, 'Conservation of Plastics' published by Elsevier in 2008 has sold more than 3000 copies. She is a guest lecturer at The Royal Danish Academy of Fine Arts, the Universities of Oslo, Gothenburg, and Gotland, as well as Metropolia University (Finland), the Canadian Conservation Institute, and the Getty Conversation Institute in Los Angeles. She holds a PhD in plastics deterioration from the Technical University of Denmark, a Diploma in Management in Museums from the Industrial Society (London), and a BSc with Honors in Industrial Chemistry from the City University of London.

Mozarabic and Romanesque are disparate kinds of historical categories rarely considered together: they are not only separate groups of buildings with divergent stylistic traits, but also very different kinds of classification. Mozarabic names a demographic group and carries ethnic implications, while Romanesque is an immense category of buildings defined stylistically and conventionally seen as the expression of a nascent Europe. Dr. Dodds proposes to see these two groups in a more connected way as we explore how these categories shape the canon, and our own interpretations.

Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art); co editor of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, Crowning Glory, Images of the Virgin in the Arts of Portugal, ( Newark Museum), and co-curator of these exhibitions. She has curated a number of exhibitions and written and directed films in conjunction with museum exhibitions Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). She will serve as the Slade Professor at Oxford University in 2020-2021. Professor Dodds is the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).

The Latin American Forum is excited to present “Shifting Priorities: Mexican Muralism Revisited,” a panel that proposes to reassess the state of Mexican Muralism in anticipation of the upcoming exhibition at the Whitney Museum, Vida Americana: Mexican Muralists Remake American Art, 1925–1945.

The evening features talks by two of the top scholars in the field: IFA alumni Dr. Anna Indych-López, Professor of Latin American and Latinx Art, The Graduate Center and The City College of New York, CUNY, and Dr. Lynda Klich, Assistant Professor of Art History, Hunter College, CUNY, who will each discuss their latest research on Mexican Muralism and its unexpected correlations and traces. The presentations will be expanded upon through a conversation led by Madeline Murphy Turner, Ph.D. Candidate, The Institute of Fine Arts.

The Latin American Forum is generously supported by the Institute for Studies on Latin American Art (ISLAA), and advised by Edward J. Sullivan, Helen Gould Shepard Professor of the History of Art and Deputy Director, the Institute of Fine Arts, New York University.

The event will be followed by a reception.

https://www.islaa.org/

The Baroque has been conceived as one of art history’s foundational styles. This talk, in examining the transmission of prints from Europe to Latin America and their extensive colonial copying, instead reframes the Baroque in terms of form. Seeing the Baroque from a vantage point staked in Latin America and rearticulating it in terms of formal syntax and pictorial recombination has ramifications both for the ways we look at European art and, more broadly, for interrogating some of art history’s seminal historiographic assumptions.

The Institute of Fine Arts invites you to a lecture on the archaeological research at Aphrodisias 2019. Presented by Roland R.R. Smith, Lincoln Professor of Classical Archaeology and Art, University of Oxford; Director of NYU Excavations at Aphrodisias.

Please join us for a panel discussion for the Fall 2019 Great Hall Exhibition featuring the work of Sarah Peters.

Inspired by Peters' sculptural practice, which merges ancient and contemporary aesthetics, this panel discussion will address the complexity of her imagery and its relationship to ancient Mediterranean visual culture.

John Hopkins (Assistant Professor of Art History, Department of Fine Arts, and the Institute of Fine Arts, NYU) is a scholar of Ancient Roman art, architecture and archaeology. He focuses on the visual, spatial and physical experience of art and investigates the cultural and societal shifts in the ancient Mediterranean.

Dakin Hart (Senior Curator of The Noguchi Museum) is an expert in contemporary sculpture. At The Noguchi Museum, Hart has developed a compelling program of exhibitions and public events seeking to place the institution’s core collections within a contemporary context.

The event will consist of a short presentation by Sarah Peters followed by a conversation with Hopkins and Hart. This discussion will examine Peters’ interest in ancient Greco-Roman imagery and her work within the context of contemporary sculptural practices. A question and answer session will conclude this exchange.

Reception to follow.

Glossolalists was made possible through the generous support of Valeria Napoleone XX. Special thanks to the artist and Van Doren Waxter Gallery for lending the works on view. The exhibition is curated by Juan Gabriel Ramirez Bolivar, Makenzi Fricker, Scout Hutchinson, and Deborah Miller.

Abstract:
For the past century, Chavín has drawn the fascination of both art historians and archaeologists as one of South America’s most mysterious “civilizations.” As the earliest widespread cultural phenomenon in the Andes, it has been recognized both through a complex iconographical system featuring fearsome supernatural beings, as well as through patterns in material culture such as similarities in ceramics, temple construction, and ritual paraphernalia. This talk presents findings from recent investigations at Atalla, a relatively provincial highland village with a monumental temple occupied between 1000and 500 B.C. Through an examination of how residents engaged with Chavín art, material culture, and ritual, this presentation will offer a more nuanced understanding of the “Chavín phenomenon.”

Johannes Brahms: Horn Trio in E-flat major
I. Andante
II. Scherzo (Allegro)
III. Adagio mesto
IV. Allegro con brio
Hannah Cohen MM '21, violin
Kevin Ayres MM '20, French horn
Silei Ge MM '20, piano

Ludwig van Beethoven: String Quartet No. 15 in A minor, Op. 132
I. Assai sostenuto––Allegro
II. Allegro ma non tanto
III. Heiliger Dankgesang eines Genesenen an die Gottheit, in der Lydischen Tonart: Molto adagio––Andante
IV. Alla marcia, assai vivace
V. Allegro appassionato

Jin Sol Oh MM '20, violin
Zoe Dweck BM '20, violin
Luke Quintanilla MM '21, viola
Michael Warrick MM '20, cello