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Public Programs
The Institute: your destination for the past, present, and future of art.
Connect to the latest thinking about the arts from ancient times to tomorrow’s prospects. Become part of the conversation, choose from our extensive range of lecture series, special lectures, panel discussions, workshops, and conferences.
2023 Calendar
- September
- Thursday, September 7, 2023, at 6:00pm
Series: Pre-Columbian Society of New York
Speaker: Jeffrey C. Splitstoser, Assistant Research Professor of Anthropology, George Washington University and Vice President of the Boundary End Archaeology Research Center
Title: The Andean Khipu in Context with other Knotted String Traditions of the Americas
learn more about Jeffrey C. Splitstoser's talk Watch Jeffrey C. Splitstoser's talk online [opens in new window]
Description: A search of “knotted string records” produces a slew of references to “Quipu/Khipu,” the information system used by the lnkas to manage their vast South American empire. Yet the use of knotted strings to keep track of information was widespread throughout not only the Americas but the whole world. While khipus may be the most sophisticated example of knotted string devices, they are/were not alone. After briefly reviewing the various knotted mnemonic devices known to have existed in the Americas, this talk will explore in depth the similarities and differences between lnka khipus and a sophisticated, yet relatively unknown, Costa Rican knotted-string census from 1874.
Jeffrey C. Splitstoser is assistant research professor of anthropology at the George Washington University and vice president of the Boundary End Archaeology Research Center. He has studied ancient Andean textiles for over 20 years, having recently discovered (with Tom Dillehay, Jan Wouters and Anna Claro) the world’s earliest known use of indigo blue in a 6,200-year-old cotton textile from the prehistoric site of Huaca Prieta. Dr. Splitstoser specializes in Wari “khipus,” colored and knotted string devices that Andean peoples used to record information. He co-curated (with Juan Antonio Murro) the exhibition Written in Knots: Undeciphered Records of Andean Life at Dumbarton Oaks in Washington, D.C. Dr. Splitstoser’s research includes reproducing the khipus and textile structures he encounters: processing, spinning and dyeing the fibers, as well as growing cotton and dye plants. Dr. Splitstoser is an editor of the journals Research Reports on Ancient Maya Writing and Ancient America and was the guest editor of volume 49 of The Textile Museum Journal. He was a junior fellow at Dumbarton Oaks and is currently a research associate of the Institute of Andean Studies and a Cosmos Club Scholar. Dr. Splitstoser received a Ph.D. in anthropology from the Catholic University of America, Washington, D.C.
- Friday, September 8, 2023, at 6:00pm
Series: China Project Workshop
Description: Lu Pengliang, The Metropolitan Museum of Art, New York presents on “Recasting the Past: The Power of Bronze in China, 1100-1900.” The discussion will be moderated by Jonathan Hay (Institute of Fine Arts, NYU) - Monday, September 18, 2023, at 6:00pm
Title: Summer Projects Day I
The Institute of Fine Arts invites you to an evening of presentations from current conservation students on their summer 2023 work projects.
learn more about Jeffrey C. Splitstoser's talk
Presentations will include:
Celia Cooper
Conservation at the Weissman Preservation CenterEmily Jenne
Historic bookbinding, 16 mm film inspection, and treatment of works on paper from the Fales Downtown CollectionLucia Elledge
Treatment of works of art on paper at the Art Institute of ChicagoDevon Lee
Conservation of taxidermy specimens at the Natural History Museum of Denmark - Tuesday, September 26, 2023 at 6:00pm
Series: Latin American Forum
Title: Curating the Nation: A Lecture by E. Carmen Ramos moderated by Edward J. Sullivan
learn more about Curating the Nation
In 2021, the National Gallery of Art in Washington embarked on a new course after it redefined its mission, vision, and values, which are all deeply grounded in deepening and expanding the museum’s collections and its service to audiences. In this talk, E. Carmen Ramos will discuss how she has navigated her new role and worked to embody the ideas of being an audience centered institution and being of the nation and for all the people.
E. Carmen Ramos is Chief Curatorial and Conservation Officer at The National Gallery of Art in Washington, D.C. She leads the curatorial and conservation teams as they serve the nation and beyond through collections development, ground-breaking scholarship, art conservation, and scientific research. Ramos previously served as the acting chief curator and curator of Latinx art at the Smithsonian American Art Museum (SAAM), where she built one of the largest collections of Latinx art at a museum of U.S. art. She organized award-winning exhibitions including ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now (2020), Our America: The Latino Presence in American Art (2013), and Down These Mean Streets: Community and Place in Urban Photography (2017). In addition to her numerous catalogues, her scholarship appears in American Art, and in books including Picturing Cuba: Art, Culture and Identity on the Island.
ABOUT THE LATIN AMERICAN FORUM
The Latin American Forum is a platform sustained in partnership with ISLAA that brings artists, scholars, and critics of the arts of the Americas to The Institute of Fine Arts, providing a platform for discussions and debates about diverse issues pertaining to contemporary arts and visual cultures throughout the hemisphere.
This series of public programs and events is coordinated by Edward J. Sullivan, Helen Gould Shepard Professor in the History of Art, the Institute of Fine Arts, New York University, and organized by graduate students. Since partnering with ISLAA in 2011, NYU’s Latin American Forum has hosted more than thirty events.
- Thursday, September 28, 2023 at 5:00pm
Annual Selinunte Lecture
learn more about the Selinunte lecture
Presenters: Dr. Seán Hemingway, John A. and Carole O. Moran Curator in Charge of the Department of Greek and Roman Art, Metropolitan Museum of Art; Dr. Mario La Rocca, General Director, Dipartimento dei Beni Culturali e dell’Identità Siciliana; Dr. Caterina Greco, Director, Archaeological Museum of Palermo “Antonino Salinas"; Dr. Felice Crescente, Director, Archaeological Park of Selinunte, Cave di Cusa, and Pantelleria; Prof. Clemente Marconi (Institute of Fine Arts–NYU), Director, IFA–NYU and UniMi mission in Selinunte; Prof. Andrew Ward (Emory University), Field Director, IFA–NYU and UniMi mission in Selinunte.
This year marks a major step forward in the work of the mission on the Acropolis of Selinunte of the Institute of Fine Arts–NYU and the University of Milan. A new permit, issued by the director of the Archaeological Park, Dr. Felice Crescente, extends the area of operation of our mission to the entire main urban sanctuary. Covering two hectares, this was one of the largest sacred areas in the Greek Mediterranean during the Archaic and Classical periods, well known for its abundant monumental architecture but still largely unexcavated underneath the levels of the Punic phase, when the site was abandoned within the context of the First Punic War. This extension has already led to remarkable new finds related to the original articulation of the area during the past excavation season, which has also produced remarkable new finds in the area of Temple R.
Another major reason for celebration this year is the new collaborative agreement between the Metropolitan Museum of Art and the Assessorato dei Beni Culturali e dell’Identità Siciliana, which was announced in May. This agreement provides for long-term loans of ancient masterpieces to the museum and the exchange of three-year loans between the Metropolitan Museum of Art and the Archaeological Regional Museum “Antonino Salinas” of Palermo. The agreement follows decades of successful collaboration between the museum and the Republic of Italy, and it started with a series of loans from Selinunte currently on view in the Met’s Greek and Roman galleries.
The events calendar is subject to change. Please check this webpage for updates. Many of our recent lectures are available to watch online in our events archive.
- Thursday, September 7, 2023, at 6:00pm
- October
- Monday, October 2, 2023 at 6:00pm
Series: Pre-Columbian Society of New York
Speaker: L. Antonio Curet, Curator, National Museum of the American Indian
Title: Trouble in Paradise: History and Disaster at the Ceremonial Center of Tibes, Puerto Rico
learn more about Trouble in Paradise Watch Trouble in Paradise online [opens in new window
Description: The archaeological site of Tibes, located in southern Puerto Rico, is to date the earliest ceremonial center in the Caribbean. It consists of nine stone structures and includes a variety of archaeological deposits. The information at hand suggests that the site began as a village around AD 500 and it acted as a ceremonial center from AD 900 to 1250, when it was abandoned. Traditionally, this shift has been interpreted by scholars as evidence of the development of social stratification. However, evidence obtained by the current project questions this interpretation and is proposing a new explanation based on evidence of a hurricane of high intensity.
L. Antonio Curet is a Curator of the National Museum of the American Indian. He was born in Hato Rey, Puerto Rico in 1960 and attended the University of Puerto Rico, Rio Piedras where he obtained his B.A. and M.A. in Chemistry. Curet received his Ph.D. in 1992 from Arizona State University. He was part of the faculty at Gettysburg College (1993-1996) and University of Colorado at Denver (1996-2000). From 2000 to 2013 he was Curator at the Field Museum and Adjunct Professor at the University of Illinois at Chicago, Northwestern University, University of Chicago, and DePaul University. His research focuses on cultural and social change in the Ancient Caribbean, but he has participated also in archaeological projects in Arizona, Puerto Rico, and Veracruz, Mexico. He has directed several projects including Excavations at La Gallera, Ceiba, Puerto Rico and the Archaeological Project of the Valley of Maunabo. Since 1995 he has been conducting excavations at the Ceremonial Center of Tibes, Ponce, Puerto Rico and in 2013 began co-directing a regional project in the Valley of Añasco in Western Puerto Rico. Curet has published multiple articles in national and international journals, a book on Caribbean paleodemography, and has edited volumes on Cuban Archaeology, the archaeology of Tibes, Puerto Rico, and long-distance interaction in the Caribbean. He is also in the editorial boards of the Journal for Caribbean Archaeology, Revista Arqueológica del Area Intermedia, and Latin American Antiquity, Antípoda(Universidad de los Andes, Colombia) and is the editor of the Caribbean Archaeology and Ethnohistory Book Series of the University of Alabama Press.
- Wednesday, October 4, 2023 at 6:00pm
Series: Silberberg Lecture
Speaker: Dr. Chelsea Brislin, Faculty in Appalachian Studies at the University of Kentucky
Title: From Abner to Deliverance: Representations of Appalachia in North American Media
learn more about the Silberberg Lecture
Description: Representations of the Appalachia region in literature, art and pop culture have historically shifted between hyperbolic, colorful caricatures to grotesque, sensationalized, black and white photography. This wide spectrum of depictions continually resonates within the North American psyche due to its shared commonality of Appalachia as the cultural “other.” This othering frequently leaves audiences with a kind of relief that this warped representation of backwards, rural poverty is not their own progressive, present-day reality. Countless artists have exploited the region in order to show the impoverished side of rural Appalachia and spin a failed capitalistic way of life into a romanticized, intentional “return to the frontier.” Through analyzing a selection of works within literature, fine art/photography, film and television one can begin to broadly define what many Appalachians feel is lacking from their own narrative within pop culture. Something as simple as the angle of a camera can dramatically affect the way a viewer experiences a photograph and its subject. Furthermore, the chosen narrator of a novel can make the difference for a reader between a compassionate portrayal of a region previously unknown to them, and one that enforces the existing stereotype of Appalachia. This lecture will broach the subject of responsibility in the context of Appalachian cultural representation, as well as how individual artistic motivations and decisions can have negative, far-reaching consequences for the Appalachian region.
Chelsea Brislin earned her MA in Interdisciplinary Humanities from New York University and her PhD in English from the University of Kentucky, where she now serves as the Associate Director of the Gaines Center for the Humanities. Her work looks primarily at 21st century representations of Appalachia through literature, film, and television.
- Thursday, October 5, 2023, at 6:00pm
Series: Walter W.S. Cook Lecture
Speaker: Ronni Baer, Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer, Princeton University Art Museum
Title: Murillo and the North: The Case of Michael Sweerts learn more about Ronni Baer's talk Watch Ronni Baer's talk online [opens in new window]
Description: In addition to his sweet and deeply felt religious paintings, the Spanish artist Bartolomé Esteban Murillo (1617-1682) produced secular scenes of lower-class old women and young boys, subjects more readily associated with 17th-century northern art than Spanish painting. Murillo’s Seville was a thriving port and locus of trade with both other European mercantile centers and the rich Spanish American colonies. Art moved freely: Spain had long looked to Flanders (under Spanish Habsburg rule) for artistic products of all kinds, from tapestries for the elite to paintings at all price points to prints, which were consumed in enormous quantities, not least by artists as practical work material. Furthermore, this bustling center was home to hundreds of foreign merchants, among them three of Murillo’s most important patrons, all with ties to the North. Against this backdrop and with the help of documents that link art collectors, extended family members, and international businessmen, this talk proposes that Murillo drew on the paintings of the Brussels-born Michael Sweerts as a source for his early genre imagery.
Ronni Baer worked in curatorial departments at the Frick Collection, the Cooper-Hewitt Museum, the High Museum of Art, and the National Gallery of Art before serving for almost twenty years as Senior Curator of European Paintings at the Museum of Fine Arts, Boston. Since 2019, she has held the position of Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer at the Princeton University Art Museum. She has published numerous articles in the fields of 17th-century Dutch, Flemish, and Spanish art and in the history of collecting. Among her exhibitions (and their accompanying catalogues) are Gerrit Dou, Rembrandt’s First Pupil (National Gallery of Art, Washington, DC; Dulwich Picture Gallery, London; and The Mauritshuis, The Hague, 2000); and, at the MFA: The Poetry of Everyday Life (2002); Rembrandt's Journey (with Cliff Ackley) (2004); El Greco to Velázquez (with IFA alumna Sarah Schroth) (2008); and Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer (with Ian Kennedy) (2016). For her work in furthering knowledge and appreciation of their art and culture, she was knighted by King Juan Carlos of Spain in 2008 and by King Willem-Alexander of the Netherlands in 2017. In 2018, she was named the IFA’s Distinguished Alumna and Commencement Speaker. Her exhibition, Art About Art: Contemporary Photographers Look at Old Master Paintings, is currently on view in Princeton.
- Tuesday, October 10, 2023, at 6:30pm
Series: IFA Contemporary Asia
IFA Contemporary Asia is pleased to present Happening Now: A Conversation with Kyung An and Sooran Choi, on the occasion of the exhibition Only the Young: Experimental Art in Korea, 1960s-1970s, on view at the Solomon R. Guggenheim Museum through January 7, 2024.
learn more about IFA Contemporary Asia
The air was fidgety in 1960s and 1970s South Korea. While the nation urgently anticipated new breakthroughs from the rapid socioeconomic transformations, Park Chung Hee’s dictatorial grip on the young republic tightened. In response, the new generation of young artists embarked on innovative and often provocative approaches to art making by experimenting with radical artistic concepts and a wide variety of mediums, including but not limited to video, installation, photography, and performance. Featuring approximately eighty works, Only the Young examines the works born out of both individual and collective experimentations, which were bounded not by a single aesthetic, but by their engagement with the dynamic social atmosphere of South Korea and the world beyond.
This discussion seeks to explore Experimental Korean art in the 60s and 70s as a unique moment in Korean history while situating it within the broader discourse of global art history, to question: How has the term “Experimental art” been forged and developed? How do we navigate between the artists’ local distinctiveness, yet avid engagement with concurrent global art movements? How does the exhibition engage with the current sociopolitical climate? The event will begin with a brief presentation and walkthrough by the exhibition curator, Kyung An, Associate Curator of Asian Art at the Guggenheim, followed by a conversation between her and Sooran Choi, Assistant Professor of Art and Art History in the School of the Arts at the University of Vermont, Burlington, VT.
Dr. Kyung An is the Associate Curator of Asian Art at the Guggenheim. Since joining the museum in 2015, she has organized Sarah Sze: Timelapse (2023) and Only the Young: Experimental in Korea, 1960s-1970s (2023-24), also lending key support for Art and China after 1989: Theater of the World (2017–8) and the Robert H. N. Ho Family Foundation Chinese Art Initiative’s exhibitions, Tales of Our Time (2016–17) and One Hand Clapping (2018). In addition, An contributes to collection growth through her appointment on the International Director’s Council and the Asian Art Circle. She has also published extensively on Korean artists and contributed to May You Live in Interesting Times: Biennale Arte 2019 (Venice: La Biennale di Venezia, 2019), Guggenheim Museum Collection: A to Z (New York: Guggenheim Museum, 2019) and co-authored Who’s Afraid of Contemporary Art? (London and New York: Thames & Hudson).
Dr. Sooran Choi, Assistant Professor of Art and Art History at the University of Vermont, Burlington, VT, specializes in decolonization within avant-garde discourse, global feminism, and ecocriticism, focusing on contemporary East Asian art. Her current book manuscript, Zombie Avant-Gardes: Subterfuge in Postwar South Korean Art, investigates South Korean renditions of avant-garde art through post-colonial lenses, challenging traditional center-periphery paradigms in the context of post-WWII global artistic exchanges across East Asia, the United States, and Europe. It was awarded the 2018 College Art Association Professional Development Fellowship in Art History. Her other awards include grants from the Academy of Korean Studies and the Mellon Foundation. Her efforts to decolonize avant-garde conceptual frameworks are reflected in recent publications, “Manifestations of a Zombie Avant-garde: South Korean Performance and Conceptual Art in the 1970s" (2020); "Camouflaged Dissent: ‘Happenings’ in South Korea, 1967–1968" (2021); and "Korean Shamanism in Action/Art: The Counter-cultural Spirituality of Women and Gender Fluidity" (2023), among others.
- Tuesday, October 17, 2023 at 6:00 pm
Statements of His Identity: The Sculpture of David Smith
Speakers: Michael Brenson, author, David Smith: The Art and Life of a Transformational Sculptor
Christopher Lyon, editor, David Smith Sculpture: A Catalogue Raisonné, 1932–1965
learn more about The Sculpture of David Smith Watch The Sculpture of David Smithonline [opens in new window]
David Smith Sculpture: A Catalogue Raisonné, 1932–1965, published in 2021 by The Estate of David Smith and distributed by Yale University Press, with essays by Brenson and Lyon, and David Smith: The Art and Life of a Transformational Sculptor, published in 2022 by Farrar, Straus and Giroux, are the most substantial contributions in a generation to the understanding of David Smith’s art. As Jed Perl recently wrote of them in The New York Review of Books, “When Brenson’s more than eight- hundred page book is taken together with the three-volume catalogue raisonné of Smith’s sculpture that appeared in 2021, I think it’s fair to say that we are at long last beginning to grasp the extent of [Smith’s] achievement.”
In a two-part presentation, Lyon and Brenson discuss ways that a catalogue raisonné and a biography illuminate, and sometimes obscure, the significance of David Smith’s sculpture oeuvre and his artistic thought. Lyon illustrates the “work-concept” underlying the reception of Smith and a complementary idea, which Smith called his “work stream.” The dual concepts are fundamental for the catalogue raisonné, which establishes, for the first time, an entirely chronological sequence for Smith’s sculptural oeuvre. Articulated by Smith’s sequences and series, and realized ephemerally in Smith’s fields and installations, Smith’s works and stream radically recast sculpture as a relational medium in an “expanded field,” securing his lasting critical and historical significance.
Responding to the Smith biography, Alexander Potts, the eminent authority on sculpture’s history and theory, praised Brenson for being “rightly committed to evaluating Smith’s art on its own terms” rather than explaining Smith's work in terms of his life. The phrase “art on its own terms” is a provocative one, particularly perhaps in 2023, and not one usually associated with biography. Reflecting on art and artists’ biographies, however, Brenson argues that the multiple perspectives a biography requires have something essential to say about the ways in which art reveals itself as its own distinctive reality.
Michael Brenson received a Ph.D. in art history from Johns Hopkins University and was an art critic for The New York Times from 1982 to 1991. He is a Getty Scholar, Guggenheim Fellow, and Clark Fellow, and the recipient of a Whiting Creative Nonfiction grant. For nearly two decades, he was a member of the sculpture faculty in Bard College’s Milton Avery Graduate School of the Arts, and he is the artistic director if the Jonathan and Barbara Silver Foundation. His books include Visionaries and Outcasts: The NEA, Congress, and the Place of the Visual Artist in America (2001) and Acts of Engagement: Writings on Art, Criticism and Institutions, 1993–2002 (2004).
Christopher Lyon was the catalogue raisonné project director for The Estate of David Smith and is the editor of the catalogue, for which he wrote on the critical reception of Smith’s sculpture. He is an independent scholar, critic, and book producer with long experience in museum and trade art book publishing. In 2013 he originated and for several years wrote the “Artful Volumes” column in Bookforum. Lyon is the author of Nancy Spero: The Work (2010) and a co-author and the editor of The Art and Spirit of Paris (2003).
- Thursday, October 19, 2023, at 6:30pm
Series: Ancient Art and Archaeology
Title: Tell Edfu – Recent discoveries at a provincial capital
Speaker: Nadine Moeller, Professor of Egyptology at the Department of Near Eastern Languages and Civilizations at Yale
learn more about Tell Edfu – Recent discoveries at a provincial capital
The recent fieldwork at Tell Edfu has focused on two excavations areas, one dating to the later Old Kingdom (Zone 2) and the other to the early New Kingdom (Zone 1). Zone 2 consists of open courtyards and the two large, official buildings (the southern and the northern) that can now be linked based on the associated finds excavated in the courtyards, to a royal domain which would be the first example attested archaeologically. It is closely linked to royal expeditions into the Eastern Desert for the extraction of raw materials, in particular copper ore. The associated clay sealings and ceramics date this activity to the end of the 5th Dynasty and the reign of Djedkare - Isesi. Excavations in Zone 1 comprise several buildings of an elite town quarter dating to the early New Kingdom. A large urban villa measuring more than 500 square meters has been discovered here which includes a small shrine in the corner of the main columned hall that was dedicated to the worship of the ancestors. Several cult objects have been found in and around the shrine, which had been left there when the building was abandoned. This discovery is a unique opportunity to investigate private religious practices through the various cult objects that were found in situ as well as their archaeological context and the architectural elements of the shrine. It also sheds new light on the provenance and function of similar objects that can be seen in many museum collections and for which the archaeological context is frequently missing.
Nadine Moeller is currently Professor of Egyptology at the Department of Near Eastern Languages and Civilizations at Yale. After receiving her D.Phil., she held the Lady Wallis Budge Junior Research Fellowship at University College, Oxford (2004-2007). Before coming to Yale, she was Associate Professor of Egyptian Archaeology at the Oriental Institute (now called Institute for the Study of Ancient Cultures) and the Department of NELC at the University of Chicago (2007-2020).
Her main research interests include settlement archaeology and urbanism in ancient Egypt, household archaeology and climate change in antiquity. She is author of The Archaeology of Urbanism in Ancient Egypt (Cambridge 2016), and co-editor together with Karen Radner (LMU Munich) and Dan Potts (NYU/ISAW) of the Oxford History of the Ancient Near East (Oxford 2020-), a five-volume project to replace the ‘Cambridge Ancient History.’
In Egypt she has been directing the ongoing excavations at Tell Edfu together with Gregory Marouard since 2010, and she has also participated in numerous excavations and fieldwork projects at other sites in Egypt such as Abu Rawash, Memphis, Dendara, Theban West Bank, Valley of the Kings, and Elephantine.
- Monday, October 23, 2023, at 6:00pm
Title: Summer Projects Day II
The Institute of Fine Arts invites you to an evening of presentations from current conservation students on their summer 2023 work projects.
learn more about Summer Projects Day II
Presentations will include:
Alexa Kline
The Acton Catalog Project at Villa La PietraDevon Lee
Conservation treatment of two crèche figures at NYU’s Villa La PietraHalina Piasecki
Sun, sea, and stratigraphy: conservation at the archaeological park of SelinunteMaria Olivia Davalos Stanton
Stone cleaning and construction analysis of a monumental Confederate sculpture - Wednesday, October 25, 2023, at 6:00pm
Title: "Harry Smith: Cosmic Scholar," a conversation on John Szwed's new biography of a protean genius, subject of the current Whitney exhibition: "Fragments of a Faith Forgotten: the Art of Harry Smith"
learn more about Harry Smith: Cosmic Scholar
John Szwed's new biography of Harry Smith fills an enormous gap in our understanding of artistic life in New York and San Francisco from the end of WW2 through the 1970s, accompanied by the Whitney's visual and spatial sampling of his extraordinary legacy as an experimental filmmaker, painter, collector, dedicated Native American anthropologist from his teenage years, mystic, and deep scholar of multiple esoteric fields. As Smith lived without a fixed home address or visible means of support, much of his work and the documentary records of his extraordinary mind have been lost along the way, making the riveting detail of Szwed's synthesis all the more remarkable. Crow will explore with Szwed the extraordinary but perpetually overlooked contributions of the elusive Smith, the ultimate bohemian, mage of the Chelsea Hotel, and mentor to Robert Mapplethorpe and Patti Smith, just to begin the list of his devotees. Andy Warhol followed his films; the young Bob Dylan found a folk repertoire via Smith's discerning ear; Monte Python exploited Smith's animation to frame their comedy. But Smith himself is the real story.
John Szwed is the author of 19 books, including the just-published Cosmic Scholar: The Life and Times of Harry Smith, also Jazz 101: A Complete Guide to Learning and Loving Jazz, and biographies of Billie Holiday, Miles Davis, Sun Ra, and Alan Lomax. He was awarded a Grammy for his life of Jelly Roll Morton. Before his 26 years at Yale, he chaired the department of Folklore and Folk Life at Penn and was professor of music and jazz studies at Columbia.
Thomas Crow is the author of The Long March of Pop: Art, Music, and Design, which devotes a chapter to Harry Smith, along with The Hidden Mod in Modern Art and The Artist in the Counterculture, published this year. While director of the Getty Research Institute, he initiated the Harry Smith research project in 2000.
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Monday, October 30, 2023, at 6:00pm
Series: Artists at the Institute
Speaker: Naudline Pierre
learn more about Naudline Pierre
As part of the Institute of Fine Arts’ ongoing tradition of inviting contemporary artists to speak about their practices in the Duke House Lecture Hall, this year’s Artists at the InstituteLecture Series invites four artists who explore the body as a site of confrontation. The body is continuously subjected to political, social, and aesthetic judgments both within and outside of the art historical canon. Whether it be through the ongoing battle with reproductive rights or the modification of the body in digital and social media, this phenomenon proves to be omnipresent. Contemporary artists are constantly grappling with conceptions of corporeality, and each artist brings a diverse approach to what this means to them. This year’s series is committed to uplifting the voices of women working in representational practices across a range of media, styles, and backgrounds. Through feminist, cross-cultural, and art historical methods, these artists challenge the contours of corporeal form, transcending the limitations and restrictions that have bound the female body to the canonical canvas, and imagining how such liberation might transform aesthetics.
In our first lecture of the Visions of Corporeality series, Brooklyn-based painter and sculptor Naudline Pierre will explore the role of imagination in her work. With her otherworldly bodies at the forefront of her talk, Naudline will explore how fantasy has aided in creating the figures of her own mythology. These jewel-toned, oftentimes winged, and larger-than-life bodies exist in a world of spirituality that reclaims iconography rooted in exclusionary Western practices. This lecture will commence our year-long conversation surrounding visions of corporeality.
Naudline Pierre (b. 1989, Leominster, MA), lives and works in Brooklyn, NY. Pierre’s work situates personal mythology and transcendent intimacy alongside canonical narratives of devotion. Her works continue the art-historical tradition of portraying encounters between the earthly and the otherworldly, extending this lineage of image-making by injecting the conventions of her discipline with ephemerality and ambiguity. Referencing the Renaissance format of the altar triptych, or incorporating flattened space and forced perspective, she reconfigures formal systems from the past to generate new possible futures grounded in the here and now.
The events calendar is subject to change. Please check this webpage for updates. Many of our recent lectures are available to watch online in our events archive.
- Monday, October 2, 2023 at 6:00pm
- November
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Wednesday, November 1, 2023, at 6:00pm
Series: Silberberg Lecture
Speaker: Andrew Weinstein, Professor of the History of Art, Fashion Institute of Technology, State University of New York
Title: Baneful Medicine and a Radical Bioethics in Contemporary Art
learn more about Andrew Weinstein's talk
While the accomplishments of biological science are nothing short of remarkable, risks and dangers of human arrogance emerge. Since the Enlightenment, scientists have achieved results through means-ends problem solving -- instrumental rationalism -- that pursues goals without necessarily engaging ethical responsibilities. Such problem solving also encourages a habit of mind that is prone to identify objects of study in a manner that defines and disenchants them. The now-debunked science of eugenics, for example, revealed the dangers of such thinking when scientists defined groups of people as other, with Nazi Germany bringing this to a genocidal extreme. At the time, German medicine ranked as the most advanced in the world.
Still using the same sorts of reasoning and labeling today, scientists genetically modify plants and animals for food; they engineer living tissue toward the development of new medical therapies; and they develop environment-altering biotech-proposals to potentially tackle climate change, among other activities. In turn, bioethicists grapple with the ethical dimensions of such projects. By contrast, many artists critique scientific methodology itself for its instrumental rationalism and its habit of mind. They often emphasize the ethical value of not understanding, and the importance of caring for invented life-forms. They invite us to imagine what is at stake in this era of new and rapidly developing biotechnology, and alternative futures. The lecture will discuss the different critiques and conceptual strategies in works by a range of artists, among them Jake and Dinos Chapman, Eduardo Kac, Verena Kaminiarz, Kate MacDowell, and the Tissue Culture and Arts Project (Oron Catts and Ionat Zurr).
Andrew Weinstein (BA, Brown University; MA, University of Pennsylvania; PhD, Institute of Fine Arts, NYU) is a professor of art history at the Fashion Institute of Technology, State University of New York, and a curator of exhibitions of contemporary art, most recently Baneful Medicine at the John Jay College of Criminal Justice, City University of New York. His academic writing focuses chiefly on the ethical mandates and challenges of Holocaust representation in contemporary art.
- Saturday, November 4, 2023 at 2:00pm
Series: NYU String Studies Chamber Music Concert Series
Two masterpieces of chamber music literature will be performed on November 4th, Johannes Brahms Violin Sonata No. 3 in D minor, op. 108 will be followed by a performance of Brahms' Horn Trio in E-Flat Major. The program will last approximately one hour. Both works will be performed by students from NYU Steinhardt’s Instrumental Performance program.
learn more about the NYU String Studies Chamber Music Concert Series
Johannes Brahms (1833-1897)
Violin Sonata No. 3 in D minor, op. 108 (1886-1888)
I. Allegro
II. Adagio
III. Un poco presto e con sentimento
IV. Presto agitatoJune Kim, violin
Juan Vasquez, pianoJohannes Brahms (1833-1897)
Horn Trio in E-Flat Major (1865)
I. Andante
II. Scherzo (Allegro)
III. Adagio mesto
IV. Allegro con brioPriscilla Tam, violin
Engelberth Mejia-Gonzalez, french horn
Christopher Zandieh, piano - Monday, November 6, 2023, at 6:00pm
Series: Pre-Columbian Society of New York
Speaker: Andrea Vazquez de Arthur, Assistant Professor of Art History, Fashion Institute of Technology
Title: Pottery as Ritual Tech in the Ancient Andes: A Revisionary Study of Wari Faceneck Vessels
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Description: The faceneck vessel is a prolific, yet enigmatic ceramic form popular among the Wari civilization, a powerful polity with widespread cultural influence during the Middle Horizon of Andean prehistory. Sometimes described as effigies, other times lumped in with all other narrow-necked jars, the classification of these objects fluctuates between the ritual and the utilitarian. Are they representational images or decorative dinnerware? At the heart of this conundrum is the issue that Andean pottery operates in ways that are unfamiliar to Western traditions, and many ancient Andean vessel types have no counterpart outside of the Americas. An important distinction of the faceneck is that it also has a body, imbuing the vessel with an acute sense of personhood. Drawing on theories of Andean perspectivism, an ontological viewpoint that considers the significance of feasting rituals and ancestor veneration within an animate world, this presentation will address the potential for faceneck vessels to have participated as social agents in complex rituals involving valuable offerings and communion with the dead.
Andrea Vázquez de Arthur is an assistant professor of art history at the Fashion Institute of Technology in New York, specializing in the ancient, modern, and contemporary visual arts of Latin America. She holds a BFA from the Rhode Island School of Design and a PhD in art history from Columbia University. Prior to joining the faculty at FIT, Dr. Vázquez de Arthur was the Leigh and Mary Carter Director’s Research Fellow at the Cleveland Museum of Art, where she curated the exhibition, “Fashioning Identity: Mola Textiles of Panamá”. Her research focuses on the diverse archaeological cultures of the ancient Andes, primarily from the Middle Horizon and the Late Intermediate Period. Through studies of comparative analysis, her work investigates systems of visual language, Indigenous ontologies, and gender representation in the visual culture of various societies including the Moche, Wari, Lambayeque, and Chimú.
- Wednesday, November 8, 2023 at 6:00 PM
Title: Celebrating a New Book by Rosa Lowinger Dwell Time: A Memoir of Art, Exile, and Repair
learn more about Dwell Time: A Memoir of Art, Exile, and Repair
Please join the Institute of Fine Arts in conversation with alumna Rosa Lowinger (’82), art and architectural conservator; Angel Ayón, architect and preservationist; and Pamela Hatchfield, Head of Objects Conservation Emerita at the Museum of Fine Arts, Boston, as they discuss Rosa's new book, Dwell Time: A Memoir of Art, Exile, and Repair. Michele D. Marincola, Sherman Fairchild Distinguished Professor of Conservation of the Conservation Center and Chair of the Conservation Center, Institute of Fine Arts, NYU, will introduce the speakers and serve as moderator for the discussion.
Inspired by and structured similarly to Primo Levi’s The Periodic Table, this first memoir by a working art conservator is organized by chapters based on the materials Lowinger handles in her thriving private practice – Marble, Limestone, Bronze, Ceramics, Concrete, Silver, Wood, Mosaic, Paint, Aluminum, Terrazzo, Steel, Glass and Plastics. Lowinger offers insider accounts of conservation that form the backbone of her immigrant family’s story of healing that beautifully juxtaposes repair of the material with repair of the personal. Through Lowinger’s relentless clear-eyed efforts to be the best practitioner possible while squarely facing her fraught personal and work relationships, she comes to terms with her identity as Cuban and Jewish, American and Latinx.
Dwell Time is an immigrant’s story seen through an entirely new lens, that which connects the material to the personal and helps us see what is possible when one opens one’s heart to another person’s wounds.
Rosa Lowinger holds a 1982 M.A. and certificate in conservation from NYU’s Institute of Fine Arts. A Cuban-born American art and architectural conservator, she is the author of Dwell Time: A Memoir of Art, Exile, and Repair (Row House Publishing, 2023), a book about conservation written for a general audience that blends the precepts of conservation with a personal story. Rosa was the founder and serves as current conservator at RLA Conservation, LLC, a firm with offices in Los Angeles and Miami. A Fellow of AIC, APT, and the American Academy in Rome, she is the author also of Tropicana Nights: The Life and Times of the Legendary Cuban Nightclub (Harcourt, 2005) and Promising Paradise: Cuban Allure American Seduction (Wolfsonian Museum).
With over 25 years of historic building experience, Angel Ayón has developed a mission to not only preserve significant historic architecture, but improve it—with more sustainable and resilient approaches, as well as contemporary technologies. He currently leads AYON Studio, a practice centered around this mission
Both an Architect and Preservationist, Angel has practiced in his native Havana, Cuba, Washington, D.C., and New York City. His expertise ranges from building envelope evaluation and repair to full-scale rehabilitation and adaptive reuse of commercial and residential properties, as well as cultural and educational institutions, including work on the Solomon R. Guggenheim Museum in New York, NY; The Colonial Theater in Boston, and Eleven80 in Newark, NJ.
Angel co-authored the award-winning book Reglazing Modernism - Intervention Strategies for 20th Century Icons and serves his community through Save Harlem Now!, the Historic Districts Council, The Municipal Art Society of New York, the Preservation League of NY State, and the James Marston Fitch Charitable Foundation. He has a professional degree in Architecture and an M.S. in Conservation and Rehabilitation of the Built Heritage from Havana’s Higher Polytechnic Institute, as well as a Post-Graduate Certificate in Conservation of Historic Buildings and Archaeological Sites from Columbia University in New York.
Pamela Hatchfield is the Conservation Center of the Institute of Fine Arts, NYU's fall 2023 Judith Praska Distinguished Visiting Professor in Conservation and Technical Studies and the Head of Objects Conservation Emerita at the Museum of Fine Arts, Boston. She also serves as the Project Coordinator for Held in Trust, a collaboration between the National Endowment for Humanities and the Foundation for Advancement in Conservation to chart the future of preservation and conservation in the United States. Pam serves as a consultant to the Acton Collection, NYU, Florence. Her archaeological field experience includes sites in Egypt and Sudan.
She holds degrees from Vassar College and the Conservation Center, Institute of Fine Arts, NYU, with post graduate work at Harvard University.
Pam’s many interests include the treatment of dry archaeological wood, Asian lacquer, Egyptian polychromy, stone, outdoor sculpture, and exhibition materials. She has taught, lectured, and published extensively on these and other subjects. A founding contributor to CAMEO (Conservation and Art Materials Database), she also authored the seminal book: Pollutants in the Museum Environment.
Pam is a Fellow of the American Institute for Conservation of Historic and Artistic Works, the International Institute for Conservation, and the American Academy in Rome. She served as President of AIC and in numerous other leadership positions. Awards include the Rome Prize and the AIC Robert L. Feller Lifetime Achievement Award.
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Monday, November 13, 2023, at 6:00pm
Series: Artists at the Institute
Speaker: Misha Japanwala
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As part of the Institute of Fine Arts’ ongoing tradition of inviting contemporary artists to speak about their practices in the Duke House Lecture Hall, this year’s Artists at the Institute Lecture Series invites four artists who explore the body as a site of confrontation. The body is continuously subjected to political, social, and aesthetic judgments both within and outside of the art historical canon. Whether it be through the ongoing battle with reproductive rights or the modification of the body in digital and social media, this phenomena proves to be omnipresent. Contemporary artists are constantly grappling with conceptions of corporeality, and each artist brings a diverse approach to what this means to them. This year’s series is committed to uplifting the voices of women working in representational practices across a range of media, styles, and backgrounds. Through feminist, cross-cultural, and art historical methods, these artists challenge the contours of corporeal form, transcending the limitations and restrictions that have bound the female body to the canonical canvas, and imagining how such liberation might transform aesthetics.
For our second installment of Artists at the Institute, Visions of Corporeality, lecture series we are excited to welcome Misha Japanwala. Misha Japanwala (b. 1995, London, England and raised in Karachi, Pakistan) is a Pakistani artist and fashion designer, whose work is rooted in the rejection and deconstruction of shame attached to one’s body, and discussion of themes such as bodily autonomy, gender based violence, moral policing, sexuality and censorship.
In our second installment of this series, Misha will touch upon what it means to be a Pakistani woman familiar with the historical objectification, commodification and control exerted on marginalized bodies by societies and systems enveloped in patriarchy. Misha’s work aims to create a new historical record and documentation of people — one that is on our own terms, and rooted in honesty, resistance and hope. Through molding the body to create casts that are worn as sculptural garments, Misha’s artistic practice blurs the lines between fashion and fine art, clothing and nudity, and asks viewers to see the body exactly as it is. Her practice is an insistence for bodies to occupy physical space, emphasizing the notion that our bodies shouldn’t need to prove anything other than being allowed to simply exist.
- Tuesday, November 14, 2023 at 6:00 pm
Title: Celebrating a New Book by Pepe Karmel: Looking at Picasso
learn more about Pepe Karmel: Looking at Picasso
In Looking at Picasso Pepe Karmel approaches Picasso’s work through the lens of art rather than biography, showing how he invented countless new visual languages and transformed the traditional themes of Western art. After tracing Picasso’s evolution from the Rose and Blue Periods to Les Demoiselles d’Avignon, Karmel surveys the development of Cubism, beginning with crystalline facets and ending with overlapping planes glowing with color and texture. Turning to Picasso’s surrealist work, he demonstrates how the artist’s abstract constellations and interlaced figures of the early 1920s led to his so-called “monsters” as well as to sensual reveries like Girl Before a Mirror. Another chapter explores Picasso’s creation of multiple classical styles, from his 1919 drawings of ballet dancers, inspired by Pompeian frescoes, to the Greek tragedy of the 1935 Minotauromachy, evoking Rembrandt. A final chapter follows Picasso from Guernica, his 1937 vision of terror and destruction, to the abstract sign language of The Kitchen (1948), to his disturbing late work.
Pepe Karmel is a Professor in the Department of Art History, New York University. He is the author of Picasso and the Invention of Cubism (2003), Abstract Art: A Global History (2020), and Looking at Picasso (fall 2023). He has written widely on modern and contemporary art for museum catalogues, as well as for the New York Times, Art in America, Brooklyn Rail, and other publications. He has also curated or co-curated numerous exhibitions, including Robert Morris: Felt Works (Grey Art Gallery, New York, 1989), Jackson Pollock (MoMA, New York, 1998), and Dialogues with Picasso (Museo Picasso Málaga, 2020).
- Wednesday, November 15, 2023 at 6:00 PM
Series: The Sam Wagstaff Photography Lecture
Title: The Ocular Age
learn more The Sam Wagstaff Photography Lecture
A Whitmanian Glance at 19th-Century American Photographs Description: A wet frog; a strap-on roller skate; snowfall on the Boston Common; a drygoods salesman selling cotton fabric. The real story of 19th-century American photography remains largely unwritten. Perhaps it will never be. Drawn from a distinguished private collection of American photographs, this presentation by Jeff L. Rosenheim will trace the first seventy years of the medium’s evolution. It offers a sneak peak of The Met’s spring 2025 exhibition—A New Art: The William L. Schaeffer Collection of Early American Photographs—and will feature major works by acknowledged early masters such as Josiah Johnson Hawes, George Barnard, Carleton Watkins, and Alice Austen alongside equally stunning photographs made by obscure and unknown practitioners. Made in small towns and cities from coast to coast, daguerreotypes, tintypes, cartes de visite, stereographs, and cyanotypes record the changing shape of the American scene. By focusing on exceptional, yet still unseen works of art, the talk will explore the nation’s shifting sense of self, driven by the immediate success of photography as a cultural, commercial, artistic, and indeed psychological preoccupation.
All the photographs in the presentation were amassed over the last fifty years by William L. Schaeffer, and are now promised gifts to The Met by Jennifer and Philip (Flip) Maritz.
Jeff L. Rosenheim joined The Metropolitan Museum of Art in 1988 and has been the Joyce F. Menschel Curator in Charge of the Department of Photographs since 2012. He is the steward of the Walker Evans Archive which The Met acquired in 1994, and the author of numerous books and essays on Evans. Rosenheim is also the custodian of the Diane Arbus Archive, acquired by The Met in 2007. As of December 2021, he is now the caretaker of the James Van Der Zee Archive, a landmark collaboration between The Studio Museum in Harlem and The Met. Rosenheim has lectured extensively in the U.S., Western Europe, and South America and curated shows featuring a wide range of artists including Evans, Arbus, Carleton Watkins, Thomas Eakins, Helen Levitt, Robert Frank, Lee Friedlander, William Eggleston, Irving Penn, Bernd & Hilla Becher, and Richard Avedon.
Now in his 36th year at The Met, Rosenheim has overseen the acquisition by purchase and gift of thousands of photographs and curated many traveling exhibitions including Photography and the American Civil War (2013), diane arbus: in the beginning (2016), and Irving Penn: Centennial (2017). His recent exhibitions include: African American Portraits: Photographs from the 1940s and 1950s (2018); William Eggleston: Los Alamos (2018); Photography’s Last Century: The Ann Tenenbaum and Thomas H. Lee Collection (2020); Cruel Radiance: Photography, 1940s-1960s (2022); and Bernd & Hilla Becher (2022-23), the artist’s first retrospective. Rosenheim’s most recent exhibition, Richard Avedon: MURALS, closed in October 2023 and featured three of the largest photographs ever produced, including one of the era’s most iconic works of art: Andy Warhol and Members of The Factory, New York City, 1969.
- Monday, November 20, 2023, at 6:00pm
Title: Summer Projects Day III
The Institute of Fine Arts invites you to an evening of presentations from current conservation students on their summer 2022 work projects.
learn more about Summer Projects Day III
Join us in-person for Summer Projects Day III Join us virtually for Summer Projects Day III
The Institute of Fine Arts invites you to an evening of presentations from current conservation students on their summer 2023 work projects. Presentations will include:
Caroline Carlsmith
Conserving and Re-Installing Robert Rauschenberg’s Soundings (1968) at the Museum Ludwig, CologneAdrian Hernandez
A Summer of Surveys: Examinations at the Robert Rauschenberg Foundation and National September 11 Memorial & MuseumHalina Piasecki
Objects Conservation at the National September 11 Memorial & MuseumKyle Norris
Redefining the Icon: Treatment of an 18th-century Ethiopian Painting at the Cleveland Museum of ArtAmalia Donastorg
The cleaning of ceiling murals by John Alden Twachtman at The Frick Collection
The events calendar is subject to change. Please check this webpage for updates. Many of our recent lectures are available to watch online in our events archive.
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Wednesday, November 1, 2023, at 6:00pm
- December
- Friday, December 1, 2023, at 6:00pm
Series: China Project Workshop
Description: BuYun Chen, Swarthmore College will present on “Ecology of Lacquerware Production in the Ryukyu Kingdom.” The discussion will be moderated by Monika Bincsik (Metropolitan Museum of Art).
RSVP Requiredfor the China Project Workshop - Monday, December 4, 2023, at 6:00pm
Series: Archaeological Excavations at Aphrodisias
Title: New Research and Discoveries at Aphrodisias in 2023
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Join us in-person for the Aphrodisias lecture Join us virtually for the Aphrodisias lecture
Join us to hear Roland R. R. Smith speak about the most recent work carried out by NYU-IFA at Aphrodisias in southwest Turkey, in collaboration with Oxford University. Aphrodisias is one of the most important sites of the Roman Empire in the eastern Mediterranean, with superbly preserved public buildings and monuments. Marble-carving was a noted Aphrodisian speciality in antiquity, and the excavated remains of the city’s statues, sarcophagi, and architectural reliefs are abundant and of spectacular quality.
The team’s eight-week research season last summer produced exciting results. The project on the Civil Basilica and Diocletian’s Edict of Maximum Prices was completed. Excellent progress was made in the Place of Palms and the conservation of its 170m-long pool. Excavation in the Tetrapylon Street with its unusual seventh-century Dark Age Complex was completed and publication work begun. A new project on housing and urban living was pursued with geophysical survey and excavation at the House of Kybele and the North Temenos House. There were important finds, and several marble statues were newly conserved and restored with their portrait heads.
Roland Smith is an expert in Greek and Roman art, with a special interest in the visual and urban culture of the eastern Mediterranean in the Hellenistic and Roman periods. He taught at the IFA from 1986 to 1995 and has been director of the NYU Aphrodisias project since 1991. He retired from his position as Lincoln Professor of Classical Archaeology and Art at Oxford University in 2022, and now devotes more time to Aphrodisias publications.
- Wednesday, December 6, 2023, at 6:00pm
Series: Judith Praska Distinguished Visiting Professor In Conservation Lecture
Title: “Mysteries of the Unexplained”: Fakes, Forgeries, and Fabulists – or – What the Conservator Saw and When She Saw It Speaker: Pamela Hatchfield
learn more about Pamela Hatchfield
Join us in-person for Pamela Hatchfield's lecture Join us virtually for Pamela Hatchfield's lecture
What is it we find so fascinating about fakes? Why is the idea of the authentic so important in art, and how do we identify it? How does conservation or restoration serve to enhance or obfuscate authenticity?
Join Pamela Hatchfield to explore some of the enigmas presented by the deep investigation of objects from the Museum of Fine Arts, Boston. These investigations tell a story about the assumptions we make in our search for the authentic, when objects seem too good to be true, and the limitations of our understanding of a maker’s intent, materials, techniques, and collaborators. We will explore Greek ceramics, Roman terracotta, and Italian marble sculpture as we look into our fascination with fakes and forgeries, and how conservators, curators, and scientists join forces to determine authenticity, identify the original in works of art, and determine how best to present the stories and histories embedded within them.
Pamela Hatchfield is the fall 2023 Judith Praska Distinguished Visiting Professor in Conservation and Technical Studies at the Conservation Center of the Institute of Fine Arts, NYU. She is also Head of Objects Conservation Emerita at the Museum of Fine Arts, Boston. Additionally, she serves as Project Coordinator for Held in Trust, a collaboration between the National Endowment for Humanities and the Foundation for Advancement in Conservation to chart the future of preservation and conservation in the United States. Pam serves as a consultant to the Acton Collection, NYU, Florence. Her archaeological field experience includes sites in Egypt and Sudan. She holds degrees from Vassar College and the Conservation Center, Institute of Fine Arts, NYU, with post graduate work at Harvard University.
Pam is a Fellow of the American Institute for Conservation of Historic and Artistic Works, the International Institute for Conservation, and the American Academy in Rome. She served as President of AIC and in numerous other leadership positions. Awards include the Rome Prize, the AIC Robert L. Feller Lifetime Achievement Award, and the FAIC/Kress Conservation Publication Fellowship.
The events calendar is subject to change. Please check this webpage for updates. Many of our recent lectures are available to watch online in our events archive.
- Friday, December 1, 2023, at 6:00pm
The events calendar is subject to change. Please check this webpage for updates, or sign up for our mailing list.