News and Events

 

2026 Getty Graduate Symposium

Friday, February 6, 2026, 9:45am-6pm
Museum Lecture Hall and Online

The Getty Research Institute hosts the 8th annual Getty Graduate Symposium, which showcases the work of emerging scholars from art history graduate programs across California. Organized into three sessions, the symposium includes nine individual presentations, moderated panel discussions, and Q&A sessions with the audience.

Participants include our own PhD candidate, Lily Allen

This event is FREE  free but advance tickets are required. 
To watch online, register via Zoom 

Participants:
Anahit Galstyan, University of California, Santa Barbara
Andrea Jung-An Liu, University of California, Berkeley
Bermet Nishanova, University of California, Irvine
Dejan Vasić, Stanford University
Evelyn Char, University of California, Santa Cruz
Johnnie Chatman, University of California, San Diego
Lily Allen, University of California, Riverside
Margot Yale, University of Southern California
Thomas Duncan, University of California, Los Angeles

 

 

UC Riverside Retirees’ and Emeriti Associations with additional sponsorship by UCR Osher and UCR’s Office of Gift Planning Present
The Edward A. Dickson Emeritus/a Professorship Lecture Series

 

SIGNATURE ROCKS: EMIGRATION AND THE SIGNED LANDSCAPE IN INDIAN COUNTRY: 1830-1860 Conrad Rudolph, Distinguished Professor Emeritus of Medieval Art History
SIGNATURE ROCKS: EMIGRATION AND THE SIGNED LANDSCAPE IN INDIAN COUNTRY: 1830-1860

Signature Rocks is the first systematic study of the surviving “signatures” inscribed by the emigrants, as they called themselves, on both the famous and not so famous rock formations that line the overland trails through Indian Country from the Missouri River to the Pacific from the 1830s to 1869.  Once numbering in the hundreds of thousands, only several thousand have survived. Following the overland crossing, we read  hese inscriptions — an unrecognized and vanishing American archive — in light of a number of motivations to signing culled from the over two thousand emigrant journals and other accounts that have come down to us. The result is a new understanding of this completely overlooked  spect of one of the most iconic episodes in the history of the United States.

Tuesday, October 21, 2025
3:00 – 4:30 p.m. with Reception to follow
In-person at University Extension Building 1101 in the University Village
Livestreamed via Zoom

 

Huntington Library Open House @UCR
Wednesday, October 1, 2025 3pm to 5:30pm

The Huntington Comes to UCR!

Join Huntington Library Director of Research Susan Juster, members of her staff, and Huntington curators for an Open House event at UC Riverside. Juster and her team will share insights into the Huntington’s fellowship program, the application process, and what makes for a strong application.

The Huntington is a word-class research institution, which promotes humanities scholarship on the basis of its library holdings and art collections. 

Whether you are a graduate student or a faculty member, please mark your calendar. This is a unique opportunity to learn and connect. An informal reception with drinks and snacks will follow the presentations.

Schedule

3:00-4:30 – Presentations from Huntington programming team, with Q&A
4:30-5:30 – Reception

RSVPs appreciated: https://bit.ly/HuntingtonUCR

Speakers

Susan Juster oversees the Research division that hosts more than 150 long- and short-term research fellows each year, selected through a competitive, peer-review process that provides $1.4 million in awards.

Brett Rushforth is editor-in-chief of the Huntington Library Quarterly, a peer-reviewed academic journal featuring original research and new perspectives on early modern art, literature, history, science, medicine, and material culture.

Shannon McHugh, the assistant director of research, helps connect the research of Huntington fellows with broader audiences while making connections between The Huntington’s historical collections and the present.

Vanessa Wilkie, Ph.D., is the head of the Library Curatorial department and curates the Library’s renowned collections of medieval manuscripts and British history.

Diva Zumaya, Ph.D., the associate curator of European art, researches The Huntington’s collection of European art, finds new connections between objects, and collaborates with Library and Botanical colleagues.

Sponsored by the UCR Department of History and the Being Human initiative at the Center for Ideas and Society.

 

UC Riverside Retirees’ and Emeriti Associations with additional sponsorship by UCR Osher and UCR’s Office of Gift Planning Present
The Edward A. Dickson Emeritus/a Professorship Lecture Series

 

Dickson Flyer Malcolm BakerMalcolm Baker, Distinguished Professor Emeritus of Art History
THE ART-HISTORICAL GENRE THAT DARE NOT SPEAK ITS NAME?  Authorship, Objects and Reconfiguring the Sculptural Catalogue Raisonné

Tuesday, June 3, 2025
3:00 – 4:30 p.m. with Reception to follow
In-person at University Extension Building 1101 in the University Village
Livestreamed via Zoom

https://events.ucr.edu/event/the-art-historical-genre-that-dare-not-speak-its-name-authorship-objects-and-reconfiguring-the-sculptural-catalogue-raisonne

2025 Brink Carrott Forster-Hahn Lecture Series

Join Us on Wednesday, May 28, 2025 at 5:30pm in ARTS 333

Brink Carrott Forester-Hahn Lecture SeriesSarah Salisbury, 2024 Barbara B. Brink Travel Award
Monumental Meetings: Locating Indigenous Monumentality at the Four Corners
Since 1875, the Four Corners Monument sits isolated at the northeast corner of the sovereign Navajo Nation, where it marks the convergence of four U.S. states — Arizona, Utah, Colorado, and New Mexico. Over the past hundred fifty years, the monument has increasingly become a popular tourist destination, though it appears solely to celebrate its colonial cartography. In 2010, however, something unique happened. The Navajo Nation and the Ute Mountain Tribe, with assistance from various federal agencies, completed a total redesign of the monument. Its newly enlarged complex now situates a medley of forms that inscribe Indigenous values to the cadastral landmark. Therefore, it now appears the monument convenes two systems of culture — Indigenous American and Western-US settler-colonial — altering the commemorative significance of the Four Corners Monument.

Elizabeth Carleton, 2024 Richard G. Carrott Travel Award
Perfecting Galileo: Collaborations Between Artist and Astronomer in 17th-Century Europe
My dissertation evaluates three responses to Galileo’s lunar representations: Claude Mellan’s 1637 lunar engravings; Johannes Hevelius’s 1647 lunar atlas, Selenographia: sive, lunae descriptio; and Giovanni Battista Riccioli’s 1651 Almagestum novum. Each of these projects represents a different type of collaboration between artist and scientist in the early modern period. In revisiting seventeenth-century selenography, I hope to enhance our understanding of the intellectual landscape of early modern Europe. The Carrott Grant enabled me to travel to Paris to conduct primary source research at the Bibliothèque nationale de France and the Paris Observatory.

Homer Arnold, 2024 Françoise Forster-Hahn Travel Award
Enabling the Enablers: Carp and the NEA
This talk examines how the Los Angeles arts production team Carp utilized loopholes and new grant categories created by the N.E.A. to fund their exhibitions during the long 1970s. While there is a canonized history of the “dematerialized” art object, there is a lesser-studied history of those who empowered artists in these pursuits, and an even lesser-known history of the funding that enabled this vaporization. Carp is a prime example of these understudied areas. To assist artists in the creation of public, ephemeral, and peripatetic artworks, Carp needed to stand at the complex intersection of art, the public, and money. As they succeeded in their fundraising, their projects became successful confrontations to pressing social issues while maintaining the DIY spirit of that decade. However, their success still depended on funding, showing that art in that era was tied to government and economic policies, even though artists often claimed otherwise.

 
 

 

Vera Molnar’s Drawing Machines: A Media Archaeology of Early Computer Graphics

Zsofi Valyi-Nagy, Ph.D Visiting Assistant Professor in Art History at Scripps College
Wednesday, May 14 at 5:30pm, INTS 1128

How do you draw a line with a computer? When the Hungarian-born, Paris-based artist Vera Molnar (1924-2023) began exper-imenting with electronic computers in 1968, this task was not as simple as the click of a mouse or the swipe of a finger. Molnar had to translate her visual language of geometric abstraction into alphanumeric instructions that a computer would understand. Though she generated thousands of computer plotter “drawings” over the next two decades, she left behind limited technical documentation from this period, leaving it up to viewers to imagine the algorithms behind her compositions. This lecture presents a media archeology of the artist’s work –– a hands-on approach that engages not only with her drawings but also her process of drawing with a computer. I will recount my “reenactment” of Molnar’s series Lettres de ma mère (My mother’s letters, 1988) using obsolete hardware and software that the artist once used. This practice-led approach foregrounds the artist’s process and historically contextualizes the material history and user experience of early interactive computing, which have been all but forgotten.