FACES: Faces, Art, and Computerized Evaluation Systems

This event is sponsored by the College of Humanities, Arts and Social Sciences

Conrad Rudolph

Thursday, May 18, 2017

5:10 p.m.

ARTS 333

In the application of face recognition technology to photographed human faces, a number of difficulties are inherent in a real or perceived alteration of appearance of the face through variations in facial expression, age, angle of pose, and so on. With works of portrait art, not only do all these problems pertain, but these works also have their own additional challenges. Most notably, portrait art does not provide what might be called a photographic likeness but rather one that goes through a process of visual interpretation on the part of the artist. In this lecture, Professor Rudolph will discuss how, after two years of NEH funded research, FACES has demonstrated proof of concept, begun work on the style of the individual artist, and tested the FACES algorithm with a few “identifications,” in the process establishing the initial parameters of the application of face recognition technology to works of portrait art while at the same time retaining the human eye as the final arbiter.

CHASS Distinguished Research Lecturer

Event is free and open to the public.

Light refreshments will be served

in ARTS 333

Conrad Rudolph, Distinguished Professor of Medieval Art History

Department of the History of Art

University of California, Riverside

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The University of California, Riverside Department of the History of Art, in conjunction with the UCR Center for Ideas and Society Powerful Migrations conference, present:

Migrating the Museum Part 1

FRIDAY, APRIL 28, 12:00 PM

Public unveiling of four stereograph viewers constructed by artist Arnold Martin, installed on the Main Street Pedestrian Mall in Riverside, CA. Each is loaded with five 3-dimensional images drawn from the California Museum of Photography’s archive of more than 300,000 stereographs. Co-curated by Rachel Browning, Reana Carr, Angelica De Jesus, Ena Hillery, Jenny Le, Kalene Paquia and Amy Vasquez, seven undergraduates in the History of Art, advised by Susan Laxton, Assistant Professor of the History of Photography at UCR.

Pedestrian Mall, Culver Arts Center, 3834 Main Street, Riverside

Support for this project has been provided by the UCR Office of Undergraduate Education, The Center for Ideas and Society, UCR International Affairs, The California Museum of Photography, and the City of Riverside Arts and Cultural Affairs Division.

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Brink Carrot Lecture Series presents:

Karlyn Olvido
2016 Richard G. Carrott Travel Award
“The History of American Surgery as Told through 19th-century Photographs”
Carlotta Falzone Robinson
2016 Barbara B. Brink Travel Award
“Archibald Knox: British Modernity and Celtic Identity”
Each year, the UCR Art History department calls for applications for two graduate student awards. Students with plans to conduct archival research, museum visits, or other research related travels are strongly encouraged to apply: www.arthistory.ucr.edu/graduate/brink-carrott-graduate-awards/

Rebecca Peabody Lecture flyerOn Building a Career in Expanded Academia

Rebecca Peabody is Head of Research Projects & Programs at the Getty Research Institute. She earned a joint PhD from Yale University in the History of Art and African American Studies, and focuses her research on representations of race, gender, and nationality in twentieth-century American art and culture. Her scholarly publications include Consuming Stories: Kara Walker and the Imagining of American Race (2016), a literary and art historical analysis of Walker’s artwork that focuses on the role of the entertainment industry, and its consumers, in processes of racialization; and three edited volumes on American art in a global context. Her trade book The Unruly PhD: Doubts, Detours, Departures and Other Success Stories (2014) is a collection of first-person stories recounted by former graduate students who have successfully reached the other side of a PhD – and are willing to speak frankly about the challenges and decisions they faced along the way. She has taught at Yale University and the University of Southern California. Her two most recent books – one a scholarly monograph, and the other a trade book – provide a point of departure for a larger conversation about the adventure of building a career in expanded academia.

Powerful Migrations: Identity/Security/Fluidity

April 27 & 28, 2017
University of California, Riverside
CHASS INTS 1113 & Culver Center of the Arts

Full Schedule and List of Speakers

Over the past years, new forms of terrorism, war, and the clash of opposed cultural and religious value-systems have caused unprecedented mass migrations in the modern world. They have, in turn, brought about a fundamental level of insecurity among Western Cultures, a far-reaching irritation as to how to react properly to the streams of migrants risking their lives on dangerous passages – across land, sea and air borders – to seek refuge in the more prosperous and politically stable countries of the Western World. Those recent events demand a closer look into the history and nature of migration, its manifold causes, forms, and effects.

Joint interdisciplinary efforts in thinking about migration as a cultural, political, and social phenomenon have never been more urgent than they are now. Only if we understand the literal migrations of people and objects across existing borders in both a larger cultural and a historical perspective, will we be able to broaden our understanding and perhaps re-evaluate the current political discussions on national security and the resulting societal discourses on inclusion vs. exclusion. This applies in particular for the overdue disentanglement of the categories of migration and terrorism, so easily juxtaposed with issues of (inter)-national stability and security.

The Powerful Migrations conference is rooted in the realization that the obvious monopolization and linking of debates around migration and security in political and military discourse need be set on a broader intellectual footing – an endeavor that by necessity must be interdisciplinary. Within our framework, the concept of ‘fluidity’ will serve as a tentative paradigm to re-examining questions of migration, identity and security both in history and in recent times of globalization.


UCR Center for Ideas and Society
UCR Office of International Affairs
CHASS Dean’s Office
UCR Artsblock
World Affairs Council of Inland Southern California

Conference Organizers

Jeanette Kohl (Associate Professor and Chair, Art History, UC Riverside)
Kelechi Kalu (Vice Provost of International Affairs, UC Riverside)

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The conference and all associated events are free and open to the public.

The Material of Form: Concrete Art during the Second Industrial Revolution


Some thoughts about how the “second industrial revolution” changed the shape and texture of art in Brazil and Argentina

In 1956, Tomás Maldonado, the Argentine-born artist and pedagogue, referred to his current era as the “second industrial revolution.” This was a particularly apt description of Latin America at the time, as several nations were rapidly industrializing.  In this paper, I consider the swift response by young avant-garde artists working in Buenos Aires, São Paulo and Rio de Janeiro who debated the role of art in their modernized society. In their view, artworks should be “universal,” and integrated into every-day life, functioning more like commercial goods than masterpieces.  In painting and sculpture they hoped to achieve this by dedicating their efforts exclusively to geometric abstraction, which they considered to be a “universal” visual language, rejecting all forms of representational art. They also began to experiment with new paints and supports developed by the industrial sector.  These artworks, which were the product of recent technological innovations, became inextricably linked, both formally and materially, to the social and political changes then underway.  For this reason, I argue that it is imperative to consider sculptures and paintings in multiple dimensions, examining the sides, the back, and the top, as well as the composition on the front.  I describe this approach as holistic formalism because it goes far beyond conventional formal analysis and calls attention to the shape and size of an object, its surface quality, and the particularities of framing and installation; it also addresses each of these factors with historical specificity, thereby revealing how these objects are culturally and materially distinct from geometric abstract works realized elsewhere. 

Wednesday, February 22, 2017 at 5:10pm in ARTS 333