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DTSTART;TZID=America/Los_Angeles:20190525T090000
DTEND;TZID=America/Los_Angeles:20190525T170000
DTSTAMP:20260429T225021
CREATED:20190412T210531Z
LAST-MODIFIED:20190412T210835Z
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SUMMARY:ReVision--8th Annual UCR AHGSA Conference
DESCRIPTION:Re-Vision: Myth\, Memory\, and the Gendered Self \nThe Art History Graduate Student Association (AHGSA) will host its eighth annual academic conference Saturday\, May 25th\, 2019 at UCR ARTS Barbara and Art Culver Center of the Arts in Riverside. The conference is open to all graduate students\, as well as the public; there is no registration fee. This event is entirely student-generated and organized by UCR’s Department of the History of Art graduate students. This is an all-day event\, and the goal of this year’s conference is to promote an interdisciplinary dialogue through visual and material culture by questioning imposed gendered hierarchies and identities\, in order to facilitate inclusive understandings of gendered roles through history. This year’s theme concerns re-vision — revising\, re-conceptualizing\, and seeing differently — as the act of “looking back” to forge new critical directions and critique androcentric world views and traditions. \nKeynote Speaker: Dr. Charlene Villaseñor Black\, UCLA Department of Art History \nSpeakers and conference goers will also have the opportunity to view two opening exhibitions at the museum that evening: the Senior Art Show\, and the art exhibition entitled Exile: The Land of Non-Belonging — curated by graduate student and Curatorial Fellow\, Camilla Querin — at the California Museum of Photography\, May 25th – September 8\, 2019. \nFacebook event page: https://www.facebook.com/events/415884202310909/
URL:https://arthistory.ucr.edu/event/revision-8th-annual-ucr-ahgsa-conference/
LOCATION:UCR ARTS Barbara and Art Culver Center of the Arts\, 3824 Main St\, Riverside\, CA\, United States
CATEGORIES:Conference
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DTSTART;TZID=America/Los_Angeles:20180519T090000
DTEND;TZID=America/Los_Angeles:20180519T170000
DTSTAMP:20260429T225021
CREATED:20180507T223529Z
LAST-MODIFIED:20180507T223529Z
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SUMMARY:Annual Graduate Student Conference - The Art of Being in Exile: Alienation & Liberation
DESCRIPTION:Exile involves anything that precludes a person from inhabiting or experiencing a condition of establishment. Thus\, exile can be self- or externally-imposed\, natural or voluntary\, and come about for a wide variety of reasons such as: politics\, ecology\, economics\, safety\, ideology\, sexuality\, religion\, or expatriation for study/work/security purposes. Although exile often has negative connotations\, it can also be liberating for some individuals\, particularly if they were established in a place or manner that prevented them from expressing their true selves or beliefs. \nExile is a state or condition not bound to a specific place or time. Because of its strong impact on the people living through it\, exile has inspired works of literature\, theater\, music\, and the visual arts. Ostracism was a punishment considered worse than death in Greek literature. Shakespeare inflicted banishment on many of his characters. Napoleon Bonaparte’s court painter Jacques-Louis David was exiled in Brussels following the Bourbon restoration\, and while there\, produced extraordinary portraits of fellow exiles\, supporters of the deposed emperor. Hungarian-born László Moholy-Nagy\, a central figure at the German Bauhaus School in the 1920s\, went through several self-imposed exiles as he sought creative freedom and inspiration. In 1935\, in response to the rise of National Socialism\, he relocated to London\, and then again to Chicago. The Argentine Leon Ferrari was forced into exile in Brazil in 1976 because of his political artworks in opposition to the military dictatorship\, which also disappeared his son Ariel the year after. Nidaa Badwan opted for a year-long voluntary exile in 2013\, retreating to her room in Gaza\, which she rarely left. There\, she created a photographic self-portrait series that leaves the chaos outside\, to the streets of Gaza. \nAt a time when war\, natural disaster\, ecological devastation\, famine\, and intolerance continue to drive hundreds of millions of people out of their homeland\, the conference aims to be a platform of dialogue to explore this phenomenon and its complex implications. Questions we seek to consider include: In what way do artists engage with the experience of exile\, where gender\, sexuality\, and ethnicity\, assume new connotations? Under which conditions can exile art open a dialogue on issues of gender\, sexuality\, ethnicity\, nationality\, and the status of immigration?  \nWe are honored to host Dr. Tatiana Flores\, Associate Professor in the Departments of Art History at Rutgers University\, as this year’s keynote speaker.
URL:https://arthistory.ucr.edu/event/annual-graduate-student-conference-the-art-of-being-in-exile-alienation-liberation/
LOCATION:Culver Center of the Arts
CATEGORIES:Conference
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DTSTART;TZID=America/Los_Angeles:20171103T130000
DTEND;TZID=America/Los_Angeles:20171103T173000
DTSTAMP:20260429T225021
CREATED:20171002T203359Z
LAST-MODIFIED:20171010T211420Z
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SUMMARY:The Third Annual Wong Forum on Art and the Immigrant Experience
DESCRIPTION:The Third Annual Wong Forum on Art and the Immigrant Experience \nFaces/Portraits/Selfies\n \nFriday\, November 3\, 2017 \nHammond Dance Studio at UCR ARTSblock \n3834 Main Street\, Riverside\, CA \nFree and Open to the Public \n1:00 PM – 5:30 PM \n5:30 PM Reception \n  \nSchedule of Events: \n1:00 – 1:10 PM \nWelcome Remarks: Jeanette Kohl \nIntroduction: J.P Park \n1:10 – 2:30 PM \nDerek Murray\, University of California\, Santa Cruz \n“The Self-Portrait in a Narcissistic Age” \nDora Ching\, Princeton University \n“Fascinating Faces: Identity and Type in Chinese Portraits” \n2:30 – 2:50 PM \nBreak \n2:50 – 4:20 PM \nMaria Loh\, Hunter College \n“Status Update” \nAmy Freund\, Southern Methodist University \n “The Name of a Dog: Eighteenth-Century Portraiture and the Question of the Animal Self”           \n4:20 – 4:40 PM                                                                                                              \nBreak \n4:40 – 5:30 PM \nConrad Rudolph\, University of California\, Riverside \n“FACES: Faces\, Art\, and Computerized Evaluation Systems”                     \nClosing Remarks \nReception \n  \nFor more information\, contact arthistory@ucr.edu
URL:https://arthistory.ucr.edu/event/the-third-annual-wong-forum-on-art-and-the-immigrant-experience/
LOCATION:Culver Center of the Arts
CATEGORIES:Conference
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20170520
DTEND;VALUE=DATE:20170521
DTSTAMP:20260429T225021
CREATED:20170505T154609Z
LAST-MODIFIED:20170508T172840Z
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SUMMARY:Breaking Conventions: Interdisciplinary Methodologies & Art History
DESCRIPTION:Breaking Conventions: Interdisciplinary Methodologies & Art History\nSaturday\, May 20\, 2017\n6th Annual Graduate Student Conference\nCulver Center for The Arts in Downtown Riverside\, CA \nUC Riverside – Department of The History of The Art \nKeynote Address: Dr. Carolyn Dean\, University of California\, Santa Cruz \n View the 2017 conference schedule \nSpecial Thanks to our Sponsors: \nThe Department of History of Art\, Center of Ideas and Society\, CHASS Dean’s Office\, UCR Graduate Student Association \nFor more information visit artsblock.ucr.edu or email ahgsu.ucr@gmail.com
URL:https://arthistory.ucr.edu/event/breaking-conventions-interdisciplinary-methodologies-art-history/
LOCATION:Culver Center of the Arts
CATEGORIES:Conference
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20170427
DTEND;VALUE=DATE:20170429
DTSTAMP:20260429T225021
CREATED:20170314T173004Z
LAST-MODIFIED:20170414T181445Z
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SUMMARY:Powerful Migrations: Identity/Security/Fluidity
DESCRIPTION:Powerful Migrations: Identity/Security/Fluidity\nApril 27 & 28\, 2017\nUniversity of California\, Riverside\nCHASS INTS 1113 & Culver Center of the Arts\nFull Schedule and List of Speakers \nOver 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. \nJoint 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. \nThe 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. \nSponsors\nUCR Center for Ideas and Society\nUCR Office of International Affairs\nCHASS Dean’s Office\nUCR Artsblock\nWorld Affairs Council of Inland Southern California \nConference Organizers\nJeanette Kohl (Associate Professor and Chair\, Art History\, UC Riverside)\nKelechi Kalu (Vice Provost of International Affairs\, UC Riverside) \nDownload flyer \n \nThe conference and all associated events are free and open to the public.
URL:https://arthistory.ucr.edu/event/powerful-migrations-identitysecurityfluidity/
LOCATION:CA
CATEGORIES:Conference
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DTSTART;VALUE=DATE:20160521
DTEND;VALUE=DATE:20160522
DTSTAMP:20260429T225021
CREATED:20160218T220934Z
LAST-MODIFIED:20160330T180806Z
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SUMMARY:5th Annual UCR History of Art Graduate Student Conference
DESCRIPTION: Material Experience: Thinking With Objects\n5th Annual UCR History of Art Graduate Student Conference\nCulver Center of the Arts\nMay 21\, 2016 \nNew theories in art history\, cultural studies\, and philosophy have recently called attention to the power of matter in shaping our perception of the world. However\, attention to materiality is nothing new. For example\, in the 12th century\, Abbot Suger defended his extravagant art program at St. Denis in part by inscribing on its doors that “the dull mind rises to the truth through material things.” Suger’s statement makes clear the profound and illuminating potential of material objects that has persisted\, in varying forms\, throughout history. \nHowever\, James Elkins has observed recently that fields of visual studies are characterized by an enduring disparity between written theories about objects and the embodied experience of one’s encounter\, indicating more broadly what he calls a “fear of materiality.” At a time in which our experience of art\, architecture\, and other objects in visual culture is often physically removed through their circulation as digital images\, this topic arrives with a detectable urgency. How should we in turn experience the things of the world? This multi-disciplinary conference will address how the material conditions of objects invigorate social\, political\, and aesthetic spheres. \nQuestions we seek to consider: What role does materiality have in shaping our perception of objects? How do emerging or established theories of materiality impact art history\, visual studies\, and other disciplines? And\, accordingly\, what are the limits of these theories? Do the means of production and exchange alter our perception of the material object? And finally\, how does art\, regarded as material culture\, function as historical evidence? \nWe are honored to host Dr. Daniela Bleichmar\, Associate Professor in the Departments of Art History and History at the University of Southern California\, as this year’s keynote speaker. \nCall for Papers (Submission deadline: March 1\, 2016) \nFor more information\, visit https://artsblock.ucr.edu/Program/Material-Experience
URL:https://arthistory.ucr.edu/event/5th-annual-ucr-history-of-art-graduate-student-conference/
LOCATION:Culver Center of the Arts
CATEGORIES:Conference
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150516T090000
DTEND;TZID=America/Los_Angeles:20150516T170000
DTSTAMP:20260429T225021
CREATED:20150407T222345Z
LAST-MODIFIED:20150408T231835Z
UID:1385-1431766800-1431795600@arthistory.ucr.edu
SUMMARY:4th Annual Graduate Student Conference: On Whose Authority? (Re)Assessing the Malleable Canon of Visuality
DESCRIPTION:Dr. Rafael Cardoso\, Keynote\n2014 – 15 Getty Research Institute Scholar\nProfessor\, Universidade do Estadodo Rio de Janiero \nAlthough the term canon implies rigidity\, internal and external pressures have often forced canons to be reevaluated and reformed. A look at art and objects a global scale\, from past to present\, inevitably reveals the complexity as well as the exclusionary equality of canonicity. As such\, a canon can be shown to have a malleable nature\, one that yields or resists challenges to authority. Because the concept of a canon in relation to visuality permeates a wide variety of disciples\, this multidisciplinary conference seeks explore the relationship between canonicity and the arts\, in any of its forms\, within an expanding global context. Read more
URL:https://arthistory.ucr.edu/event/4th-annual-graduate-student-conference-on-whose-authority-reassessing-the-malleable-canon-of-visuality-2/
LOCATION:California Museum of Photography
CATEGORIES:Conference
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/04/WhoseAuthority_Postcard_Front.jpg
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