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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180405T163000
DTEND;TZID=America/Los_Angeles:20180405T173000
DTSTAMP:20260430T060535
CREATED:20180309T230251Z
LAST-MODIFIED:20180309T230309Z
UID:3338-1522945800-1522949400@arthistory.ucr.edu
SUMMARY:Art History At Work Lecture Series\, Brooke Devenney Director of Individual Giving\, MOCA
DESCRIPTION:ART HISTORY AT WORK LECTURE SERIES \nBuilding Sustainable Careers: Lesser-Known Paths\nBrooke Devenney Director of Individual Giving\, Museum of Contemporary Art\, Los Angeles \nBrooke Devenney\, Director of Individual Giving at The Museum of Contemporary Art\, Los Angeles (MOCA)\, will discuss how a Master of Arts in Art History at the University of California\, Riverside has benefitted her as a fundraising professional in the arts. Her presentation will focus on her experiences working at the Palm Springs Art Museum\, the Los Angeles County Museum of Art (LACMA)\, and MOCA. As a lesser-known career path for art history students\, fundraising can be a very rewarding way to combine a love of art history with a sustainable career in art museums. \nThursday\, April 5\, 2018 at 4:30pm in ARTS 333 \nDownload the PDF flyer
URL:https://arthistory.ucr.edu/event/art-history-at-work-lecture-series-brooke-devenney-director-of-individual-giving-moca/
LOCATION:ARTS 333
CATEGORIES:Guest Lecturer
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2018/03/BrookeDevenney-e1520636447577.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180320T120000
DTEND;TZID=America/Los_Angeles:20180320T130000
DTSTAMP:20260430T060535
CREATED:20180313T155728Z
LAST-MODIFIED:20180313T155728Z
UID:3344-1521547200-1521550800@arthistory.ucr.edu
SUMMARY:Peyvand Firouzeh Lecture - Devotion\, Space\, and Authority in Early Modern Iran and Deccan India
DESCRIPTION:Devotion\, Space\, and Authority in Early Modern Iran and Deccan India\nPeyvand Firouzeh\, Ph.D. Cambridge University \nPeyvand Firouzeh received her PhD from Cambridge University in 2016. Her work links early modern Persia and India\, and aims to break down the traditional distinc-tion between the Islamic and the Indic. More specifically\, she looks at Sufism as an element of elite patronage that transcended this larger region\, revising a longstanding idea that Sufism was antithetical to elite political ideology. She is completing a book provisionally called Sanctity and Spatial Authority: Ne ‘matollahi Sufi Networks and Material Culture between Iran and Deccan India in the Early Modern Era. \nTuesday\, March 20\, 2018 at 12:00pm ARTS Seminar Room 333  \nDownload the PDF flyer
URL:https://arthistory.ucr.edu/event/peyvand-firouzeh-lecture-devotion-space-and-authority-in-early-modern-iran-and-deccan-india/
LOCATION:ARTS 333
CATEGORIES:Guest Lecturer
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2018/03/PeyvandFlyer18-e1520956581948.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180312T171500
DTEND;TZID=America/Los_Angeles:20180312T183000
DTSTAMP:20260430T060535
CREATED:20180307T181132Z
LAST-MODIFIED:20180307T181132Z
UID:3330-1520874900-1520879400@arthistory.ucr.edu
SUMMARY:Abbey Stockstill Lecture - The Mountains and the Red City: Identity in the Landscape of Almohad Marrakesh
DESCRIPTION:The Mountains and the Red City: Identity in the Landscape of Almohad Marrakesh \nAbbey Stockstill Ph.D. Candidate\, Harvard University \nAbbey Stockstill is completing her dissertation at Harvard University on The Mountains\, the Mosque\, and the Red City: Abd al-Mu’min and the Almohad Legacy of Marrakesh. Her interests place Marrakesh as a meeting point of the Mediterranean (both North Africa and Iberia) and Sub-Saharan Africa in the period 1000-1500\, and incorporate a number of other interests\, from performance and ceremonial to technological transmission.\nMonday\, March 12\, 2018 at 5:15pm ARTS Seminar Room 333 \nSponsored by the Department of the History of Art \nDownload the PDF flyer
URL:https://arthistory.ucr.edu/event/abbey-stockstill-lecture-the-mountains-and-the-red-city-identity-in-the-landscape-of-almohad-marrakesh/
LOCATION:ARTS 333
CATEGORIES:Guest Lecturer
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2018/03/StockstillFlyer18.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180308T171500
DTEND;TZID=America/Los_Angeles:20180308T183000
DTSTAMP:20260430T060535
CREATED:20180305T153252Z
LAST-MODIFIED:20180305T153335Z
UID:3324-1520529300-1520533800@arthistory.ucr.edu
SUMMARY:Nina Macaraig Lecture - Mortar\, Brick and Pipes: Visiting the Construction Site of Mimar Sinan's Iskender Pasha Hamam in Sixteenth-Century Istanbul
DESCRIPTION:Mortar\, Brick and Pipes: Visiting the Construction Site of Mimar Sinan’s Iskender Pasha Hamam in Sixteenth-Century Istanbul. \nNina Macaraig\, Ph.D. Visiting Assistant Professor\, UC Riverside \nNina (Ergin) Macaraig specializes in Ottoman architectural history\, in particular the “lesser” monuments within its canon\, such as bath-houses and soup kitchens\, as well as sensory aspects of the built environment\, about which she has published extensively. From 2008 to 2017\, she taught in the Department of Archaeology and History of Art at Koç University\, Istanbul. Her book Cemberlitas Hamami in Istanbul: The Biographical Memoir of a Turkish Bath is forthcoming from Edinburgh University Press. \nThursday\, March 8\, 2018 at 5:15pm ARTS Seminar Room 333 Sponsored by the Department of the History of Art \nDownload the PDF flyer
URL:https://arthistory.ucr.edu/event/nina-macaraig-lecture-mortar-brick-and-pipes-visiting-the-construction-site-of-mimar-sinans-iskender-pasha-hamam-in-sixteenth-century-istanbul/
LOCATION:ARTS 333
CATEGORIES:Guest Lecturer
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2018/03/MacaraigFlyer18.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180305T171500
DTEND;TZID=America/Los_Angeles:20180305T183000
DTSTAMP:20260430T060535
CREATED:20180301T222857Z
LAST-MODIFIED:20180305T153411Z
UID:3318-1520270100-1520274600@arthistory.ucr.edu
SUMMARY:Fatima Quraishi Lecture - Encounters in Sindh: Circuits of Mobility and Artistic Transmission at the Makli Necropolis
DESCRIPTION:Encounters in Sindh: Circuits of Mobility and Artistic Transmission at the Makli Necropolis\nFatima Quraishi\, Ph.D. Candidate\, Institute of Fine Arts\, New York University \nFatima Quraishi is completing her dissertation at the Institute of Fine Arts at New York University. Her dissertation\, “Necropolis as Palimpsest: The Cemetary of Makli in Sindh\, Pakistan”\, traces the development of a modest Sufi shrine that grew to become a monumental funerary site. Her other interests include illustrated manuscripts produced in Kashmir in the late eighteenth and early nineteenth centuries. \nDownload PDF flyer.
URL:https://arthistory.ucr.edu/event/fatima-quraishi-lecture-encounters-in-sindh-circuits-of-mobility-and-artistic-transmission-at-the-makli-necropolis/
LOCATION:ARTS 333
CATEGORIES:Guest Lecturer
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2018/03/Qurashi-Flyer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171130T111000
DTEND;TZID=America/Los_Angeles:20171130T123000
DTSTAMP:20260430T060535
CREATED:20171109T230424Z
LAST-MODIFIED:20171109T230836Z
UID:3214-1512040200-1512045000@arthistory.ucr.edu
SUMMARY:Work In Progress Series – Dr. habil. Johannes Endres
DESCRIPTION:The World of Tomorrow: The Westinghouse Time Capsule of Cupalloy (1939)\nDr. habil. Johannes Endres\, Professor of Art History\nThe Westinghouse Time Capsule of Cupalloy was designed and deposited on occasion of the 1939 World Fair in Flushing Meadows\, New York. Deemed capable of resisting the effects of time for 5\,000 years\, the capsule aims to preserve an account of the “universal achievements” of the Western world for a distant future. My talk will discuss crucial aspects of its planning\, content and mission\, as they present themselves against the backdrop of the World Fair\, the historical moment in time\, and the material\, visual and literary culture to which the capsule both appertains and testifies. Of particular interest will be the capsule’s “survival strategies\,” that is to say\, its material and logistic provisions made against the adversities of time and oblivion\, as well as its “heterotopian” properties – properties that result from a culture’s attempt to picture itself from the viewpoint of its own extinction. \nThursday\, November 30\, 2017 at 11:10am in ARTS 333
URL:https://arthistory.ucr.edu/event/work-in-progress-series-dr-habil-johannes-endres/
LOCATION:ARTS 333
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/11/EndresWorkInProgress.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171103T130000
DTEND;TZID=America/Los_Angeles:20171103T173000
DTSTAMP:20260430T060535
CREATED:20171002T203359Z
LAST-MODIFIED:20171010T211420Z
UID:3155-1509714000-1509730200@arthistory.ucr.edu
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
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/10/WONG2017LetterSizePoster-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171012
DTEND;VALUE=DATE:20171230
DTSTAMP:20260430T060535
CREATED:20171010T180847Z
LAST-MODIFIED:20171010T180847Z
UID:3164-1507766400-1514591999@arthistory.ucr.edu
SUMMARY:Migrating The Museum Part 3: Alternate Worlds
DESCRIPTION:On view October 12 through December 29. \nJoin us at the Riverside “Long Night of Arts and Innovation”\, October 12\, 5 to midnight\, to slip into the alternate worlds offered by three stereo viewers 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. Curated by UCR alumna Angelica DeJesus\, advised by Susan Laxton\, Associate Professor of the History of Photography at UCR. \nPedestrian Mall\, Culver Arts Center\, 3834 Main Street\, Riverside \nSupport 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.
URL:https://arthistory.ucr.edu/event/migrating-the-museum-part-3-alternate-worlds/
LOCATION:Culver Center of the Arts
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/10/Migrating-the-Museum-Part3small.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170520
DTEND;VALUE=DATE:20170521
DTSTAMP:20260430T060535
CREATED:20170505T154609Z
LAST-MODIFIED:20170508T172840Z
UID:3022-1495238400-1495324799@arthistory.ucr.edu
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
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/05/18216455_1603576226349642_5564697580517884890_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170518T171000
DTEND;TZID=America/Los_Angeles:20170518T183000
DTSTAMP:20260430T060535
CREATED:20170414T181105Z
LAST-MODIFIED:20170414T181105Z
UID:2978-1495127400-1495132200@arthistory.ucr.edu
SUMMARY:FACES: Faces\, Art\, and Computerized Evaluation Systems
DESCRIPTION:FACES: Faces\, Art\, and Computerized Evaluation Systems \nThis event is sponsored by the College of Humanities\, Arts and Social Sciences \nConrad Rudolph \nThursday\, May 18\, 2017 \n5:10 p.m. \nARTS 333 \nIn 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. \nCHASS Distinguished Research Lecturer \nEvent is free and open to the public.  \nLight refreshments will be served  \nin ARTS 333  \nConrad Rudolph\, Distinguished Professor of Medieval Art History \nDepartment of the History of Art \nUniversity of California\, Riverside \nDownload the flyer
URL:https://arthistory.ucr.edu/event/faces-faces-art-and-computerized-evaluation-systems/
LOCATION:ARTS 333
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/04/Conrad-Rudolph-flyer-Final.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170511T171000
DTEND;TZID=America/Los_Angeles:20170511T191000
DTSTAMP:20260430T060535
CREATED:20170323T174234Z
LAST-MODIFIED:20170410T212341Z
UID:2939-1494522600-1494529800@arthistory.ucr.edu
SUMMARY:Working Art History Lecture Series – Dr. Rebecca Peabody\, Head\, Research Projects & Programs\, Getty Research Institute
DESCRIPTION:On Building a Career in Expanded Academia \nRebecca 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.
URL:https://arthistory.ucr.edu/event/working-art-history-lecture-series-dr-rebecca-peabody-head-research-projects-programs-getty-research-institute/
LOCATION:ARTS 333
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/03/Peabody-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170428T120000
DTEND;TZID=America/Los_Angeles:20170428T123000
DTSTAMP:20260430T060535
CREATED:20170412T223949Z
LAST-MODIFIED:20170413T163003Z
UID:2971-1493380800-1493382600@arthistory.ucr.edu
SUMMARY:Migrating the Museum Part 1
DESCRIPTION: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: \nMigrating the Museum Part 1 \nFRIDAY\, APRIL 28\, 12:00 PM \nPublic 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. \nPedestrian Mall\, Culver Arts Center\, 3834 Main Street\, Riverside \nSupport 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. \nDownload the flyer
URL:https://arthistory.ucr.edu/event/migrating-the-museum-part-1/
LOCATION:Culver Center of the Arts
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/04/Migrating-the-Museum.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170427
DTEND;VALUE=DATE:20170429
DTSTAMP:20260430T060535
CREATED:20170314T173004Z
LAST-MODIFIED:20170414T181445Z
UID:2924-1493251200-1493423999@arthistory.ucr.edu
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/
CATEGORIES:Conference
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/03/MigrationsHeaderWeb.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170413T170000
DTEND;TZID=America/Los_Angeles:20170413T183000
DTSTAMP:20260430T060535
CREATED:20170405T205842Z
LAST-MODIFIED:20170410T220149Z
UID:2947-1492102800-1492108200@arthistory.ucr.edu
SUMMARY:Brink Carrot Lecture Series
DESCRIPTION:Brink Carrot Lecture Series presents: \n\n\nKarlyn Olvido\n2016 Richard G. Carrott Travel Award\n“The History of American Surgery as Told through 19th-century Photographs”\nand\nCarlotta Falzone Robinson\n2016 Barbara B. Brink Travel Award\n“Archibald Knox: British Modernity and Celtic Identity”\n \n\n\n\n\nEach 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/
URL:https://arthistory.ucr.edu/event/brink-carrot-lecture-series/
LOCATION:ARTS 333
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/04/Brink-Carrot-2017-min.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170222T171000
DTEND;TZID=America/Los_Angeles:20170222T183000
DTSTAMP:20260430T060535
CREATED:20170101T091035Z
LAST-MODIFIED:20170203T230419Z
UID:2842-1487783400-1487788200@arthistory.ucr.edu
SUMMARY:Work In Progress Series – Aleca LeBlanc\, Ph.D
DESCRIPTION:The Material of Form: Concrete Art during the Second Industrial Revolution\nAleca LeBlanc\, PH.D. PROFESSOR OF ART HISTORY \nSome thoughts about how the “second industrial revolution” changed the shape and texture of art in Brazil and Argentina \nIn 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.  \nWednesday\, February 22\, 2017 at 5:10pm in ARTS 333
URL:https://arthistory.ucr.edu/event/work-in-progress-series-aleca-leblanc-ph-d/
LOCATION:ARTS 333
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2017/02/LeBlancWorkInProgress02-22-17.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170119T171000
DTEND;TZID=America/Los_Angeles:20170119T191000
DTSTAMP:20260430T060535
CREATED:20161214T191455Z
LAST-MODIFIED:20170119T180115Z
UID:2812-1484845800-1484853000@arthistory.ucr.edu
SUMMARY:Working Art History Lecture Series - Dr. Faya Causey\, Head\, Academic Programs\, National Gallery of Art
DESCRIPTION:Not Set in Amber\nDr. Faya Causey\nHead\, Academic Programs\nNational Gallery of Art\nFaya Causey’s lecture title\, Not Set in Amber\, might suggest something about the subjects she will speak about on January 19\, 2017.  Her most important publications have been centered on ancient art\, a few contemporary artists\, Paul Cézanne\, and the fossil resin\, amber — its nature\, importance to humans over history as a high-value substance used for ornament\, as amulet\, as medicine and for incense especially in the ancient world.  Although her first jobs as a professor seemed to indicate a life in academe\, Causey took a different path in 1994 when she left a tenured position as an art history professor to work at the National Gallery of Art in the Education Division as the Head of the Academic Programs Department.  Her career was not fossilized! In addition to an overview of her fascinating work at the ArtCenter Pasadena\, California State University Long Beach\, at the National Gallery of Art\, Causey will speak about alternative career paths for students interested in art\, art history\, archaeology\, and the humanities. \n 
URL:https://arthistory.ucr.edu/event/working-art-history-lecture-series/
LOCATION:INTS 1111\, CHASS Interdisciplinary North
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2016/12/FayaCausey1000-e1481742834263.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161104T100000
DTEND;TZID=America/Los_Angeles:20161104T170000
DTSTAMP:20260430T060535
CREATED:20161010T174201Z
LAST-MODIFIED:20161214T192951Z
UID:2672-1478253600-1478278800@arthistory.ucr.edu
SUMMARY:The Second Annual Wong Forum on Art and the Immigrant Experience
DESCRIPTION:The Second Annual Wong Forum on Art and the Immigrant Experience \nTHE ART OF HOMELAND AND THE UNITED STATES\n \nThis symposium examines the idea of homeland in the art and visual culture from the region now called the United States. As a concept\, homeland plays a vital role in the shaping of individual and collective identity. Most directly\, homeland can be understood to signify a person or people’s place of origin. The concept is in this way deeply embedded in the specifics of location and lineage. At the same time\, the term also connotes a more subjective and contingent set of allegiances\, including those of family\, community\, nation\, religion\, race\, ethnicity\, environment\, and experience. Through these bonds\, identification with a homeland provides one of the main anchors of individual being\, group cohesiveness\, and social legitimacy. Forging such connections offers people roots\, a framework for binding to others and\, ultimately\, a sense of place in the world. The notion homeland is\, in this way\, a positive cultural force. \nAt the same time\, the idea of homeland has been an abiding source of contention\, divisiveness\, and violence. Human history is pervaded with trauma and injustice enacted over claims to homelands both actual and metaphorical. In this way\, the assertion of a homeland has tested the very possibility of social cohesion and self-determination. In the United States especially\, where an array of constituencies struggle—often inequitably—to build for themselves a sense of place and belonging\, laying claim to a homeland has become synonymous with struggles over voice\, power\, and beliefs. This can be seen historically in the US histories of colonization\, indigenous removal\, African American enslavement\, and other longstanding pattern of unofficial and state-sanctioned inequality toward minorities. In our recent moment of globalization\, the visibility of the concept has grown\, from the post-9/11 founding of the Department of Homeland Security to the unsettling strains of anti-immigrant sentiment that mar the current presidential contest. \nWe will explore how the visual arts provide a powerful means to negotiate the problems and possibilities inherent to the notion homeland. What roles have visual and material expression played in shaping both dominant and alternative visions of the US as homeland? How have these efforts influenced broader discourses of American identity—or failed to do so? How has the question of homeland influenced the form\, content\, and purpose of the artistic expression? How might studying evocations of homeland in art help us to better understand and historicize the term’s cultural value and impact? Particular attention will be given to the understanding the topic through the prism of dialogue\, with the idea that art provides a unique medium for the exchange of ideas across boundaries of identity and experience. \nSchedule of Events: \n10-10:10 am — Welcome\n10:10-10:30 — Framing Remarks\, Jason Weems\, Associate Professor\, University of California\, Riverside\n10:30-11:00 — Edward Hopper’s Portable Homes\, Leo Mazow\, Curator of American Art\, Virginia Museum of Fine Arts\n11:00-11:30 — Kara Walker\, Imagining Home\, Rebecca Peabody\, Head of Research Projects and Programs\, Getty Research Institute\n11:30-11:50 — Questions \n11:50-1:10 — Lunch Break \n1:10-1:50 — Keynote Presentation: Home—So Different\, So Appealing\, Chon Noriega\, University of California\, Los Angeles\n1:50-2:10 — Questions \n2:10-2:20 — Short Break \n2:20-2:50 — Homeland as Gesture: The Paintings of Maidu Artist Frank Day\, Mark Minch\, Sawyer Fellow\, Tufts University/Assistant Professor\, University of California\, Riverside\n2:50-3:20 — Somewhere Else\, But Here: Visual Ethnography and an American Islamoscape Between Imagination and Image\, Maryam Kashani\, Assistant Professor\, University of Illinois\, Urbana-Champaign\n3:20-3:50 — Smiling Faces Sometimes: The Homeland Portraiture of Tseng Kwong Chi\, Joshua Takano Chambers-Letson\, Assistant Professor\, Northwestern University\n3:50-4:10 — Questions \n4:10-4:45 — Moderated discussion with all presenters; audience participation encouraged \n4:50 — Reception \n  \nFor more information\, contact arthistory@ucr.edu
URL:https://arthistory.ucr.edu/event/the-second-annual-wong-forum-on-art-and-the-immigrant-experience/
LOCATION:Culver Center of the Arts
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2016/10/WONG2016Small1500-e1476121057229.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161027T173000
DTEND;TZID=America/Los_Angeles:20161027T183000
DTSTAMP:20260430T060535
CREATED:20161004T193347Z
LAST-MODIFIED:20161004T193347Z
UID:2640-1477589400-1477593000@arthistory.ucr.edu
SUMMARY:In Conversation with Susan Laxton
DESCRIPTION:Susan Lawton specializes in the history and theory of photography\, 20th century art\, and critical theory. She also works as a CMP liaison to the art history department.
URL:https://arthistory.ucr.edu/event/in-conversation-with-susan-laxton/
LOCATION:Graduate Student Lounge\, ARTS 328
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2016/10/14520412_1256616597734876_3355943584100967949_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161025T171000
DTEND;TZID=America/Los_Angeles:20161025T183000
DTSTAMP:20260430T060535
CREATED:20161010T160646Z
LAST-MODIFIED:20161010T160646Z
UID:2650-1477415400-1477420200@arthistory.ucr.edu
SUMMARY:Work In Progress Series - Patricia A. Morton\, PhD
DESCRIPTION:Place or Nonplace: The City as Domain or as Field\nPatricia A. Morton\, Ph.D. Professor of Art History \nIn the early 1960s\, faculty members at UC Berkeley developed rival theories of urban and architectural design and their relationship to place. Charles Moore and three other Berkeley architecture faculty wrote a manifesto\, “Toward Making Places\,” that was published in J.B. Jackson’s journal Landscape (1962). Moore and his co-authors valorized a geographic notion of place and called on architects to recover the symbolic function of design and create orderly\, human-centric spaces. Contemporaneously\, faculty in City and Regional Planning and East Coast planners challenged geographic concepts of place in Explorations into Urban Structure (1964) and proposed new models concerned with the pattern\, structure\, and dynamics of the metropolitan complex. Melvin Webber’s contribution\, “The Urban Place and the Nonplace Urban Realm\,” boldly asserted the primacy of “nonplace” community over geographic place in the modern city. Positing “community without propinquity\,” Webber emphasized the importance of deracinated networks of human interaction to the modern city\, anticipating later theories of networked urbanism. Comparing these two theories\, I contextualize the concepts relative to postwar theories of ecology\, mobility and landscape. \n 
URL:https://arthistory.ucr.edu/event/work-in-progress-series-patricia-a-morton-phd/
LOCATION:ARTS 333
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2016/10/MortonWorkInProgress2016-e1476114938528.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161006T180000
DTEND;TZID=America/Los_Angeles:20161006T200000
DTSTAMP:20260430T060535
CREATED:20160930T175850Z
LAST-MODIFIED:20160930T180006Z
UID:2603-1475776800-1475784000@arthistory.ucr.edu
SUMMARY:Fall Reception -- Unruly Bodies
DESCRIPTION:On Thursday\, October 6\, 6pm-8pm\, UCR ARTSblock hosts its Fall Reception. This event is organized in conjunction with the City of Riverside’s First Thursdays ArtsWalk. Come check out the current exhibitions\, including Unruly Bodies: Dismantling Larry Clark’s Tulsa; Laurie Brown: Earth Edges; Rotation 2015: Recent Acquisitions; and Steve Rowell: Parallelograms at the California Museum of Photography\, as well as Instilled Life: The Art of the Domestic Object at the Sweeney Art Gallery\, and For the Record… Contemporary Videos from the Permanent Collection of the Sweeney Art Gallery in the Culver Center atrium.  \nThe reception is free and open to the public. \nhttp://artsblock.ucr.edu/Performance/Fall-Reception-2016
URL:https://arthistory.ucr.edu/event/fall-reception-unruly-bodies/
LOCATION:Culver Center of the Arts
ATTACH;FMTTYPE=image/png:https://arthistory.ucr.edu/wp-content/uploads/2016/06/Clark-1983.0064.0005_603.322_new-e1466094697660.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160927T170000
DTEND;TZID=America/Los_Angeles:20160927T170000
DTSTAMP:20260430T060535
CREATED:20160923T194852Z
LAST-MODIFIED:20160923T200353Z
UID:2584-1474995600-1474995600@arthistory.ucr.edu
SUMMARY:Between Paris and the ‘Third World’:  Lea Lublin’s Long 1960s
DESCRIPTION:Between Paris and the ‘Third World’: Lea Lublin’s Long 1960s \nIsabel Plante\, PhD\nConsejo Nacional de Investigaciones Científicas y Técnicas\,\nUniversidad Nacional de San Martín\, Argentina \nLea Lublin resided for the most part in Paris from 1964 on\, and by 1965 she started orienting her work toward establishing a methodology for reading images\, based on different parameters of perception and participation related to the devices involved in their exhibition. Until 1972 she articulated a considerable portion of her projects between Paris\, Buenos Aires and Santiago de Chile. These networks of production and circulation were decisive in constructing the meaning of her works in terms of exploring the status of representation and culture. We propose a study that would restore the geopolitical density and translocal nature of her production of the long sixties. \n 
URL:https://arthistory.ucr.edu/event/between-paris-and-the-third-world-lea-lublins-long-1960s/
LOCATION:INTS 1111\, CHASS Interdisciplinary North
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2016/09/PlantesFlyer16-e1474660518456.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160610T080000
DTEND;TZID=America/Los_Angeles:20160630T170000
DTSTAMP:20260430T060535
CREATED:20160616T162934Z
LAST-MODIFIED:20160923T200628Z
UID:2545-1465545600-1467306000@arthistory.ucr.edu
SUMMARY:Unruly Bodies: Dismantling Larry Clark's Tulsa
DESCRIPTION:UNRULY BODIES\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDismantling Larry Clark’s Tulsa\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJune 10\, 2016-January 28\, 2017 \n\nCalifornia Museum of Photography at UCR ARTSblock\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nEXHIBITION PREVIEW: 6-9pm\, Thursday\, June 9\n\n\n\n\n\n\n\n\n\n\n\n\n\nThe California Museum of Photography presents Unruly Bodies: Dismantling Larry Clark’s Tulsa\, on view at the museum from June 10 through January 28\, 2017\, featuring works from the museum’s permanent collection. The exhibition is guest curated by graduate students from the Department of the History of Art and the Public History Program as advised by Susan Laxton\, Assistant Professor of the History of Art at UCR. Unruly Bodies will be celebrated during a free public reception on Thursday\, June 9\, 6-9pm\, and will be accompanied by public programming and a publication of student writing. \nThis exhibition is a historically informed reassessment of the artist Larry Clark’s controversial first book\, Tulsa (1971)\, a set of 50 images depicting a tight circle of friends and drug addicts in Tulsa\, Oklahoma\, photographed over a span of nine years (1963-71) by one of their number\, Clark himself. On first appearing\, the exposé was hailed as “a devastating portrait of an American tragedy” and embraced as an artistic watershed of participant observer-oriented personal documentary. Yet in spite of its anthropological connotations\, the story Tulsa tells is the product of a tightly constructed\, nearly cinematic narrative of descent from teenage experimentation to a drug-fueled haze of chaos\, violence\, exploitation\, and death — a “slippery slope” sequence that tells us what we already want to believe about the self-destructive countercultures of the 1960s. This exhibition seeks to recover some of the untold counter-stories that live in the interstices between these affectively charged images\, by loosening them from Clark’s sequence and opening them to multiple interpretations that address Tulsa’s historical conditions of production and reception. \n\nUCR ARTSblock is located at 3824 & 3834 Main Steet\, Riverside\, CA 92501\, and encompasses three venues: the California Museum of Photography\, Culver Center of the Arts\, and Sweeney Art Gallery. ARTSBlock is open Tuesday-Saturday\, noon-5pm. Admission is $3\, and includes entry to all three venues. Galleries are open late and admission is free during First Thursday ArtWalks\, which take place on the first Thursday of every month\, 6-9pm.\nImage: Larry Clark\, Untitled\, 1963 (detail)\, from the series “Tulsa\,” 1963-71; Collection of the California Museum of Photography at UCR ARTSblock\, 1983.0064.0005 © Larry Clark\, Courtesy of the artist and Luhring Augustine\, New York. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n 
URL:https://arthistory.ucr.edu/event/unruly-bodies-dismantling-larry-clarks-tulsa/
LOCATION:California Museum of Photography
ATTACH;FMTTYPE=image/png:https://arthistory.ucr.edu/wp-content/uploads/2016/06/Clark-1983.0064.0005_603.322_new-e1466094697660.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160521
DTEND;VALUE=DATE:20160522
DTSTAMP:20260430T060535
CREATED:20160218T220934Z
LAST-MODIFIED:20160330T180806Z
UID:2378-1463788800-1463875199@arthistory.ucr.edu
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
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2016/02/2016_AHGSA-conference-e1459361117882.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160418
DTEND;VALUE=DATE:20160420
DTSTAMP:20260430T060535
CREATED:20160419T182050Z
LAST-MODIFIED:20160419T182218Z
UID:2455-1460937600-1461110399@arthistory.ucr.edu
SUMMARY:Art and Materiality at The Getty Center
DESCRIPTION:ABOUT THE SYMPOSIUM\nIn the past decade\, the increased attention to the art object and its materiality has enhanced the study of art history\, opening new avenues of investigation. Combined with more historical methodologies\, the focus on materiality offers profound insights into the artworks’ meanings. Artists across space and time have infused materials with not only ritual and symbolic significance but also social\, political\, and economic functions. Art historians\, increasingly in collaboration with conservators and scientists\, are gaining insight into both the process of art-making\, from raw material to finished object (the chaîne opératoire)\, and the strategic deployment of materials for their aesthetic qualities and their power to signify.\nThis two-day symposium will investigate the materiality of artworks and raise questions about procurement\, trade\, value\, manufacturing\, and the accumulation of new meanings as objects move between cultures. \nUCR Faculty members\, Jeanette Kohl and Malcolm Baker will present on Monday\, April 18: \nMonday\, April 18 at 11:25 am:\nMaking\, Replication\, and the Eighteenth-Century Portrait Bust: Digitizing and Interpreting Roubiliac’s Busts of Alexander Pope\nMalcolm Baker\, University of California\, Riverside\, and Chelsea Alene Graham\, Yale University \nMonday\, April 18 at 1:45pm:\nTracing Presence: The Portrait Bust between Materiality and “Phenomenology”\nJeanette Kohl\, University of California\, Riverside \nClick here to view the full two-day program \nRECEPTIONS\nA reception will be held at the close of each day:\nApril 18th\, 5:45 p.m.\, Lounge Patio\, Luxe Sunset Boulevard Hotel\nApril 19th\, 6:00 p.m.\, Private Dining Room\, Getty Center
URL:https://arthistory.ucr.edu/event/art-and-materiality/
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2016/04/Getty-Materiality-Conference-2016-2_Page_2-e1461089083921.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160405T171000
DTEND;TZID=America/Los_Angeles:20160405T171000
DTSTAMP:20260430T060535
CREATED:20160302T172413Z
LAST-MODIFIED:20160302T173508Z
UID:2422-1459876200-1459876200@arthistory.ucr.edu
SUMMARY:Konrad Ottenheym\, University of Utrecht\, Netherlands
DESCRIPTION:On Romans\, Batavians and Giants. The Quest for the True Origins of Architecture in the Dutch Republic\nKonrad Ottenheym\, Professor of the History of Architecture\nUniversity of Utrecht\, Netherlands\nIn thinking about the creation of ‘national literature’ and ‘national styles’ in art and architecture\, most people will refer to the 19th century: the period of the rise of national states and the attempt to codify specific geographically and nationally defined identities in art\, architecture and literature\, based on models from a glorious past. Nevertheless\, five hundred years before this era\, humanist scholars\, artists\, monarchs and other political leaders all over Europe had already charged themselves with a comparable task. In late medieval and early modern Europe\, c. 1400–1700\,\nauthority was formally based on lineage\, and in all countries political ambitions and geographical claims were supported by true or false historical justifications. Literature\, architecture\, and paintings were also used to express these ideas of national or local history and that its earliest roots in the distant past. \nThe strong and conscious interest in national and local history as expressed during this period in the arts has not yet been studied systematically in an interdisciplinary way. In art history\, most\nattention is still given to the reception of the ‘international’ canon of Greek and Roman antiquities – such as the well-known ruins in Rome and its surroundings – and of ‘classical’ Greek sculpture. And until rather recently\, research on Neo-Latin literature was focused on the reception of the classical Greek and Roman authors\, while historical works on the ‘medieval’ or local past were neglected. The local or medieval past\, however\, played a pivotal role. In current mainstream interpretations of ‘Renaissance’ art as a ‘Rebirth of Antiquity\,’ antiquity has misleadingly acquired a standard definition based on the international canon. In this perspective\, there seems to be only one ideal Antiquity and only one proper embodiment of Antiquity Reborn: the reception of Rome’s antiquities in 15th- and 16th-century Florence and Rome. Thus\, the bias toward a ‘proper’ antiquity has generated the idea of a ‘proper’ Renaissance. Consequently\, most Antiquity-inspired architecture\, art\, and literature in Northern Europe – as well as in Spain\, France\, and the Italian periphery from Lombardy to Sicily – has been analysed and interpreted with Central Italian solutions as a single point of reference\, and has often been seen as ‘provincial\,’ ‘hybrid\,’ or ‘still a little bit medieval.’ As a result\, the specific meaning of conscious references to local history also remained obscure. Instead of addressing incorrect or vernacular transformations of the Roman ideal\, however\, we have to look for a more positive explanation for those examples of the Antique that do not resemble the ‘standard.’ Therefore\, we must ask by what means – i.e.\, through which other models or interpretations of antiquities – artists and patrons created their reconstructions of Antiquity. \nIn the past few decades the concept of the Rome-centered Renaissance has been seriously challenged. Recent scholarship has stressed the important role assumed by non-Central Italian\nantiquities – such as those of Ancient Gaul and in the Low Countries\, as well as texts such as Tacitus’s Germania – in the genesis of ‘Antique’ architecture that was not inspired by Central Italy. Moreover\, the definition of the ‘Antique’ has turned out to be far more elastic: in fact\, it encompasses more than ‘Rome.’ The historical eras used in such constructions could be rather diverse. Sometimes passages or episodes from classical historical writings were quoted and integrated into early modern national or local history\, such as the tales of the Trojans who had left their destroyed city to become the founders of various peoples\, cities\, or noble families all over Europe. In the construction of national histories\, local tribes mentioned in classical texts sometimes played a central role as true and antique ancestors\, like the Batavians in the northern Low Countries or even elder ancestors\, as will be explained in this lecture.
URL:https://arthistory.ucr.edu/event/on-romans-batavians-and-giants-the-quest-for-the-true-origins-of-architecture-in-the-dutch-republic/
LOCATION:ARTS 333
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2016/03/Ottenheym-poster-1-e1456938934805.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160329T171500
DTEND;TZID=America/Los_Angeles:20160329T171500
DTSTAMP:20260430T060535
CREATED:20160210T182636Z
LAST-MODIFIED:20160210T184407Z
UID:2334-1459271700-1459271700@arthistory.ucr.edu
SUMMARY:Dr. Steffen Siegel\, Folkswang Universität der Künste
DESCRIPTION:Cat in the Window? A Closer Look at How People Try to Have a Closer Look.\nDr. Steffen Siegel\, Folkswang Universität der Künste (Essen\, Germany)\n\nAccording to Edgar Allan Poe\, photography is best described as “infinite representation”. Especially during the medium’s first years comments often stressed photography’s unique capacity of capturing much more detail than possible in any painting\, print or drawing. Magnifying glasses were common tools when it came to beholding — and praising — this novel kind of imagery. Today\, we should know better. Every photograph is a sum of material\, iconographic and social conditions–and of what we have learned about beholding photography. But still\, there is an ongoing fascination with ideas like infinity\, visual truth and perfection. In recent years\, prominent photographs taken from the medium’s formative years–by Daguerre\, Talbot\, Bayard and other pioneers– have been put into reconsideration. Is it possible to see more than before? Especially with much more than an ordinary magnifying glass in our hands\, is it possible to coax out more visual details\, i.e. more information about times past? In my presentation I will introduce and reflect on the methods and results of such attempts. And I intend to pose a seemingly simple question: Is it possible to distinguish between beholding and imagination?” \n 
URL:https://arthistory.ucr.edu/event/dr-steffen-siegel-folkswang-universitat-der-kunste/
LOCATION:California Museum of Photography\, 3824 Main Street\, Riverside\, CA\, 92501\, United States
CATEGORIES:Guest Lecturer
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2016/02/SiegelTalk-03.29.15-e1455129775317.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160218T171000
DTEND;TZID=America/Los_Angeles:20160218T171000
DTSTAMP:20260430T060535
CREATED:20151208T180426Z
LAST-MODIFIED:20151217T174056Z
UID:2295-1455815400-1455815400@arthistory.ucr.edu
SUMMARY:A Sculpture\, a Blood Libel\, and the Power of Portraiture in Renaissance Italy
DESCRIPTION:2016 Work in Progress Series\nA Sculpture\, a Blood Libel\, and the Power of Portraiture in Renaissance Italy\nJeanette Kohl\, Ph.D. Professor of Art History\nOn Easter Sunday 1475\, the dead body of a 2-year-old Christian boy named Simon was found in the cellar of a Jewish family’s house in Trent\, Italy. Town magistrates arrested eighteen Jewish men and five Jewish women on the charge of ritual murder. In a series of interrogations that involved liberal use of judicial torture\, the magistrates obtained the confessions of the Jewish men. Eight were executed in late June\, and another committed suicide in jail. The accusation was torture\, strangulation and bleeding the infant to death in order to use his blood for the preparation of the Passover bread. \nThe case of Simon of Trent went down in history as one of the most brutal blood libels against a Jewish community in Early Modern Europe. What is lesser known is the debate and the visual propaganda it set in motion within the catholic church\, which had a split opinion about the case\, and in the cities and courts of Northern Italy and Southern Germany. In my work-in-progress talk\, I will discuss a new identification of one of the major Renaissance sculptures at the Getty\, presenting new conservatory and iconographic evidence for the object as a possible key work in the ferocious\, anti-semitic propaganda around the Trent blood libel of 1475.
URL:https://arthistory.ucr.edu/event/2016-work-in-progress-series/
LOCATION:ARTS 333
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/12/KohlWorkInProgressCorrected-02.18.16-e1450374030422.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160107T150000
DTEND;TZID=America/Los_Angeles:20160107T170000
DTSTAMP:20260430T060535
CREATED:20151125T002658Z
LAST-MODIFIED:20151125T005501Z
UID:2248-1452178800-1452186000@arthistory.ucr.edu
SUMMARY:2014-2015 Emory Elliott Book Award\, Reception & Book Talk
DESCRIPTION:Conrad Rudolph\n“Cosmic Politics: Hugh of St Victor’s The Mystic Ark and the Struggle over Elite Education in the Twelfth Century”\nBecause of the absolute fundamentality of the concept of creation (both the cause of existence and material creation in general)\, any given culture’s view of creation is crucial to that culture’s intellectual self-identity. This was never more the case than in the twelfth century\, a time when the Church’s monopoly on learning was being seriously threatened by an ever widening interest in platonic creation theory. In The Mystic Ark (c. 1125)–an image of all space\, all time\, all matter\, all human history\, and all spiritual striving\, and perhaps the most complex single work of art from the entire Middle Ages–the great Parisian scholar Hugh of Saint Victor addressed creation theory in a way that had never been done before\, a way as complex as the painting itself. In so doing\, The Mystic Ark rose above its immediate character as a pedagogical image and–as a visualization of the politics of theology–became an active agent both in the shaping of the new intellectual elite and in the polemical discourses of one of the great “transitional” periods of Western history.
URL:https://arthistory.ucr.edu/event/2014-2015-emory-elliott-book-award-reception-book-talk/
LOCATION:CBS 114 (College Building South 114)\, University of California\, Riverside\, CA\, 92521\, United States
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DTSTART;TZID=America/Los_Angeles:20151124T170000
DTEND;TZID=America/Los_Angeles:20151124T183000
DTSTAMP:20260430T060535
CREATED:20151118T165547Z
LAST-MODIFIED:20151118T170952Z
UID:2242-1448384400-1448389800@arthistory.ucr.edu
SUMMARY:Graduate School in Perspective
DESCRIPTION:Are you planning to attend graduate school or want to learn more about it?\nArt History faculty will speak to students about the preparation and application process\, and share their own experiences! This will be held on Tuesday\, November 24 in ARTS 333 from 5:00-6:30 PM. Please contact the Art History Association at  arthistoryucr@gmail.com for any questions regarding the event.
URL:https://arthistory.ucr.edu/event/graduate-school-in-perspective/
LOCATION:ARTS 333
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/11/AHS-Graduate-School-Lecture-e1447866405107.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20151008T170000
DTEND;TZID=America/Los_Angeles:20151009T000000
DTSTAMP:20260430T060535
CREATED:20150910T172243Z
LAST-MODIFIED:20150910T173214Z
UID:2073-1444323600-1444348800@arthistory.ucr.edu
SUMMARY:Long Night of Arts and Innovation
DESCRIPTION:The Long Night of Arts & Innovation showcases Riverside’s exceptional talent in the arts\, the performing arts\, science and technology\, and the culinary arts & sciences. Between 5 p.m. and midnight\, you will have a chance to see more than 130 world-class projects\, all in several venues throughout Downtown Riverside\, including UCR ARTSblock. \nSupport has been provided by UCR College of Humanities\, Arts\, and Social Sciences (CHASS) and the City of Riverside
URL:https://arthistory.ucr.edu/event/long-night-of-arts-and-innovation/
LOCATION:Riverside Downtown
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/09/762_feature.jpg
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