BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Department of the History of Art - ECPv6.15.20//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Department of the History of Art
X-ORIGINAL-URL:https://arthistory.ucr.edu
X-WR-CALDESC:Events for Department of the History of Art
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Los_Angeles
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20140309T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20141102T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20150308T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20151101T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20160313T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20161106T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20170312T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20171105T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20180311T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20181104T090000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170427
DTEND;VALUE=DATE:20170429
DTSTAMP:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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:20260430T101129
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
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/11/Conrad-Rudolph-Event-e1448412886686.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20151124T170000
DTEND;TZID=America/Los_Angeles:20151124T183000
DTSTAMP:20260430T101129
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20151008T170000
DTEND;TZID=America/Los_Angeles:20151009T000000
DTSTAMP:20260430T101129
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150727T180000
DTEND;TZID=America/Los_Angeles:20151017T180000
DTSTAMP:20260430T101129
CREATED:20150724T190021Z
LAST-MODIFIED:20150724T191016Z
UID:1986-1438020000-1445104800@arthistory.ucr.edu
SUMMARY:Melanie Nakaue: Eclipses
DESCRIPTION:Melanie Nakaue’s Eclipses is a multi-channel video installation comprised of a series of experimental animations. Through an amalgamation of collages\,digital graphics\, and stop motion animation\, Nakaue depicts a disjunction between psychological and physical entities associated with “eclipses.” For this presentation at the Culver Center of the Arts\, the idea of an “eclipse” is manifested through explorations of physical dimensions associated with layering and shadows. Nakaue unites these elements to illustrate the liminal space of passing between two states of being\, consciousness and the unconscious.
URL:https://arthistory.ucr.edu/event/melanie-nakaue-eclipses/
LOCATION:Culver Center of the Arts
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/07/893_feature.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150618T120000
DTEND;TZID=America/Los_Angeles:20150619T170000
DTSTAMP:20260430T101129
CREATED:20150505T172919Z
LAST-MODIFIED:20150513T193214Z
UID:1739-1434628800-1434733200@arthistory.ucr.edu
SUMMARY:CaVraCon 2015
DESCRIPTION:The Northern and Southern California chapters of the Visual Resources Association invite you to join us for this educational\, engaging and energizing event! \nThe California Visual Resources Association Conference\, also known as CaVraCon\, will provide presentations\, case studies\, and demos dealing with the many aspects of creating\, managing and maintaining digital image collections\, as well as the opportunity to network with both emerging professionals and veterans of the field. \n  \n\n\nCost\n\n  Early bird \n    Non-VRA member: $40\n    VRA member: $30\n\n\n    Student: $10\n \n  After May 31\n    Non-VRA member: $50\n    VRA member: $40\n    Student: $20\n\nRegister here
URL:https://arthistory.ucr.edu/event/cavracon-2015/
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/05/Aerial-SantaBarbara.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150603T170000
DTEND;TZID=America/Los_Angeles:20150603T170000
DTSTAMP:20260430T101129
CREATED:20150518T223709Z
LAST-MODIFIED:20150518T224425Z
UID:1780-1433350800-1433350800@arthistory.ucr.edu
SUMMARY:Leslie Paprocki\, Museum Careers In The 21st Century: Insight From The Inside
DESCRIPTION:Born and raised in Buffalo\, New York and transplanted to Southern California at age 8\, she has been captivated by the power of museums from a young age. Trips to art museums\, historical houses and centers\, parks\, and other cultural attractions pepper the landscape of her childhood memories and in turn dictated her educational path. In pursuit of her passion  for the history of art\, she completed a Bachelor’s degree\, Magna Cum Laude\, in Art History and Administrative Studies and a Master’s degree in the History of Art\, both from the University of California\, Riverside.
URL:https://arthistory.ucr.edu/event/leslie-paprockimuseum-careers-in-the-21st-century-insight-from-the-inside/
LOCATION:ARTS 333
CATEGORIES:Guest Lecturer
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/05/Paprocki-talk.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150602T170000
DTEND;TZID=America/Los_Angeles:20150602T183000
DTSTAMP:20260430T101129
CREATED:20150513T192546Z
LAST-MODIFIED:20150518T223928Z
UID:1760-1433264400-1433269800@arthistory.ucr.edu
SUMMARY:Megan Heuer\, Director Of Public Programs  And Public Engagement at Whitney Museum Of American Art
DESCRIPTION:Megan develops and oversees all adult public programs\, including artists’ talks\, lectures\, panel discussions\, workshops\, and courses. Prior to joining the Whitney in 2014\, she was a Jane and Morgan Whitney Fellow in the Modern and Contemporary Art Department at The Metropolitan Museum of Art\, and she previously worked in the curatorial and education departments at the New Museum. She is completing a PhD in art and archaeology at Princeton University.
URL:https://arthistory.ucr.edu/event/megan-heuer-director-of-public-programs-and-public-engagement-at-whitney-museum-of-american-art/
LOCATION:Arts 335
CATEGORIES:Guest Lecturer
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/05/Megan-Heuers-talk.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150528T143000
DTEND;TZID=America/Los_Angeles:20150528T163000
DTSTAMP:20260430T101129
CREATED:20150518T231005Z
LAST-MODIFIED:20150518T231148Z
UID:1784-1432823400-1432830600@arthistory.ucr.edu
SUMMARY:The Art History Association\, 1st Annual Tea
DESCRIPTION:All current and former members are welcome! Please RSVP at arthistoryucr@gmail.com
URL:https://arthistory.ucr.edu/event/the-art-history-association-1st-annual-tea/
LOCATION:HUB 269
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/05/TeaPartyAHS.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150516T090000
DTEND;TZID=America/Los_Angeles:20150516T170000
DTSTAMP:20260430T101129
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150505T080000
DTEND;TZID=America/Los_Angeles:20150505T170000
DTSTAMP:20260430T101129
CREATED:20150407T182819Z
LAST-MODIFIED:20150407T184040Z
UID:1376-1430812800-1430845200@arthistory.ucr.edu
SUMMARY:Linda Colley: A Changing Magna Carta: Past\, Present and Futures?
DESCRIPTION:2015 will witness celebrations of the 800th anniversary of Magna Carta. Yet how this iconic text has been understood\, used and commemorated has changed markedly over the centuries\, not just in England\, but throughout the British Isles and in the one-time British Empire. This lecture explores some of these shifts over time\, and discusses how – and how far – the cult that evolved around this text can be related to the UK’s lack of a written constitution.
URL:https://arthistory.ucr.edu/event/linda-colley-a-changing-magna-carta-past-present-and-futures/
LOCATION:Arts 335
CATEGORIES:Guest Lecturer
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/04/Magna-Carta.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150502T080000
DTEND;TZID=America/Los_Angeles:20150808T170000
DTSTAMP:20260430T101129
CREATED:20150507T191215Z
LAST-MODIFIED:20150507T191740Z
UID:1744-1430553600-1439053200@arthistory.ucr.edu
SUMMARY:CMP Projects: Phil Chang
DESCRIPTION:Saturday\, May 16\nArtist talk-5pm\nReception-6-9pm \nCMP Projects presents a solo installation by artist Phil Chang. The project is suspended on the border of photography and non-photography\, demanding that the viewer consider the medium’s inherent qualities. The exhibition features a selection of photographs from Chang’s recently conceived untitled series of monochromes (2014-ongoing). These photographic prints are made without the use of a camera or film\, thereby pushing our understanding of the medium as it abandons the analog for a decidedly digital age. Additionally\, one unfixed photographic work is included in the exhibition. An evolution of his highly acclaimed body of work “Cache\, Active” (2012)\, Monochrome\, Exposed (2015) is a new unfixed photograph that will be exposed over the course of its own exhibition’s first hours during the artist talk on Saturday\, May 16. At 5pm\, the artist will remove the light-safe black plastic that preserves the unfixed paper in darkness. Over the next hours\, Monochrome\, Exposed will be created in real time. \nPhil Chang was born in 1974 in Indiana. He currently lives and works in Los Angeles where he is visiting faculty in the Department of Art at the University of California\, Los Angeles\, and a lecturer at Otis College of Art and Design. He earned his MFA at California Institute of the Arts\, and his BA at the University of California\, Irvine. CMP Projects: Phil Chang is the first solo museum presentation of his work. \nCMP Projects is an ongoing series of solo presentations curated by Joanna Szupinska-Myers\, CMP Curator of Exhibitions. The series is partially supported with funds provided by UCR’s College of Humanities\, Arts\, and Social Sciences (CHASS) and the City of Riverside. Additional support for CMP Projects: Phil Chang has been provided by M+B\, Los Angeles.
URL:https://arthistory.ucr.edu/event/cmp-projects-phil-chang/
LOCATION:California Museum of Photography
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/05/Monochromes-Static-and-Unfixed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150501T100000
DTEND;TZID=America/Los_Angeles:20150501T170000
DTSTAMP:20260430T101129
CREATED:20150407T202459Z
LAST-MODIFIED:20150430T001035Z
UID:1384-1430474400-1430499600@arthistory.ucr.edu
SUMMARY:Inaugural Symposium: Allies\, Enemies\, and Citizens: Figuring Asianness in World War II America
DESCRIPTION:“Allies\, Enemies\, and Citizens” will focus on the visual representation of Asianness and Asian-Americanness in the United States during World War II\, featuring presentations by leading scholars in the field\, including Gordon H. Chang\, Professor\, Department of History\, and Olive H. Palmer Professor in Humanities\, Stanford University; Amy Lyford\, Professor of Art History\, Occidental College; ShiPu Wang\, Associate Professor of Art History and Visual Culture\, UC Merced; and K. Scott Wong\, James Phinney Baxter III Professor of History and Public Affairs\, Williams College. Read more \nSee the poster
URL:https://arthistory.ucr.edu/event/inaugural-symposium-allies-enemies-and-citizens-figuring-asianness-in-world-war-ii-america/
LOCATION:California Museum of Photography
CATEGORIES:Symposium
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/04/THE-WONG-FORUM.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150407T171000
DTEND;TZID=America/Los_Angeles:20150407T171000
DTSTAMP:20260430T101129
CREATED:20150320T235516Z
LAST-MODIFIED:20150320T235627Z
UID:1369-1428426600-1428426600@arthistory.ucr.edu
SUMMARY:The Brink and Carrott Fellowship presentations
DESCRIPTION:
URL:https://arthistory.ucr.edu/event/the-brink-and-carrott-fellowship-presentations/
LOCATION:ARTS 333
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150303T161000
DTEND;TZID=America/Los_Angeles:20150303T170000
DTSTAMP:20260430T101129
CREATED:20150304T192951Z
LAST-MODIFIED:20150304T192951Z
UID:1279-1425399000-1425402000@arthistory.ucr.edu
SUMMARY:Visiting Artist\, Lecture Series: William Leavitt
DESCRIPTION:
URL:https://arthistory.ucr.edu/event/visiting-artist-lecture-series-william-leavitt/
LOCATION:Arts 335
CATEGORIES:Visiting Artist
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/03/leavitt_flyer_visitingartist.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20150302T170000
DTEND;TZID=America/Los_Angeles:20150305T190000
DTSTAMP:20260430T101129
CREATED:20150228T010727Z
LAST-MODIFIED:20150228T011332Z
UID:1144-1425315600-1425582000@arthistory.ucr.edu
SUMMARY:TRANCE-Rebecca Rupel\, Tracy Tran and Colleen Wei
DESCRIPTION:
URL:https://arthistory.ucr.edu/event/trance/
LOCATION:Phyllis Gill Gallery
ATTACH;FMTTYPE=image/jpeg:https://arthistory.ucr.edu/wp-content/uploads/2015/02/LadiesIllustration.jpg
END:VEVENT
END:VCALENDAR