Independent Scholar at Kornbluth Photography
“Roman and Early Medieval Amulets: Science, Magic, and Practicality”
Thursday, January 29, 2015
Thomas Library 224
Lecture 4:30 PM
Reader in Spanish, Oxford Brookes University
“Heroes in Transition: Class and Gender in the Cine Quinqui“
Cine Quinqui is one of the key phenomenon of Spanish transition cinema. Francoist popular cinema had complacently focused on tame villagers and even tamer members of the urban middle classes. Around 1980, a number of films started to make visible the subculture of young urban proletarians and small time delinquents. With deep roots in neorealism and using some shock tactics of popular journalism, these films engaged with social conflict and proposed variations on gender roles. The lecture will be illustrated with clips from such films as Navajeros (1980), Perros Callejeros (1977), Colegas (1982) or Perras Callejeras (1985).
College Art Association Meeting
Assistant Professor, Department of History of Art, University of Pennsylvania
“Giorgio Vasari’s Technical Treatise: Materiality and Text in the Italian Renaissance”
Nowhere does Giorgio Vasari offer a more sustained discussion of materials than in his introduction to the three arts of architecture, sculpture, and painting. Found at the beginning of his monumental work The Lives…(1550/1568), these chapters relate artists’ understanding of materials with issues of geography, artistic process, and the physical behavior of matter. This talk will conduct close readings of several key passages in the introduction and explore Vasari’s preoccupation with the concept of durability and the promise of the eternal masterpiece.
Associate Professor and Chair
Department of Russian, Bryn Mawr College
“The Thrill of the Game: Modern Athletics in Russian and Early Soviet Avant-Garde Art”
This talk will explore the creative celebration of modern athletics in Russian avant-garde painting, design, and photography between 1908 and 1935. Despite the evolution of sports from a playful, pre-revolutionary focus into an ideologically tinged preoccupation of early Soviet artists, works produced in the 1920s by Lissitzky, Rodchenko, and Malevich, among others, emphatically privileged the physical beauty and spectatorial thrills of modern athletics over politics.
Nicole M. Colosimo
Department of Classical and Near Eastern Archaeology, Bryn Mawr College
Member of the Archaeological Institute of America
“No Need to See a Specialist: Divine Healing in the Ancient Greek World”
Numerous deities and heroes comprised the pantheons of ancient Greek cities and despite the tendency of many scholars to assign them various spheres of influence, these divine beings did not specialize in areas such as marriage, sexuality, war, or healing. This paper presents evidence from textual, epigraphical and archaeological material that indicates divine healing was a responsibility shared among many deities and heroes. Furthermore, these divine beings did not specialize in certain illnesses or maladies, nor in the respective gender of their worshippers, but instead ministered to a variety of concerns.
Department of History of Art, Bryn Mawr College
“An Offering of God-Made Matter: Material Power and the Virgin Mary in Byzantine Enamel”
This paper explores images of the Virgin Mary from Byzantium rendered in cloisonné enamel and argues that Mary’s power in this medium lies the understanding of enameling as an alchemical process that manifested Byzantine power over matter. The medieval Greek term for enamel belongs to a larger vocabulary pertaining to chemistry and alchemy, and the word emphasizes the material transformation inherent in enamel from a liquid composed of crushed glass, pigments, and water to a brilliant, gem-like solid. If Byzantine enamel belonged to a tradition of alchemy, then representing the Virgin in this medium could signal that Byzantines understood Mary herself to wield alchemical power, transmuting divinity into the flesh of Christ.
Community Day of Learning
Associate Professor, Department of History of Art, Bryn Mawr College
“Christian Marclay’s Two Clocks”
Christian Marclay’s The Clock (2010) is a 24-hour digital video work composed entirely of found footage of clocks, watches, and people announcing or inquiring about the time, culled from film and television history. Shown only in installation form, it is synched to function as an accurate timepiece. But is Marclay’s clock digital or analog? This talk will define these terms and consider their relationship in light of Henri Bergson’s theory of durational time.