September 13, 2017- Richard Torchia

Director, Arcadia University Art Gallery
Reconsidering the Exhibition as Medium”

The re-staging of Harald Szeemann’s “Live in Your Head: When Attitudes Become Form,” for the 2013 Venice Biennale served as a dramatic reminder of how gallery display impacts our experience of art. Originally presented at the Bern Kunsthalle in 1969, its recent reconstruction (curated by Germano Celant, in dialogue with Thomas Demand and RemKoolhaas), foregrounded the ways in which our sensitivities to the staging of artworks has changed over time. The project also confirmed that the matrix of conditions that constitute exhibition making offer singular possibilities and restrictions that become more critical as new platforms of presentation emerge. Using examples of other re-stagings and a sampling of recent solo and group shows, this talk will explore the evolution of the exhibition as a medium and its impact on artmaking, curatorial practice, and questions of authorship and interpretation.

 

September 20, 2017 – Jordi Falgàs

Director, Fundació Rafael Masó, Girona (Spain)
Lecturer in Catalan Studies, Stanford University
“A Different Grand Tour: Postcards from a Honeymoon”

In 1912 the Catalan architect Rafael Masó (1880-1935) took a seven-week honeymoon trip to France, Switzerland, Germany, and Italy. Scholars have noted how crucial this trip was as it provided him with first-hand exposure to Secession and Regionalist architecture and design. Throughout the trip he purchased seventy postcards, but so far nobody has paid attention to the visual content of these documents. What did such iconographic choice mean, and what does it tell us? The lecture will focus primarily on Masó’s stay in Germany (including the Darmstadt’s Artist Colony, the Hellerau Garden City, and Munich), and will consider not only the written content but also the visual significance of the postcards he acquired, something not discussed in the existing literature. A closer analysis of the architect’s choice of itinerary, words, and pictures will provide us with a deeper understanding of his particular Grand Tour.

September 27, 2017 – Jo Anna Isaak

John L. Marion Chair in Art History, Fordham University
Women Artists and the Arte Útil Movement”

“We have to put Duchamp’s urinal back in the restroom,” announced Cuban artist Tania Bruguera. Bruguera is the founder of Arte Útil movement. She is one of a rapidly growing number of artists who no longer make works of art but are instead engaged in making art work. Rather than making things—art objects that enter the commodity system—they have been turning their creative energies to changing things: finding ways to give art agency and formulating strategies for some of the most progressive practices of contemporary art. They have taken up the very radical idea that art can be useful. Not surprisingly, it is women artists who are among the most active in this movement—making art that has relocated from the galleries and museums, migrated from behind the couch, and gone out to work.

 

September 28, 2017 – “Beyond Boundaries: Feminine Forms”

Beyond Boundaries: Feminine Forms

Bryn Mawr College (BMC):
September 28, 2017 – January 28, 2018
Pennsylvania Academy of the Fine Arts (PAFA):
September 15, 2017 – March 18, 2018


Please join us for the exhibition and related programming for Beyond Boundaries: Feminine Forms, a dual-sited exhibition of artworks from The William and Uytendale Scott Memorial Study Collection of Works by Women Artists at Bryn Mawr College and the Linda Lee Alter Collection of Art by Women at Pennsylvania Academy of the Fine Arts. The collaboration, conceived by graduate students in the History of Art, Mechella Yezernitskaya and Laurel McLaughlin, in collaboration with Carrie Robbins, Curator for Art & Artifacts, BMC, and Jodi Throckmorton, Curator of Contemporary Art, PAFA, brings together two institutions, collections, and curatorial teams for an exhibition that highlights and reexamines each institution’s inclusive efforts to collect artworks by women.

Opening Receptions:
PAFA: Friday, September 15, 5 – 7:30pm
BMC: Thursday, September 28, 4:30 – 6pm
Colloquium Lecture:
Jo Anna Isaak, John L. Marion Chair in Art History, Fordham University
Wednesday, September 27, 12:30 – 2pm, College Hall 224, BMC
Sponsored by the Center for Visual Culture 
Curatorial Conversation:
Jo Anna Isaak, John L. Marion Chair in Art History, Fordham University
Thursday, September 28, 12 – 1pm, Class of 1912 Rare Book Room, BMC

Conservation Lecture:
Corine McHugh, paper conservator
Friday, October 6, 12 – 1pm, Class of 1912 Rare Book Room, BMC
Sponsored by Special Collections
Artist Panel for PAFA’s Points of View series:
Judith Brodsky and Eileen Neff in conversation with curators
Saturday, October 7, 2 – 3:30pm, Auditorium, Historic Landmark Building, PAFA
Collector’s Conversation:
Linda Lee Alter, Artist, Collector, and Philanthropist
Thursday, October 13, 12 – 1pm, Class of 1912 Rare Book Room, BMC
Curators’ Conversation for PAFA’s Art at Lunch series:
Mechella Yezernitzkaya and Laurel McLaughlin discuss collecting histories and museological frameworks
Wednesday, October, 25, 12 – 1pm, Auditorium, Historic Landmark Building, PAFA

Museum Studies Lecture: Black Feminist Visuality
Dr. Kelli Morgan, The Winston & Carolyn Lowe Curatorial Fellow for Diversity in the Fine Arts, PAFA
Friday, October 27, 12 – 1pm, Class of 1912 Rare Book Room, BMC
Sponsored by Museum Studies

Conversation with multimedia artist Katie Hubbell:
Graduate students Matthew Jameson (PhD candidate, Classical and Near Eastern Archaeology), Mechella Yezernitskaya (PhD candidate, History of Art), and Kat Ford (MA candidate, History of Art), and Mechella Yezernitskaya join Katie Hubbell in conversation about her commissioned work for Fragmentary Excess: Body, Text, Receptacle (on view in the Eva Jan Coombe Suite) and her take on Beyond Boundaries: Feminine Forms
Friday, November 3, 12 – 1pm, Seminar Room 205, 2nd Floor Canaday Library, BMC

Artist Lecture:
Neila Kun, Artist
Friday, November 10, 12 -1pm, Class of 1912 Rare Book Room, BMC
Co-sponsored by the Art Club and Special Collections
Art-making Workshop:
Neila Kun, Artist
Saturday, November 11, 11am – 4pm, Arnecliffe Studio, BMC
Registration required (consult website)
Co-sponsored by the Art Club and Special Collections
Open Space Conversation:
Ruth Fine, Artist and former Curator, National Gallery of Art
Wednesday, November 15, 12 – 1pm, Class of 1912 Rare Book Room, BMC
Co-sponsored by the Dean’s Office and Museum Studies

Undergraduate Curatorial Workshop:
Label-writing, brainstorming, and curatorial planning with curators
Friday, November 17, 12 – 1pm, Class of 1912 Rare Book Room, BMC
Museum Studies Tour
Tessa Haas (Class of 2018), Museum Studies Fieldwork Intern
Friday, December 1, 12 – 1pm, Class of 1912 Rare Book Room, BMC

Artist’s Lecture:
Lesley Dill, 2017 Fellow of The John Simon Guggenheim Memorial Foundation
Friday, December 8, 6:30 – 8pm, College Great Hall, BMC
Co-sponsored by the departments of History of Art, History, English, and LITS; the programs in Comparative Literature, Dance, Gender and Sexuality Studies, 360 Course Clusters, and Museum Studies; The Center for Visual Culture at Bryn Mawr College, and the Visual Studies program and The Hurford Center for the Arts and Humanities at Haverford College

Collector’s Tour:
Bill Scott, Artist, Collector, and Instructor at PAFA
Wednesday, January 24, 4:30 – 5:30pm, Class of 1912 Rare Book Room, BMC

For more information please visit:

https://www.pafa.org/exhibitions/beyond-boundaries-feminine-forms
http://www.brynmawr.edu/library/exhibits/BeyondBoundaries.html

Image: Mary Nomecos (b. 1943), Swan, 1991. Oil, graphite, pastel, and collage on paper, 11 x 17 1/2 in. Bryn Mawr College,
The William and Uytendale Scott Memorial Study Collection of Works by Women Artists, Gift of Bill Scott, 2006.1.146. ©Mary Nomecos

 

October 4, 2017 – Gizem Saka

Senior Lecturer
Department of Economics, University of Pennsylvania
The Dubious Economics of the Art Market”

When a truck driver in California discovers a might-be-Pollock, why does a Dubai businessman offer a hedge? When On Kawara aimed to produce paintings at the rate of one per day, why did prices keep going up? When Damien Hirst put a red nose on a portrait of Stalin, why did auction bids go through the roof? Gizem Saka explores the characteristics of the contemporary art market in which demand and supply mechanisms defy the conventional expectations of economics.

 

October 11, 2017 – Sylvia Houghteling

Assistant Professor
Department of History of Art, Bryn Mawr College
Cultures of Cloth in Mughal South Asia”

South Asian courtly ensembles worn by the greatest Mughal emperors were comprised not only of imported silks and cloth of gold, but also relatively inexpensive tie-dyed cloths made in Rajasthan and finely spun cotton muslins from Bengal. Court biographies, popular lexicons, and the letters sent from the Mughal court to its Rajput allies reveal that the fabrics used for dress in early modern South Asia were valued for sensory qualities, such as softness, saturation of color, and coolness on the skin, that went beyond the cost of the materials or the sophistication of the technology used to produce them. By exploring the ostensibly simpler fabrics of Mughal courtly culture, I reposition the study of cloth in early modern South Asia away from its current focus on the material wealth of imperial costumes to recover the sensory experience of wearing airy cotton and velvety wool, as well as the sophisticated intellectual, poetic, and political messages that could be carried in the fabric of a courtly coat.

 

October 25 , 2017 – Kwame Labi

Visiting International Scholar
History of Art, Bryn Mawr College
Senior Research Fellow, University of Ghana, Legon

“Defending our Honour: Art and Conflict Among the Fante asafo Companies
of Southern Ghana”

The Fante asafo of southern Ghana, until colonial rule were a
traditional military organisation involved in the socio-cultural life and defence of their
communities. Having observed the European use of flags on the Gold
Coast from the seventeenth century, and what the forts and castles came to symbolise
by the nineteenth century created flags and constructed monuments and
shrines, and used these in new contexts.

This presentation discusses how the Asafo used these flags and
monuments in such manner that they became contentious leading to
tensions, feuds and fights. The presentation concludes with an
examination if these art works have any relevance and a future in
Ghana’s modern art culture.

 

November 1, 2017 – Mark Franko

Laura H. Carnell Professor of Dance and Chair of Dance
Dance Department, Boyer College of Music and Dance, Temple University
Can We Inhabit a Dance? Reflections on Dancing the ‘Bauhaus Dances’ in Dessau”

Mark Franko will discuss the reconstruction of Oskar Schlemmer’s “Bauhaus Dances” from the perspective of the spectator and the performer and in relation to architectural space. Scenes from Debra McCall’s film of “Bauhaus Dances” will be projected as part of the talk.

November 8, 2017 – Amelia Rauser

Professor of Art History
Franklin & Marshall College
Psyche Disobeys: Sensate Sculpture and Fashionable Dress in the 1790s”

In the 1790s, fashionable women appeared in ballrooms, gardens, and opera boxes dressed as living statues. Amelia Rauser explores the ways women appropriated the imagery of Psyche, symbol of resurrection as well as the spirit of life, to represent themselves as enlivening marbles. Once hidden, blinded, abandoned, and enslaved, Psyche gained her freedom and became immortal by empowering her own desiring gaze. Her iconography, then, construed women in white muslin dresses as both desirable objects and desiring subjects, giving them a visual language for their own embodied animation.

 

November 15, 2017 – Cecily Hilsdale

Professor
Department of Art History and Communication Studies, McGill University
and the Institute for Advanced Study, Princeton
The Jewel in the Byzantine Crown: Eastern Emblems of Sovereignty in Early Medieval Spain”

Reassessing the long-debated relationship between Byzantine and western medieval art, Cecily Hilsdale examines the “Byzantinizing” aesthetic adopted beyond the borders of Byzantium, in early medieval Spain. Anchored by a hoard of seventh-century gem-encrusted golden votive crowns and processional crosses, she questions how and why the eastern Byzantine Empire was invoked visually in territories of the Iberian Peninsula at the opposite, western edge of the Mediterranean.