John Cage | How to Get Started – Live!
at Bryn Mawr College

Saturday, February 23, 2013; 12:30pm and 5:00pm
Hepburn Teaching Theater, Goodhart Hall, Bryn Mawr College
Ticket required; reservation required (Contact Info)

For more information on this event, please visit the Slought Foundation.

February 7 – April 21, 2013
JG a film project by Tacita Dean

OPENING EVENT
Lecture by Tacita Dean

Thursday, February 7, 6:30 p.m.
Commons Great Room (map #14)

Reception follows; film will be on view from 6:30 to 10 p.m.

Event is free; Reservation required.
Please register online.

Arcadia University Art Gallery is pleased to announce the presentation of JG by internationally acclaimed British-born, Berlin-based artist Tacita Dean. Commissioned by and made for the gallery, JG is funded by The Pew Center for Arts & Heritage and will be on view from February 7 through April 21, 2013.

JG is a sequel in technique to FILM, Dean’s 2011 project for Tate Modern’s Turbine Hall. It is inspired by her correspondence with British author J.G. Ballard (1930-2009) regarding connections between his short story “The Voices of Time” (1960) and Robert Smithson’s iconic earthwork and film Spiral Jetty (both works, 1970). The new 26 1/2 minute work is a looped 35mm anamorphic film shot on location in the saline landscapes of Utah and Southern California using Dean’s recently developed and patented system of aperture gate masking. An  unprecedented departure from her previous 16mm films, JG tries to respond to Ballard’s challenge–posed to her shortly before he died–that Dean should “treat the Spiral Jetty as a mystery her film would solve.”

For more information and shuttle registration, please visit Arcadia University Art Gallery.

“Pictorialism Must Go”
A lecture by Farid Masrour
Philosophy Faculty Candidate

Wednesday, January 30
Thomas Library 224
4:15 PM

Visiting Filmmakers and Media Artists Series
Spring 2013

WEDNESDAYS
5:45-8:30PM
Temple University
Annenburg Hall, Room3

INTIMATE COLLABORATIONS CONFERENCE

January 17th to 19th, 2013

Terrace Room, Claudia Cohen Hall, University of Pennsylvania

Preceded by:

PERFORMANCE/DISCUSSION

Alicia Hall Moran: the motown project

Thursday, January 17th, 2013 6:00 pm

Amado Recital Hall, Irvine Auditorium, First Floor

3401 Spruce Street Philadelphia, PA

How do we describe the intimacies that are born through works of art? What do intimate aesthetic collaborations bring into view or fail to make visible? What do different modes and forms of artistic collaboration yield (or at the very least promise) aesthetically, philosophically, or even politically? How does the work of theorizing artistic intimacy ultimately impact the way we think about art history as a practice or a discipline? What does intimacy require of us as scholars, critics, lovers, and producers of art? These are just a few of the questions that animate Intimate Collaborations, a conference which looks to foster new modes of intimate exchange between art, artists, and historians of art on the occasion of a momentous exhibition of some of the richest artistic collaborations of the second half of the 20th century.

Intimate Collaborations is a conference inspired by, and organized to coincide with the Philadelphia Museum of Art?s exhibition, Dancing Around the Bride: John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg, and Marcel Duchamp. It will address the strange and complex intimacies that emerge when relationships between artists take form through the process of art-making. Dancing Around the Bride is the first exhibition to explore the interwoven lives, works, and experimental spirit of Duchamp and Cage, Cunningham, Johns and Rauschenberg. Intimate Collaborations seeks to conceptualize and expand upon the possibilities set in motion by these artists for thinking the category of collaboration more broadly.

SPEAKERS

Kaja Silverman, Douglas Crimp, Andrew Uroskie, Catherine Craft, Ashley Ferro-Murray, Jonathan Katz, Tara McDowell, Homay King, Huey Copeland, Bibi Obler, Anne M. Wagner, Kate Kraczon, Alex Klein, Danny Snelson, Mashinka Firunts, and Avi Alpert

For more information and free registration:

http://kajasilverman.com/intimate-collaborations-conference.php

OPEN HOUSE
Special Collections
301 Thomas
Thursday December 13th 4-6  pm

Updated displays from the archaeology collections
Refreshments served

Please join us for an illustrated talk by artist Lisa Kereszi on Monday November 19 at 5pm in Taylor Hall Room C. This event is organized by Special Collections Art and Artifacts and presented with the support of the Friends of the Bryn Mawr College Library.

Lisa Kereszi (Born Chester, PA) presents images from and engages in a Q&A on her long-term project documenting her family’s Philadelphia-area scrap business (the subject of her new book, “Joe’s Junk Yard”) and several other bodies of photographic work. “Joe’s Junk Yard” was recently highlighted in the New York Times, and Philadelphia’s Space 1026 will host a solo exhibition of Kereszi’s work in January 2013.

http://lisakereszi.com/projects/joes-junk-yard

Before Lisa’s talk, please consider checking out Docu-Commencement: Kay Healy, Jennifer Levonian, James Johnson, and Gilbert Plantinga, the residency-based new-works exhibition on currently on view in the Class of 1012 Rare Book Room gallery in Canaday Library. We’ll keep the show open until just before 5.
http://www.brynmawr.edu/library/exhibitions.html

Brian Wallace
Curator and Academic Liaison for Art and Artifacts
Bryn Mawr College
bwallace@brynmawr.edu
610.526.5335

Meadows of Delight: Metaphor and Denial in Byzantine and Western Medieval Art

Henry Maguire
Professor Emeritus of Art History, John Hopkins University
Thursday, October 11, 5:00pm, Carpenter B21

After the eighth century, motifs from nature, such as animals and plants, were more prominently displayed in Western churches than in those of the Byzantines, sometimes even appearing in the principal apses, in direct imitation of early Christian models.  In Byzantium, there was a rich literary tradition of verbal and written metaphors drawn from nature, especially addressed to the Virgin, but the art of Byzantine churches often excluded all reference to nature from holy images.   This presentation explores the root causes of this division between Eastern and Western art, which is to be found in contrasting attitudes toward the sacred image.  In Byzantium, a fear of venerating nature lingered after Iconoclasm, while in the West, animals and plants lost much of their association with idolatry, becoming, instead, a language for understanding the divine.

Reception immediately following the lecture, London Room, Thomas Hall

This event is free and open to the public.

Sponsored by the University Seminars Program of the Onassis Foundation (USA), The Center for Visual Culture and the Department of History of Art, Bryn Mawr College