You're invited to attend an online Q&A event dedicated to applying to pre- and post-doctoral fellowships on Tuesday, August 8, from 3:00-4:30 pm EST. Please scroll down for more information, and visit the link below to register.
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Panelists Joanna Gohmann (Provenance Researcher & Object Historian, Freer Sackler Gallery, the Smithsonian’s National Museum of Asian Art), Kailani Polzak (Assistant Professor of History of Art and Visual Culture, University of California, Santa Cruz), Kimia Shahi (Assistant Professor of Art History, University of Southern California) will provide tips and answer questions on applying for fellowships.

Whether you are considering pre-doctoral fellowships, post-doctoral positions, or other research grants, this event will equip you with some of the knowledge and tools necessary to strengthen your applications. Learn about crafting research proposals, building strong CVs for fellowships, and navigating the application process. Engage in discussions and connect with other scholars going through the process, and hone your understanding of fellowship opportunities!

This event is free to attend for everyone – not just HECAA members – so please share this announcement widely! Note however that advance registration is required, using the link provided below.

Please message hecaamembers@gmail.com with any questions or for access to the google doc to anonymously propose questions or topics they would like the panel to address.

We hope to see you on August 8!

Before Chelsea, before Soho, the commercial art gallery district was primarily on and just off Fifth Avenue in midtown Manhattan. Although most of the original buildings have disappeared, this Jane's walk will trace the steps of collectors “doing the galleries” in the first decades of the 20th century. We will uncover the location of Robert Henri’s 1901 [not a typo] show of American Modernists, see where the first solo exhibitions of Man Ray, Marguerite Zorach, and Florine Stettheimer were held, and note the various galleries opened by frustrated assistants of Alfred Stieglitz, as well as shops catering to the etching revival and American crafts movement.

Beginning in the 1960s, artists engaged in printmaking shifted away from autographic mark making and craftwork, toward critiquing methods of representation, communication, commerce, and society itself. They embraced a diverse range of unorthodox processes, many of which came about by placing concept before technique, breaking down boundaries between mediums. Six decades later in a media-saturated and digitally-interconnected present, many artists are returning to traditional print processes and hand-crafted matrices to create biting and beautiful commentary. Presenting a wide range of contemporary artists and their ideas, this talk surveys the recent trajectory and prolific use of printed art.

Water tusche is a material unique to lithography that can create painterly and reticulated marks. This material is notoriously difficult to master, even for the experienced printmaker.

Join us on Friday, April 7th at 11 AM MST for a live demonstration on water tusche washes led by Student Printers at Tamarind Institute. The entire process will be covered, from the mixing and application, etching, rolling up washes on stone, as well as troubleshooting. Examples of washes from the Tamarind archive will also be shown. All skill levels are welcome and encouraged to attend.

This will also be recorded for anyone unable to attend, or for future reference.

Register at the link below.

Born in Tiflis [Tbilisi], Georgia in 1894, while the area was part of the Russian Empire, poet Ilia Zdanevich (“Iliazd”), seems to have felt little identification with the region. If he spoke Georgian (his mother’s native tongue), he gave no indication of this in his writings. After 1912, he moved into Russian avant-garde circles in Moscow and St. Petersburg. But he also “discovered” the self-taught Georgian painter, Nikos Pirosmani. He was passionate about ancient Armenian and Georgian church architecture. He loved the mountains of the Caucasus region. However, he did not express any affiliation as a “Georgian” or mention the politics of the region in his work, only noting that after the Revolution in October 1917 he was prevented from returning to Russia. His early experimental plays, composed between 1916-20, identify Tiflis as their publication site. But he never mentions the interlude from May 1918 through February 1921, when Georgia was briefly an independent republic before being annexed by the Soviet Union, or the name change of his birthplace to Tbilisi in 1936. Iliazd travelled to Paris in 1921 and spent the rest of his life there as a publisher and poet. Linked to international art circles, Iliazd’s career raises interesting questions about the combination of local culture(s) (Georgian, Russian, Parisian) and national identity politics in the modern avant-garde.

Speaker: Johanna Drucker is Distinguished Professor and Breslauer Professor in the Department of Information Studies at UCLA. She is internationally known for her work in the history of graphic design, typography, experimental poetry, art, and digital humanities. Recent work includes Inventing the Alphabet (University of Chicago, 2022), Visualisation L’Interprétation modélisante (B42, 2020), and Iliazd: Meta-Biography of a Modernist (Johns Hopkins University Press 2020). Her artist’s books are widely represented in museum and library collections. She was elected to the American Academy of Arts and Sciences in 2014. In 2021 she received the AIGA’s Steven Heller Award for Cultural Criticism.

The first of seven events in the series:

From Tallinn to Tbilisi: Art Across Boundaries in the Age of Empire

Through the long nineteenth century until the eventual collapse of the Russian Empire in 1917, artists in territories under imperial control, such as Poland, Finland, Ukraine, the Baltics, the Caucasus, Central Asia and others, increasingly began to explore questions of national identity in response to hegemonic and Russo-centric narratives advanced by the tsarist regime. In this seminar series, speakers examine art production in key centres of activity beyond St Petersburg and Moscow to present perspectives from across the Empire. Exploring a range of topics, such as art education, travel, national revivals, and women's advancement, they consider the ways in which artists negotiated ethnic and territorial identities, advanced their professional careers, and recalibrated their art-making in response to imperial rule.

Mondays, 5-6:30pm (UK) / 6-7:30pm (CET) / 12-1:30pm (EST)
Teams, Free
Recording available after each event

Both Bethany Collins and Dario Robleto use fire in the printing process to convey the complexities of sound as a carrier of historical memory. With lasers and flames, singes and soot, each explores the tension between loss and preservation in printed sound. Join Collins, Robleto, and Jennifer L. Roberts for a discussion of the paradoxes of ephemerality in early sound recording, the unstable links between sonic and lyric memory, and the fragile cohesion of communal sensibility in music.

Please

Hear from Ericka Walker in conversation with Nikki Otten, associate curator of prints and drawings, about how Walker blended her 21st-century artistic practice with 19th-century print production methods to create a poster for the exhibition "Always New: The Posters of Jules Chéret."

An artist and printmaker based in Nova Scotia, Walker was invited to design a poster for the exhibition that brings a contemporary interpretation of Jules Chéret’s art to both the walls of the Museum and the streets of Milwaukee.

This event is free to attend; Museum admission is not required. Extend your visit to the galleries by reserving an admission ticket in advance.

This event is hosted in conjunction with the "Always New: The Posters of Jules Chéret exhibition."

The Expert Series welcomes renowned scholars and artists to the Museum for engaging, expansive conversations that dive deeper into an exhibition, artist, or theme.

Please join us on Friday, September 30 at 1PM for “Dahesh Prize Redux,” our first Virtual Salon of the 2022-2023 season. This series of online events is cosponsored by the Association of Historians of Nineteenth-Century Art and the Dahesh Museum of Art. “Dahesh Prize Redux” will feature the two recipients of the Mervat Zahid Cultural Foundation Prize at the nineteenth annual AHNCA/Dahesh Graduate Student Symposium in Nineteenth-Century Art that took place in March 2022. They will represent their papers and discuss their work and future plans. The event is free and open to the public but registration is required at https://tinyurl.com/daheshredux2022.

Thomas Busciglio-Ritter, University of Delaware, “From Brussels to Point Breeze:
Charlotte Bonaparte and the American Landscape, 1821-1825.”
Busciglio-Ritter examines the production of landscape images by Charlotte Bonaparte during her American residence, 1821-1824. Her involvement with networks of transatlantic lithographers and painters resulted in the publication of her portfolio of sketches: Picturesque Views of America, one of the first to widely circulate views of U.S. scenery in print to European audiences.
He is the Richard & Mary Holland Assistant Curator of American Western Art at Joslyn Art Museum in Omaha, as well as a doctoral candidate at the University of Delaware. A scholar from France, he previously received an MA from the École du Louvre. His research covers nineteenth-century landscape art, racial relations, environmental issues, and artistic circulations between Europe and the United States. He was awarded an Andrew W. Mellon Foundation Curatorial Fellowship at the University of Delaware and a 2021 Terra Foundation Research Travel Grant. His research has been published in Revue de l’Art, the Oxford Journal of the History of Collections, Panorama, and Early American Studies as well as in the exhibition catalog Rosa Bonheur at the Musée des beaux-arts in Bordeaux and at the Musée d’Orsay.
Moderator Patricia Mainardi, City University of New York, Program Director AHNCA

Carter Jackson, Boston University, “Turbulent Politics and a Stage for Democracy: Government and Governmentality in the Allegheny County Courthouse.”
Jackson explores the role of architecture during moments of political unrest by examining how Henry Hobson Richardson’s design for the Allegheny County Courthouse, completed in 1888, mediated a fraught relationship between citizens and their government in late nineteenth-century Pittsburgh.

Speaker:
Michelle Foa, associate professor of art history in the Newcomb Art Department of Tulane University

Friday, January 20, 2023, 5:30 p.m.
Morley Family Lecture Hall
The 19th century witnessed a revolution in the manufacture and use of paper that had far-reaching effects on the arts. This lecture situates the changes that paper underwent in the context of key developments in trade, cotton cultivation, and textile production and consumption around the world. It also highlights artists’ and writers’ reactions to these shifts, revealing their profound concern about the longevity of the paper supports of their pictures and publications.

Bio:

Michelle Foa is associate professor of art history in the Newcomb Art Department of Tulane University. Her research focuses on 19th-century French art and visual and material culture.

This month’s ArtistNConversation will be hosted by Juan Omar Rodriguez, Curatorial Fellow at the Pennsylvania Academy of the Fine Arts, who will interview artist Scherezade Garcia. This free virtual public program is sponsored by the Dedalus Foundation.

The webinar series presenting artists in the All My Ancestors exhibition will continue every third Thursday through October.

The exhibition catalog can be downloaded free at brandywineworkshopandarchives.org.

Please visit the link below to register for the event.