A presentation as part of the International Symposium: "Arts of the Ryūkyū Kingdom" (14-15 December 2018)

The symposium will take place at the University of Zurich on Friday, 14th and Saturday, 15th December 2018 in room HAH-E-11
(University of Zurich, Häldeliweg 2, 8044 Zurich)

The symposium is free and open to the public, no prior registration is necessary.

Presentations will be held in Japanese and in English. Texts in English will be supplied for presentations given in Japanese.

For questions, please contact the Section for East Asian Art: kgoa@khist.uzh.ch

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The islands between China and Japan have long been embroiled in a sea of multiple identities, lasting into the present. A few of these islands, an archipelago that was called, at various points in time, the Loochoo Islands, the Ryūkyū Kingdom, and recently Okinawa, have been enmeshed in a complex mix of multiple identities throughout their history, resulting in a complex and controversial understanding of their arts and culture. The arts of these islands have been described as 1) expressions of a distinctly Japanese tradition, 2) as resulting from a mixture of Japanese and Chinese traditions, or 3) as a distinct culture of its own with receptions from other neighboring cultures. The works of arts in this symposium will be examined from these conflicting parameters in order to explore the questions of cultural heritage and national identities.

Themes of the symposium

The symposium on Ryūkyū and Okinawa arts is organized by the University of Zurich in collaboration with the Museum der Kulturen, Basel (MKB). It is part of a multi-year project between the two institutions that is based on the remarkable collection of Ryūkyū textiles in the collection of the MKB. The university, the museum, and Japanese researchers from Okinawa have been examining the museum's textile collection in a survey to be completed in 2018. This symposium marks a milestone in the project, and will be followed by major exhibitions in Japan and at the MKB.

The symposium features experts from Japan, USA and Europe and will be held over three days. The first two days will feature presentations at the University of Zurich, and are open for both scholars and members of the public to attend. The third day (limited to speakers and panel chairs) will be held at the MKB in Basel and will include the viewing of the Ryūkyūan textiles in the museum storage.

The symposium examines topic such as:

The history, tradition, and techniques of the Ryūkyūan textiles
History of the Ryūkyū Kingdom and Okinawa
Comparisons to textiles from other cultures
Alfred Bühler, Jaap Langwiess, and the collection’s provenance

For a full schedule of the symposium, please click on the "External Link" below.

Potsdam, Museum Barberini, Alter Markt, Humboldtstr. 5-6, 16.01.2019
Registration deadline: Jan 16, 2019

A presentation as part of the Symposium, "Monet. Places"

The reproduction of fleeting natural impressions played a central role in the art of Claude Monet (1840-1926). Like no other Impressionist, he explored the topography and the specific lighting moods of different locations, from the metropolis of Paris to the remote Seine villages of Vétheuil and Giverny. This symposium explores the evolution of Monet's art from the 1850s to the 1920s with a focus on the places - both at home and on the road - from which he drew inspiration for his painting.

All lectures will be in English.

Please click on the "External Link' below to learn more.

Location: Room 132, College of Arts & Sciences, 725 Commonwealth Avenue, Boston

Please join us for a lecture on Thursday, December 6, by the brilliant Meredith Gamer, from Columbia University. She will be discussing her work on the visual culture of punishment in eighteenth-century Britain, with a focus on Hogarth.

This event is hosted by The Shelley & Donald Rubin Foundation at The 8th Floor and is free and open to the public. Tea, light refreshments and good conversation will be provided.

Salamé will be in conversation with Jennie Hirsh, Professor of Modern and Contemporary Art at the Maryland Institute College of Art, about her work. This conversation will tackle printmaking as a platform for creative protest, looking at Salamé’s process and documentation of the 2016 Women’s March, as well as other topics outside of the United States.

About the Artist Perspectives program series:
This program is part of a collaborative series by ArtTable and the Pollock Krasner Foundation that aims to share insights, strategies, and practical advice in public dialogue. These programs feature female artists who have been funded by the foundation, giving them the opportunity to participate in a series of conversations with arts professionals on subjects that relate to building a successful career and practice in the art world. All content taken from this series will be recorded and launched as a podcast series in 2019.

About Soledad Salamé:
Soledad Salamé, American, born in Santiago, Chile in 1954, currently lives and works in Baltimore, Maryland.

Noteworthy projects and exhibitions: Women’s March, 2017 Artist Book, BMA, Print fair, Are you listening? 2016 Goya Contemporary, Dominican Republic, Baltimore, MD, ALMA 2014, Atacama Large Millimeter Array, in progress, Territories 2013, Goya Contemporary Gallery, Baltimore, MD,Barcodes Merging Identity and Technology 2012, Critics choice for Art Miami, Miami FL, Gulf Distortions I/XII 2011, Corridor Museum of the Americas, Washington DC, Where Do you Live? 3000 Miles of Maryland Coast, presented by The Contemporary, Baltimore MD, Aguas Vivas and the Labyrinth Of Solitude, Museum of Fine Arts, Santiago, Chile, Latin American Still Life, Reflections of Time and Place, Katonah Museum of Art, Westchester, NY, Latin American Women Artists, 1915-1995, (traveling exhibition) at the Milwaukee Museum of Art, Denver Museum of Art, Phoenix Museum of Art, Miami Art Museum, and National Museum of Women in The Arts, Washington, DC, Labyrinth Of Solitude, Museum Of Fine Arts, Stgo, Chile 2001

Soledad Salamé’s work is represented in private and public collections throughout the world, including those of the Deutsche Bank in New York, New York; National Gallery of Art, Washington DC., National Museum of Women in the Arts in Washington, DC; The Baltimore Museum of Art, in Baltimore, MD; and the University of Essex, UK. Her work is included inThe Contemporary Museum: 20 years, by Irene Hoffman (2011), The St. James Guide to Hispanic Artists, by Thomas Riggs (2002), Latin American Women Artists of the United States, by Robert Henkes (1999), and Latin American Art in the Twentieth Century, by Edward J. Sullivan (1996).

As founder and director of Sol Print Studios, she is an active member of the Baltimore Arts Community. SOL Print Studio has gotten the recognition of excellence from The Washington Baltimore Area, museum curators and other institutions.

Each semester, the School of History of Art welcomes a series of guest speakers and colleagues to present an hour-long seminar on their research. Seminars normally take place on Thursdays at 5.15pm in the Hunter Building Lecture Theatre on Lauriston Place, with a reception afterwards in the John Higgitt Gallery. Please note that the Watson Gordon Lecture takes place on 8th November 2018.

The events are a fantastic opportunity to hear from art historians, critics, curators and artists from the UK, Europe and beyond about their work. The seminars are free and everyone is welcome.

Join artist Kittie Jones for an evening tour of the landmark exhibition, "Rembrandt: Britain's Discovery of the Master," now on at the Scottish National Gallery. While the exhibition includes both paintings and prints, Jones will focus on the prints. Exhibition ticket required.

In conjunction with the display, ‘Historical Baggage’: Glenn Brown and his sources', the artist will deliver a 45 minute lunchtime lecture in Gallery 90a in the Department of Prints & Drawings at the British Museum. Free and open to all.

Le Siècle d’or, un nouvel âge d’or ? Survivances d’un mythe dans les Provinces-Unies du XVIIe siècle / The Dutch Golden Age: a new aurea ætas? The revival of a myth in the seventeenth-century Republic

International Conference
free entrance

DESCRIPTION
The ambiguity of the Dutch notion of the Golden Age (gulden ou gouden eeuw), which first appears during the second part of the sixteenth century, is intriguing. It refers firstly to the golden age, as it was described by Greek and Roman authors, a mythical society that existed under the protection of Saturn, in peace and happiness and in harmony with nature. But the notion is also used by the Dutch themselves to designate the society that they were part of – or wished to be part of - , after the independence of the United Provinces from the Spanish reign. As a model of an ideal society that aimed to revive, reactivate, indeed to reinvent, the ‘aurea aetas’ functions as one of the founding myths of the emerging ‘Golden Age’. The different aspects of this myth will be explored during this international and interdisciplinary conference.

This conference is the first of a series of conferences and seminars organized in the context of the project «Un Siècle d’Or? Repenser la peinture hollandaise du XVIIe siècle», directed by Prof. Jan Blanc and funded by the Swiss Fonds national de la recherche scientifique (2017-2021).

Click on the 'External Link' below for the full conference program.

One presentation as part of the CONF: "DIGITAL HUMANITIES PER LA PRATICA ACCADEMICA E CURATORIALE | FOR ACADEMIC AND CURATORIAL PRACTICE" (Rome, May 23 - 24, 2018)

VI Giornata Internazionale di Studi Dottorali del Rome Art History Network

A cura di Angelica Federici (University of Cambridge/RAHN) e Joseph Williams (Duke University/American Academy in Rome)
Coordinata da Matteo Piccioni (Sapienza - Università di Roma/RAHN)

23 MAGGIO 2018

Biblioteca Angelica
Piazza S. Agostino 8, Roma

14.00 APERTURA DEI LAVORI
Francesca Parrilla (University of Notre Dame/RAHN)
Matteo Piccioni (Sapienza - Università di Roma/RAHN)

Introduzione
Angelica Federici (University of Cambridge/RAHN)
Joseph Williams (Duke University/American Academy in Rome)

14.20 SESSIONE I. L’investigazione storica tramite le Digital Humanities
Chair: Silvia Tita (National Gallery of Art, Center for Advanced Study in the Visual Arts)

14.35 Jorge Jiménez (Universidad de Salamanca),
La digitalizzazione dei manoscritti medievali. Alcuni rischi e vantaggi

14.55 Alberto Faria (Universidade de Lisboa),
Between light and shade: Present and future of the Collection of Prints - University of Lisbon, Faculty of Fine-Arts

15.15 DISCUSSIONE

15.30 PAUSA CAFFÈ

16.00 SESSIONE II. La digitalizzazione degli archivi e la tutela del patrimonio culturale
Chair Valeria Vitale (University of London)

16.15 Dario Haux (Universität Luzern),
Sul paradigma della preservazione del nostro patrimonio globale con l’informatica digitale

16.35 Ji Young Park (Technische Universität Berlin),
Digital provenance research for Asian art: revealing an object’s past, reconstructing its discourse

16.55 Martina Massarente (Università degli Studi di Genova),
La piattaforma virtuale del DIRAAS (Unige): applicazione informatiche per la storia della critica d’arte e la fotografia

17.15 DISCUSSIONE

17.30 CONFERENZA
Caroline Bruzelius (Duke University)

18.15 RINFRESCO


24 MAGGIO 2018

American Academy in Rome
Via Angelo Masina 5, Roma

14.00 SALUTI
Lindsay Harris (American Academy in Rome)
Ariane Varela Braga (Universität Zürich/RAHN)

14.10 SESSIONE III. L’Interazione tra le Digital Humanities e l’oggetto storico artistico
Chair Bissera Pentcheva (Stanford University/American Academy in Rome)

14.25 Kelly E. McClinton (Indiana University),
The resting satyr: a digital exhibit in augmented

14.45 Leonardo Impett (Digital Humanities Institute, EPFL),
Notation, alienation and operationalisation in digital Art History

15.05 DISCUSSIONE

15.20 PAUSA CAFFÈ

15.50 SESSIONE IV. Le Digital Humanities nel mondo dell’editoria
Chair Allison Levy (Digital Scholarship Editor, Brown University)

16.05 Giuditta Cirnigliaro (Rutgers University),
The digital reconstruction of Leonardo’s library: revealing formal patterns in Early Modern thought

16.25 Olga Hajduk (Institute of Art of the Polish Academy of Sciences),
The power of tools. Reflection on digital art history possibilities in relation to research on Early Modern sculpture and creating art objects catalogues

16.45 Stefania de Vincentis (Università di Ferrara),
Gli archivi digitali come strumento per l’audience development. Elementi dal tavolo di lavoro su ICT e Cultural Heritage della Commissione Europea 2017

17.05 DISCUSSIONE

17.20 TAVOLA ROTONDA
Le Digital Humanities e la conservazione del
patrimonio culturale
Giacomo Massari (TorArt, Carrara)
Isabella Baldini, Giulia Marsili, Lucia Orlandi (Università di Bologna)

17.50 CONCLUSIONI
Angelica Federici (University of Cambridge/RAHN)
Joseph Williams (Duke University/American Academy in Rome)

18.00 RINFRESCO

45-65 Peckham Road London SE5 8UF

William Kentridge, born in South Africa, is one of the pre-eminent artists of his generation, working across media that include drawing, film, performance, prints and sculpture leaving a legacy of works which ‘declare his allegiance to the humanist project and to a version of realism and social engagement’ (Roger Malbert). Printmaking has been close to the centre of his practice as an artist throughout and this conversation between Kentridge and Professor Paul Coldwell will focus on his approach to the print and how it has informed his wider practice.

Book your place by clicking on the 'External Link' below.