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    Programs

    Center 42

    During the academic year, the Center organizes scholarly meetings that range in size and duration from multiday gatherings and individual lectures with audiences to small roundtable discussions. All programs for the fall term were held virtually. In the spring term, we transitioned to in-person, livestreamed programs when possible.

    Public Programs

    October 1, 2021

    Fragments and Frameworks: Illuminated Manuscripts and Illustrated Books in Digital Humanities

    Matthew J. Westerby, Ginger Hammer, and Michelle Facini studying works from the Rosenwald Collection in the National Gallery’s Print Study Room, July 2021

    Organized by Matthew J. Westerby, Robert H. Smith Postdoctoral Research Associate 
    Virtual program

    The study of art history has long dealt with fragments and processes of fragmentation. Illuminated manuscripts and illustrated books in particular may have their fragments and folia fugitiva—pieces of material—separated from a whole collection or corpus. Many thousands of drawings and miniatures are dispersed around the world, including those donated to the National Gallery of Art by Lessing J. Rosenwald.

    The adoption of open-access online collections has enabled new avenues for study. Open digital frameworks promise to bring new data and new attention to these objects and to ask critical questions about their provenance and conservation.

    This conference discussed fragments and frameworks, actual and conceptual, in art history, and addressed emerging questions in the digital humanities. What kinds of afterlives are incurred by processes of fragmentation and cutting? How does the concept of the frame or framework inform the study of illuminated manuscripts and illustrated books? How does the concept of (digital) remediation inform our approach to these works? 

    Morning Session 
    Steven Nelson, Center for Advanced Study in the Visual Arts 
    Welcome

    Matthew J. Westerby, Center for Advanced Study in the Visual Arts 
    Moderator

    Catherine Yvard, Victoria and Albert Museum 
    Framing the Gaze: Some Thoughts on Illuminated Manuscripts and Cuttings

    Cristina Dondi, Lincoln College, University of Oxford, and Secretary of CERL 
    Books as Fragments of Libraries—Illustrations as Fragments of Books: A Digital Illustrated Census of Dante’s Comedia (1481)

    John K. Delaney and Michelle Facini, National Gallery of Art 
    Collaborative Technical Study and a Machine Learning Future for Illuminated Manuscripts

    Bryan Keene, Riverside City College 
    Encompassing the Globe: Digital Scholarship and Virtual Reconstructions of Illuminated Manuscripts

    Afternoon Session 
    Peter M. Lukehart, Center for Advanced Study in the Visual Arts 
    Welcome and introduction; moderator

    Lisa Fagin Davis, Medieval Academy of America 
    Medieval Fragments and Modern Fragmentology

    LauraLee Brott, University of Wisconsin–Madison 
    The Materiality of Medieval Maps in the Age of Digital Discovery

    Heather Bamford, George Washington University 
    Out of Practice, Uncertain Cultures

    Matthew J. Westerby, Center for Advanced Study in the Visual Arts 
    Frameworks for Fragments: The Digital Lives of Miniatures

    November 5, 2021

    Sydney J. Freedberg Lecture on Italian Art

    Babette Bohn with Lavinia Fontana’s Portrait of a Noblewoman (c. 1580) at the National Gallery, on temporary loan from the National Museum of Women in the Arts, November 2021

    “More perfect and excellent than men”: The Women Artists of Bologna
    Babette Bohn, Texas Christian University 
    Virtual program

    Early modern Bologna was exceptional for its many talented women artists. Thanks to a long-standing tradition of honoring accomplished women, several attentive artistic biographers, strong local interest in collecting women’s work, and permissive attitudes toward women studying with male artists who were not family members, Bologna was home to more women artists than any other city in early modern Italy. Bolognese women artists were unusual not only for their large numbers but also for their varied specializations and frequent public success. They painted altarpieces, nudes, mythologies, allegories, portraits, and self-portraits, creating sculptures, drawings, prints, embroidery, and paintings. This lecture challenged some common assumptions about women artists, suggesting productive approaches for future research. 

    Watch Listen

    December 3, 2021

    Wyeth Lecture in American Art

    Video still from the Wyeth Lecture in American Art, released December 2021

    Prioritizing Indigenous Communities and Voices: Curating in This Time
    Patricia Marroquin Norby, The Metropolitan Museum of Art 
    Virtual program

    This lecture by Patricia Marroquin Norby (Purépecha) focused on her forthcoming book Water, Bones, and Bombs and her curatorial practices that affirm Indigenous representations. She shared her vision for and approaches to collecting, presenting, and interpreting Native American art at the Metropolitan Museum of Art and beyond. In September 2020, Dr. Norby made history with her appointment at the Met, becoming the first full-time curator of Native American art in the museum’s 150-year history. Since then Dr. Norby has broken institutional barriers by engaging bold, refreshing, community-centered approaches that foreground Indigenous voices and experiences within the Met’s collections, exhibitions, and programs. Dr. Norby previously served as senior executive and assistant director of the National Museum of the American Indian in New York and as director of the D’Arcy McNickle Center for American Indian and Indigenous Studies at the Newberry in Chicago.

    Watch Listen

    March 4–5, 2022

    Middle Atlantic Symposium in the History of Art

    52nd Annual Sessions
    Cosponsored with the Department of Art History and Archaeology, University of Maryland
    University of Maryland / West Building Lecture Hall and livestreamed

    Friday, March 4
    Evening Session
    Mabel O. Wilson, Columbia University 
    George Levitine Lecture in Art History 
    Spaces in the Shadows: The Archives and Architectures in the Work of Carrie Mae Weems

    Saturday, March 5
    Morning Session
    Steven Nelson, Center for Advanced Study in the Visual Arts 
    Moderator

    Joseph Kopta, Temple University 
    Chromatic Networks: Materiality and Materialism of Middle Byzantine Gospel Lectionaries (c. 850–1204 CE) 
    Introduction: Elizabeth S. Bolman

    Amanda Chen, University of Maryland 
    Transition, Transformation, and the Threshold of the Domus M. Caesi Blandi [VII.1.40] in Pompeii 
    Introduction: Maryl B. Gensheimer

    Jamie Richardson Sandhu, Bryn Mawr College 
    The Divine Liefhebber: A New Interpretation of Frans Francken the Younger’s Allegory of the Pictura Sacra (c. 1635) 
    Introduction: Sylvia W. Houghteling

    Carolyn Davis, George Washington University 
    Literacy, Devotion, and Globalism: Enconchado Paintings of St. Anne in Colonial Mexico 
    Introduction: Barbara von Barghahn

    Afternoon Session
    Tess Korobkin, University of Maryland  
    Moderator

    Rachel Ozerkevich, University of North Carolina 
    Class and Leisure Along the Seine: Seurat’s Bathers at Asnières (1884) and Olympic Ideals 
    Introduction: Tatiana C. String

    Meg MacKenzie, American University 
    The Darkroom as Weapon? Anti-Colonialism and Ethnography in Raoul Ubac’s Penthésilée Photomontages 
    Introduction: Juliet Bellow

    Marica Antonucci, Johns Hopkins University 
    What’s in a Name? Mario Schifano, Sidney Janis, and the Politics of Style in Postwar Italy 
    Introduction: Stephen J. Campbell

    Eleanore Neumann, University of Virginia 
    “Who would believe it?”: Maria Graham and the Gendered Representation of Slavery during the Independence of Brazil (1821–1824) 
    Introduction: Douglas Fordham

    March 13, 2022

    Conversation and Book Signing with Mary Beard

    Kaywin Feldman and Mary Beard in conversation, March 2022

    West Building Lecture Hall and livestreamed

    A conversation between professor and award-winning author Mary Beard and National Gallery of Art director Kaywin Feldman, followed by a book signing of Beard’s newest publication, Twelve Caesars: Images of Power from the Ancient World to the Modern.

    March 20–May 1, 2022

    The 71st A. W. Mellon Lectures in the Fine Arts

    Richard J. Powell

    Colorstruck! Painting, Pigment, Affect
    Richard J. Powell, Duke University 
    West Building Lecture Hall and livestreamed

    Richard J. Powell explored the concept of “colorstruck,” a 20th-century term addressing prejudice against people with darker complexions, in the 71st annual A. W. Mellon Lectures in the Fine Arts. The six-part series examined how colors—chromatic interactions in paintings and the sociocultural dynamics of race—collide in unanticipated ways.

    Color does more than capture the viewer’s attention; it assaults one’s equilibrium, physically and socially. Using blue, green, yellow, orange, black, red, brown, and their combinations as points of departure, Powell traced the visual and conceptual pathways of particular palettes. Through close looking at works by Nina Chanel Abney, Jean-Michel Basquiat, Sam Gilliam, Jacob Lawrence, Raymond Saunders, and Alma Thomas—painters for whom hue and pigmentation carry diverse associations—Powell’s lectures revealed how color can strike a chord for freedom and reclamation in art and life.

    The lectures were held on the dates below. Videos of the lectures were posted online in summer 2022.

    March 20: Colorstruck! Painting, Pigment, Affect 
    March 27: Jacob Lawrence’s Viridian 
    April 3: Yellow, Orange Glow 
    April 10: Red Combustion, Blue Alchemy 
    April 24: Chromatic Dispatches: Télémaque, Basquiat 
    May 1: The Bronze Thrill 

    Watch

    April 8, 2022

    James A. Porter Colloquium on African American Art and Art of the African Diaspora

    Fearless Endeavors: Daring Art History Methodologies and Art Practices 
    Cosponsored with Howard University 
    Virtual program

    The 32nd annual James A. Porter Colloquium considered how fearlessness has advanced African American art and art of the African Diaspora.

    Program
    Sarah Lewis, Harvard University  
    Opening Lecture 
    Black Art and the Groundwork of Art History

    Alvia Wardlaw, University Museum at Texas Southern University 
    Curatorial Conversation

    Huey Copeland, Center for Advanced Study in the Visual Arts 
    James A. Porter Distinguished Lecture 
    Conditions Reporting

    Bisa Butler, Chicago 
    Floyd Coleman Lecture 
    Bisa Butler: Quilts and Inheritance

    Betye Saar, Lillian Thomas Burwell, and Stephanie Sparling Williams 
    Award Recognition

    May 12, 2022

    Edmond J. Safra Lecture

    Art Writing and Opacity 
    Aruna D’Souza, Edmond J. Safra Visiting Professor, spring 2022 
    West Building Lecture Hall and livestreamed

    In this lecture, Aruna D’Souza considered fundamental questions about the power dynamics inherent in writing about art. How might art historians and critics write about the art of others—of artists who are dealing with histories of and creating work for racialized, minoritized, or colonized communities of which one might not be a part—without resorting to extractive models of writing? How might one pursue curiosities without treading on what poet and theorist Édouard Glissant calls “the right to opacity” of our objects of study? D’Souza’s talk drew on lessons from artists and writers who challenge us to sit with silence, secrecy, and invisibility.

    Programs By Invitation

    June 1–4 and 7, 2021

    A. W. Mellon Predoctoral Seminar

    Reading Atmospherically: Black Studies, Critical Theory, and Their Legacies 
    Organized by Ellen Tani, A. W. Mellon Postdoctoral Fellow, 2020–2022 
    Virtual program

    Each year, a Center postdoctoral fellow designs and directs an intensive weeklong seminar for the predoctoral fellows in residence.

    This seminar offered both an introduction to and engagement with texts from Black Studies and explores how its generative legacy—long considered extrinsic to the work of art history (with the exception of African American art)—offers creative reframings for our work as scholars, teachers, and institution builders. Recent texts in Black Studies reconsider fundamental ideas, from physics and atmospheric conditions to coasts and sounds. These models of speculative and provisional inquiry explore furtive and radical pathways through the structuring logics of Western enlightenment and modernist thought. How can we expand the tools at our disposal to resolve some fundamental contradictions of the field, such as its reckoning with its colonial past and the broader Enlightenment project through which it arose? And can we interrogate the foundational grammar of art-historical study at the same time?

    Participants 
    Thadeus Dowad, Paul Mellon Fellow, 2018–2021 
    Susan Eberhard, Andrew W. Mellon Fellow, 2019–2021 
    Ziliang Liu, Ittleson Fellow, 2019–2021 
    Andrew Sears, David E. Finley Fellow, 2018–2021 
    Kimia Shahi, Wyeth Fellow, 2019–2021 
    Johanna Sluiter, Twenty-Four-Month Chester Dale Fellow, 2019–2021 
    Teresa Soley, Samuel H. Kress Fellow, 2019–2021

    November 8, 2021

    Sydney J. Freedberg Lecture on Italian Art Incontro

    Investigating the Women Artists of Early Modern Italy: Methods, Provocations, and Challenges
    Babette Bohn, Texas Christian University 
    Virtual program

    This discussion explored some of the methods and challenges pertinent to the study of early modern women artists in Italy. One example is archival research, which is essential and often fruitful, but can also be frustrating and incomplete given the discriminatory selectivity of the historical record. Investigations of patronage, critical language, social and economic circumstances, criteria for determining authorship, and the pervasiveness of lost works all create challenges for scholars. Can some combination of useful strategies mitigate these issues? 

    November 19, 2021, and May 19–20, 2022

    Art Academies: Europe and the Americas, c. 1600–1900

    Organized by Peter M. Lukehart, Associate Dean, and Ulrich Pfisterer (Zentralinstitut für Kunstgeschichte, Munich), with Oscar E. Vázquez (University of Illinois at Urbana-Champaign) 
    November 19: Virtual program 
    May 19–20: Munich

    These seminars brought together specialists of the academies and schools of art of the 17th through 19th centuries in both Europe and the Americas. In recent decades, art-historical scholarship on artists’ training has focused on the intersectionality, global entanglements, and sociocultural significance and political contexts of the production, distribution, reception, display, and performance of objects, images, and their histories. Yet, research that takes a comparative analysis of the definitions, functions, and differing contexts of institutions of arts training has been almost completely absent.

    The Art Academies seminars aimed to make a significant contribution in this direction. Examining academies of art and arts organizations in both Europe and the Americas, the program sought to evaluate the ideological and material differences among and within academies. It did so in order to highlight the specific academic dissonances that counter the chorus of publications that either drown out the individual contributions of local institutions or, contrarily, remain silent about the possibility of other—often outside—models. The differences afford us a more nuanced and complex understanding concerning academies that were in fact adapted and shaped as much by local concerns and needs as by international trends across time and oceans.

    Participants 
    Buket Altinoba, Institut für Kunstgeschichte, Ludwig-Maximilians-Universität München 
    María Isabel Baldasarre, Ministerio de Cultura de la Nación, Buenos Aires 
    Émilie Beck Saiello, Centre Norbert Elias, EHESS/CNRS/Avignon Université/Aix-Marseille Université 
    Pablo Berríos González, Santiago, Chile 
    David Brigham, Historical Society of Pennsylvania 
    Carolina Brook, Rome, Italy 
    Paul Duro, University of Rochester 
    Ray Hernández-Durán, University of New Mexico 
    Jongwoo Jeremy Kim, Carnegie Mellon University 
    Peter M. Lukehart, Center for Advanced Study in the Visual Arts 
    Esperanza Navarrete Martínez, Real Academia de Bellas Artes de San Fernando, Madrid 
    César Peña, Universidad de los Andes, Bogotá 
    Trinidad Pérez Arias, Universidad Andina Simón Bolivar, Quito 
    Ulrich Pfisterer, Zentralinstitut für Kunstgeschichte, Munich 
    Christiane Salge, Technische Universität Darmstadt 
    Vita Segreto, Accademia di Belle Arti di Roma 
    Ursula Ströbele, Zentralinstitut für Kunstgeschichte, Munich 
    Oscar E. Vázquez, University of Illinois at Urbana-Champaign 
    Daryle Williams, University of California, Riverside

    December 6, 2021

    Wyeth Lecture in American Art Incontro

    Curating Now: Understanding Indigenous Perspectives, Foregrounding Indigenous Voices
    Patricia Marroquin Norby, The Metropolitan Museum of Art 
    Virtual program

    Patricia Marroquin Norby (Purépecha) discussed the lives and careers of Tewa artists Tonita Peña (San Ildefonso/Cochiti) and Helen Hardin (Santa Clara). She shared her curatorial practices that affirm Indigenous representations and voices at the Metropolitan Museum of Art and her vision for collecting, presenting, and interpreting Native American art. 

    April 4, 2022

    A. W. Mellon Lectures in the Fine Arts Incontro

    Richard J. Powell, Duke University 
    71st A. W. Mellon Lecturer in the Fine Arts 
    Virtual program

    A discussion of the 2022 A. W. Mellon Lectures in the Fine Arts, Colorstruck! Painting, Pigment, Affect

    April 21–August 18, 2022

    Book Proposal Development Program

    Organized by Elise Ferone, Center Support Specialist, and Lauren Taylor, Postdoctoral Research Associate 
    Virtual program

    Held virtually, this program centered on securing a book contract and took the form of weekly seminars and biweekly workshopping sessions. Experienced academics and publishing professionals gave presentations and facilitated discussions concerning the conceptual and practical aspects of creating a book proposal based upon a completed dissertation. Workshopping sessions encouraged participants to generate drafts of their proposal, to share peer-to-peer feedback, and to build support networks. The initiative supported the professional development of early career alumni and also facilitated peer engagement across cohort years.

    Moderator 
    Steven Nelson, Center for Advanced Study in the Visual Arts

    Speakers 
    Huey Copeland, Center for Advanced Study in the Visual Arts 
    Madhuri Desai, The Pennsylvania State University 
    Eleanor Goodman, The Pennsylvania State University Press 
    Byron C. Hamann, The Ohio State University 
    Ken Wissoker, Duke University Press

    Participants 
    Ravinder S. Binning, Kunsthistorisches Institut in Florenz 
    Rachel E. Boyd, Ashmolean Museum 
    Alexander Brey, Wellesley College 
    Alicia Caticha, Northwestern University 
    Ashley Dimmig, The Walters Art Museum 
    Valeria Federici, Center for Advanced Study in the Visual Arts 
    Michele L. Frederick, North Carolina Museum of Art 
    Nikki Georgopulos, National Gallery of Art 
    Ximena A. Gómez, University of Massachusetts Amherst 
    Eric R. Hupe, Lafayette College 
    Annika Johnson, Joslyn Art Museum 
    Samuel Luterbacher, Yale University 
    James Pilgrim, Johns Hopkins University 
    Miriam K. Said, Center for Advanced Study in the Visual Arts 
    Michelle Smiley, Rutgers University 
    Ellen Tani, Center for Advanced Study in the Visual Arts 
    Lauren Taylor, Center for Advanced Study in the Visual Arts 
    Matthew J. Westerby, Center for Advanced Study in the Visual Arts 
    Fulvia Zaninelli, Center for Advanced Study in the Visual Arts

    May 13, 2022

    Edmond J. Safra Colloquy

    The Anarchival Impulse 
    Organized by Aruna D’Souza, Edmond J. Safra Visiting Professor, spring 2022, and Anthony Elms (Philadelphia)
    In-person program

    Participants 
    Raven Chacon, Red Hook, NY 
    Rhea L. Combs, National Portrait Gallery, Smithsonian Institution 
    Lynne Cooke, National Gallery of Art 
    Huey Copeland, Center for Advanced Study in the Visual Arts 
    Marissa Del Toro, New Haven, CT 
    Molly Donovan, National Gallery of Art 
    Aruna D’Souza, Center for Advanced Study in the Visual Arts 
    Anthony Elms, Philadelphia 
    Kanitra Fletcher, National Gallery of Art 
    Candice Hopkins, Red Hook, NY 
    Paul B. Jaskot, Duke University 
    Peter M. Lukehart, Center for Advanced Study in the Visual Arts 
    Steven Nelson, Center for Advanced Study in the Visual Arts 
    Jennifer Stager, Johns Hopkins University 
    Lowery Stokes Sims, Center for Advanced Study in the Visual Arts 
    Hilary Whitham Sánchez, Center for Advanced Study in the Visual Arts 
    Kandis Williams, Studio Kandis Williams/Cassandra Press

    May 25, 2022

    Traveling Research Seminar on Afro-Latin American Art Study Day

    In conjunction with the exhibition Afro-Atlantic Histories
    In-person program

    In conjunction with the National Gallery’s curatorial division, the Center hosted Harvard University’s Traveling Research Seminar on Afro-Latin American Art for a daylong visit centering on the exhibition Afro-Atlantic Histories. The study day featured a panel discussion with the National Gallery’s curatorial team.

    Participants 
    Kleber Amancio, Universidade Federal do Recôncavo da Bahia, Cruz das Almas 
    Nohora Arrieta Fernández, Georgetown University 
    Vivian Braga dos Santos, Institut national d’histoire de l’art, Paris 
    Kency Cornejo, University of New Mexico 
    Molly Donovan, National Gallery of Art 
    Kanitra Fletcher, National Gallery of Art 
    Tatiana Flores, Rutgers, The State University of New Jersey 
    Cary Aileen García Yero, Harvard University 
    María de Lourdes Ghidoli, Grupo de Estudios Afrolatinoamericanos, Universidad de Buenos Aires 
    Andrew Hamilton, The Art Institute of Chicago 
    Eva Lamborghini, Universidad de Buenos Aires 
    Ada Elena Lescay González, Universidad de Oriente, Santiago de Cuba 
    Tadeu Mourão dos Santos Lopes, Instituto Federal de São Paulo 
    Steven Nelson, Center for Advanced Study in the Visual Arts 
    Elena O’Neill, Universidad Católica del Uruguay, Montevideo 
    E. Carmen Ramos, National Gallery of Art 
    Juliana Ribeiro da Silva Bevilacqua, Queen’s University, Kingston 
    Melanie White, Brown University

    Discussion Groups

    December 2021–May 2022

    Digital Humanities

    Coordinated by Matthew J. Westerby, Robert H. Smith Postdoctoral Research Associate; Lauren Taylor, Postdoctoral Research Associate; and Christopher J. Nygren, Samuel H. Kress Senior Fellow 
    Virtual and in-person program

    What have you done, or what would you like to do, adjacent to the digital humanities? What is digital art history and what are the current debates? This informal discussion group gathered monthly to discuss questions in this realm and to share digital projects and tools.

    December 2021–May 2022

    Labor and the Silence of the Archive

    Coordinated by Christopher J. Nygren, Samuel H. Kress Senior Fellow, and Isabella Lores-Chavez, Samuel H. Kress Fellow 
    In-person program

    In their pursuit of understanding a work of art, art historians tend to focus on the activity of a single author. The historical record—both textual and material—is much quieter about the constellation of actors whose labor in myriad ways contributes to artistic creation. This reading group discussed and explored various strategies to compensate for silences surrounding labor in traditional archives. At monthly meetings anchored in one or two secondary sources, the group drew inspiration from existing models for narrativizing the experience of anonymous or lesser-known figures and proposed possible future approaches to this expanded view of artistic labor.

    January 13 and March 17, 2022

    Narrating Art History

    Coordinated by Huey Copeland, Andrew W. Mellon Professor, and Lauren Taylor, Postdoctoral Research Associate 
    Virtual program

    This group was devoted to discussing the multiplicity of creative approaches through which one can narrate art history.

    Fellows’ Presentations

    Colloquia, presented by the senior members of the Center, and shoptalks, given by the postdoctoral fellows, predoctoral fellows, and guest scholars, occur throughout the academic year and are by invitation. Unless otherwise indicated, all talks were held virtually.

    Colloquia CCCXXVI–CCCXXXIV

    October 14, 2021
    Lowery Stokes Sims, Kress-Beinecke Professor 
    Painting the Black Body: Praxis and Theory, 2010–2020

    November 4, 2021
    Jeffrey Moser, Paul Mellon Senior Fellow 
    The Empty Tomb: Moral Depth in a Medieval Chinese Cemetery

    December 2, 2021
    Kathleen James-Chakraborty, Ailsa Mellon Bruce Senior Fellow 
    Expanding Agency: Women and Modern American Architecture and Design

    January 6, 2022
    Juliet Koss, Ailsa Mellon Bruce Senior Fellow 
    Model Utopia

    February 24, 2022
    Fabio Barry, Samuel H. Kress Senior Fellow 
    Why Oval Churches?

    March 3, 2022
    Christopher J. Nygren, Samuel H. Kress Senior Fellow 
    Shards of the New World: Painting on Obsidian and the Ecologies of Early Modern Art*

    March 17, 2022
    Kaira M. Cabañas, William C. Seitz Senior Fellow 
    Deviant Art Histories

    March 24, 2022
    Shira Brisman, Ailsa Mellon Bruce Senior Fellow 
    Insidious Silver: German Goldsmiths and Their Craft, 1568–1610*

    April 21, 2022
    Huey Copeland, Andrew W. Mellon Professor, 2020–2022 
    Alreadymade: Black Visual Thought, Duchamp’s Fountain, and the Ends of White Art History (circa 2020)*


    * held in the West Building Lecture Hall and livestreamed

    Shoptalks 252–260

    October 21, 2021
    Ellen Tani, A. W. Mellon Postdoctoral Fellow, 2020–2022 
    Black Conceptual Practice in Contemporary Art 

    November 1, 2021
    Luke A. Fidler, Paul Mellon Fellow 
    Coercive Form: Sculptural Politics and Medieval Subjects

    November 15, 2021
    Rachel Catherine Patt, David E. Finley Fellow 
    Yearning through Gilt Glass: Pothos, Memory, and Materiality in the Ancient Mediterranean

    December 9, 2021
    Isabella Lores-Chavez, Samuel H. Kress Fellow 
    To Touch and Turn: The Plaster Cast and the Draftsman’s (Time)line

    January 24, 2022
    Mohit Manohar, Andrew W. Mellon Fellow 
    Delhi Reinterpreted: The Making of Daulatabad in the Early 14th Century

    February 7, 2022
    Christine Garnier, Wyeth Fellow 
    Slender Maker’s Silverscapes: Mutable Currencies, Mobile Adornments

    March 10, 2022
    Catherine H. Popovici, Ittleson Fellow 
    Stelae on the Edge: Landscape and Power in Seventh-Century Copán

    April 7, 2022
    Erhan Tamur, Twenty-Four-Month Chester Dale Fellow 
    Site-Worlds: The Statues of Gudea Across Time and Space

    April 14, 2022
    Nisa Ari, Beinecke Postdoctoral Fellow, 2021–2023 
    Wasteland, Promised Land, Homeland: Painting Flora Palaestina Before the Nakba

    Christopher J. Nygren presents the Center’s first in-person colloquium since February 2020 on March 3, 2022

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