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NOTICE: We regret to inform that due to incoming Tropical Storm Nicole and UF's closure on Thursday, both talks by Dr. Andrews (Nov. 9) and Dr. Shen (Nov. 10) have been postponed to a later date.
This talk explores two competing notions of “project” that informed Antonio Dias's painting in the early 1970s, one relating to the unfinished project as a subgenre of Conceptual art and the other to Italian debates apropos of the crisis of the historicity of modern art. The lecture is presented in conjunction with the University Galleries’ exhibitions Painting Situations: Sigfredo Chacón and Liliana Porter and Más situaciones: Sigfredo Chacón and Liliana Porter, which is part of the Institute for the Study of Latin American Art (ISLAA) Artist Initiative. Additional sponsors: UF Center for the Humanities and the Public Sphere (Rothman Endowment) and UF Center for Latin American Studies.
Intense and immersive, the immediacy of cloth is its evocation of the body. Conveying abstraction, embodiment and corporeality in the shadow of U.S.-based Culture Wars, and the global AIDS epidemic, 1990s-era sculptural textile practices offered dynamic structures in which cloth was manipulated, folded, stacked, clustered, layered, and sewn, through repetitive accretions, to approximate sizes, shapes, and contours of the body. In an era that fostered social and political inequities, textiles were repeatedly employed as allegories of repair, mending, and healing. This paper will address the complexities and biases aimed at 1990s textile-based installation in relation to the female-identified body, ideologies of abjection, and problems of scale.
Meet & Greet at 5:00 PM
This talk explores the Mexican artist, José Clemente Orozco’s, US-based lithographs on the public life of Blackness, executed during his second and longest sojourn in the United States between 1928 and 1934. I argue that his representation of variety theater in Harlem, in the first lithograph he produced, and his representation of lynching in the last lithograph the produced, speak to a concern with Blackness that was both new and related to the artist’s experiences with racialization while traveling, living, and working in the United States. By bringing Performance Studies scholar José Muñoz’s theorization of “the sense of brown” to bear upon Orozco’s work, I explore these prints as an expression of nascent brown feeling and thereby as a performance of a relational and in-process Latinidad. My focus on brownness in Orozco’s work suggests new pathways for understanding race beyond the Black/white binary that has thus far dominated discussions of race and representation in American art during the inter-war period. Likewise, it opens new questions about the concerns of Mexican artists during the “Mexican Vogue,” suggesting heretofore unconsidered connections with artists and intellectuals during the Harlem Renaissance as well as Mexican-American artists working today.
CW// this talk discusses racial stereotypes, lynching, and the spectacularization of violence in art.
This talk will reflect on two intersecting themes, the rise of women as artists and as female subjects for art, in the context of the evolving status of women in twentieth-century China. Against the backdrop of the nascent modern education for women and the emergence of feminism between 1910 and 1940, it interrogates, in light of contemporary art world patterns and current definitions of feminism, the slowing and even regression in recognition of women as artists in subsequent years.
Notice 1/9/2023: Rescheduled from Nov. 2022 for Feb. 22, 2023
Calligraphy entered contemporary Chinese art at the time modernist art reappeared in China in the 1980s, and gradually became an important component in contemporary art. Because the Chinese written language is partially ideographic and partially pictographic, calligraphy-related works can be categorized into a few groups. The first group can be traced back to traditional calligraphy, but the artists try to employ modern concepts and methodologies. The second group is to add calligraphic elements to other forms of visual art. These two groups basically explore the use and representation of calligraphic languages and elements. The third group introduces the Chinese writing system, or the structure of the character, to conceptual art, including new media art. In works of contemporary Chinese art, we see that expression of the calligraphic language and application of characters present many serious obstacles. On the other hand, calligraphy and Chinese characters as sources still have great potential. These artists, regardless of what concepts, methods, or formats they use, self-consciously link their art to the construction of cultural identity and social circumstances of contemporary society. This artistic phenomenon has already become an important part of contemporary visual culture.
Notice 1/9/2023: Rescheduled from Nov. 2022 for Feb. 23rd.
Join us for a conversation with Deborah Willis, award winning MacArthur Fellow, artist, curator, professor and eminent scholar in the history of Black photography, and Jade Powers, the new Curator of Art at the Harn Museum. Willis and Powers will explore topics presented in the current Harn exhibition Posing Beauty in African American Culture, including themes of beauty, joy, and self-fashioned Black identity in photographs dating from the 1890s to the present. The galleries will be open until 5pm, at which time the Auditorium will open for seating.
Could it be that in the geographical conception of art developed in Enlightenment Europe, the primary role and the function of the so-called Black Continent was one of ornament? Or, on the contrary, did the aesthetic conception elaborated by the European Enlightenment deprive Africa of artistic potentiality? These two opposing hypotheses coexist in eighteenth-century artworks and texts. Lafont’s talk will focus on some objects whose material, form, argument, use, and reception invite us not only to historicize the notion of African art, but also to identify the registers of categorization specific to this pivotal eighteenth-century moment, when both anthropology and aesthetics were invented. African objects, as well as European objects inspired by the African presence in Europe, rub up against the emergence of these two disciplines, which intersected around the importance of the senses and sight, in particular.
|Wed, Nov 16, 2022|
Art as Project, Project as Art: Antonio Dias and Painting after Conceptual Art
Sérgio B. Martins, Professor of History, Pontifical Catholic University of Rio de Janeiro (PUC_RIO)Fine Arts B, Room 105
|Thu, Nov 17, 2022|
Jenni Sorkin, Professor, History of Art & Architecture, University of California, Santa BarbaraChandler Auditorium at the Harn Museum of Art
|Thu, Feb 9, 2023|
At the Edge of Whiteness: Brown Feeling and the Public Life of Blackness in José Clemente Orozco’s U.S.-based Prints
Mary Coffey, Professor of Art History, Dartmouth CollegeChandler Auditorium at the Harn Museum of Art
|Wed, Feb 22, 2023|
Women Artists in Twentieth-Century China: A Prehistory of the Contemporary
Julia Andrews, Distinguished University Professor, Ohio State UniversityChandler Auditorium at the Harn Museum of Art
|Thu, Feb 23, 2023|
Calligraphic Language in Contemporary Chinese Art
Kuiyi Shen, Professor of Art History, Theory, and Criticism, University of California, San DiegoChandler Auditorium at the Harn Museum of Art
|Thu, Mar 30, 2023|
Posing Questions on Posing Beauty: A Conversation with Deborah Willis
Deborah Willis, University Professor and Chair, Department of Photography & Imaging at the Tisch School of the Arts, New York UniversityChandler Auditorium at the Harn Museum of Art
|Wed, Apr 19, 2023|
Out of Africa : Objects Encountering Theory in Europe
Anne Lafont, Directrice d’études, EHESS, l’Ecole des hautes études en sciences sociales, ParisChandler Auditorium at the Harn Museum of Art