Next semester’s descriptions are now available!

All recent course descriptions can be accessed on the left-hand side of the homepage.

Professor Anna Chave will speak at Dia:Beacon on November 15th in conjunction with Dia’s Carl Andre retrospective Sculpture as Place: 1958-2010, which is on display until March 2nd, 2015. Her talk is tentatively entitled “Grave Matters: Positioning Carl Andre at Career’s End.”

Professor Chave is widely known for her revisionist readings of Minimalism, including the essays “Minimalism and the Rhetoric of Power” (1990), “Minimalism and Biography” (2000), and “Revaluing Minimalism: Patronage, Aura, and Place” (2008).

Click here to reserve a seat (museum admission required) and here for more information on upcoming public events at Dia.

This Friday, PhD Candidate Andrianna Campbell and Public Art Fund Associate Curator Andria Hickey will serve as respondents for the third section of the Creative Time Summit, “Activating Public Space.”

The Creative Time Summit is an annual forum for socially engaged artists and public intellectuals addressing some of the most pressing political, economic, environmental, and social issues of the time.

This year’s Summit is located in Stockholm and focuses a regional spotlight on Europe, with panels addressing the rise of new nationalisms and shifting patterns of migration. These issues are situated in a wider discussion of public practice and art in the public sphere. New York’s Vera List Center will provide live programming with local artists and academics that responds to the Creative Time sections.

A full schedule of events is available here. Tickets to view the Summit at the Vera Center are sold out, but make sure to the visit the Creative Time website on Friday to live-stream the proceedings!

On November 14th, between 2-4pm the Ph.D. Program in Art History will host an ‘open house’ for any interested prospective students to come to find out more about studying Modern and Contemporary Art at the Graduate Center!

This session will provide an opportunity to meet current students and faculty specializing in these fields and ask questions about the program. Those interested in attending should RSVP to [email protected]. Students interested in fields other than Modern and Contemporary should contact faculty members directly.

As part of a Graduate Center-wide initiative, the Program is striving to increase its diversity, and we especially encourage African-American and Latino/Latina students to attend.

Beyond Connoisseurship: Rethinking Prints from the Belle Épreuve (1875) to the Present

Friday, November 7, 2014, 10:00 AM – 6:00 PM
Martin E. Segal Theatre

Organized by GC Art History students Allison Rudnick and Britany Salsbury, this conference will present talks by emerging and established curators and academics who are applying innovative methodologies to the study of printmaking (from ca. 1875 to the present) and connecting it to broader theoretical trends within art history.

Full details on the Conference website here!

10:00 – 10:15 AM – Opening Remarks (Claire Bishop, Professor and Executive Officer, PhD Program in Art History, Graduate Center, CUNY)

10:15 AM – 12:15 PM – Session One: Subject, Form and Technique

Bridget Alsdorf, Assistant Professor, Department of Art History and Archaeology, Princeton University
Bonnard’s Sidewalk Theater

Alison Chang, Andrew W. Mellon Curatorial Fellow, Department of Prints, Drawings, and Photographs, RISD Museum
The Circus and the Weimar Republic: Die Hölle and Jahrmarktas Cultural Critique

Christina Weyl, Ph.D. Candidate, Department of Art History, Rutgers University
Size Matters: Abstract Expressionism and the Epic Print at Atelier 17

Elizabeth DeRose, Ph.D. Candidate, The Graduate Center, City University of New York
Printmaking as Conceptualist Strategy in Postwar Latin American Art

12:15 – 1:15 PM – Lunch

1:15 – 3:15 PM – Session Two: Redefining the Traditions of Print

Marsha Morton, Professor, Department of Art and Design History, Pratt Institute
Max Klinger and the Illustrated Press

Shannon Vittoria, Ph.D. Candidate, The Graduate Center, City University of New York
Etching New Paths: Mary Nimmo Moran and the Development of America’s Etching Revival, 1879-1885

Katherine Alcauskas, Collection Specialist, Department of Drawings & Prints, Museum of Modern Art, New York
Rethinking the Print Room: Its History, Present, and Future

Fleur Roos Rosa de Carvalho, Curator of Prints and Drawings, Van Gogh Museum
Looking for Unicity in the Medium of the Multiple: The Private Cult of the Belle Épreuve

3:15 – 3:30 PM – Coffee Break

3:30 – 5:30 PM – Session Three: Originality and Reproduction

Jay A. Clarke, Manton Curator of Prints, Drawings, and Photographs, Sterling and Francine Clark Art Institute
Intermediality and the Photogravure

Sarah C. Schaefer, Lecturer, Department of Art History and Archaeology, Columbia University
New Translations: Modern Biblical Print Culture and the Limits of “Reproduction”

Lisa Conte, Assistant Paper Conservator, Metropolitan Museum of Art
Images of Resistance or Violence: The Early Prints of David Wojnarowicz

Ruth E. Iskin, Associate Professor, Department of Arts, Ben-Gurion University of the Negev
The Birth of the Modern Art Print and the Multiple Original

5:30 – 6:00 PM – Respondent Session (Susan Tallman, Editor-in-Chief, Art in Print)

6:15 PM – Reception

 

 

 

On October 14th, the exhibition Digital Typefaces opened at the Hyundai Card Design Library in Seoul, Korea. The exhibition is curated by Paola Antonelli, Senior Curator in MoMA’s Architecture and Design Department, and Michelle Millar Fisher, Curatorial Assistant and Art History PhD Candidate at the Graduate Center, in collaboration with the Hyundai Card Design Library. It’s the first of three traveling exhibitions going from The Museum of Modern Art, New York, to the HCDL over three years in a collaboration called “New Design Angles.”

For those versed in Korean, more information on the exhibition can be found on the Hyundai Card Design Library’s website!

On Saturday November 8th, Professor Cynthia Hahn will deliver the keynote address for the 2014 New England Medieval Conference “Copies, Copying, and Mimetic Acts” held at at Middlebury College. Her talk is entitled  “Like Life-Giving Seeds: the Multiplication and Dissemination of Relics and Reliquaries.”

More information on the conference here, and on Professor Hahn’s work here.

AH student Gwendolyn Shaw was recently selected as a Schomburg Digitization Fellow, in partnership with the Institute for Research on the African Diaspora in the Americas and the Caribbean (IRADAC). Now in its second year, the fellowship provides hands-on experience with the digital humanities.

The Schomburg Digitization Fellowship is one of several created by The Graduate Center in partnership with the Schomburg Center for Research in Black Culture, the world’s leading research facility focused on the global African and African diaspora.

More information on the partnership here.

Congrats to Gwendolyn!

On Wednesday October 29th at 7pm, Artists Space will host a discussion on art, artists, and activism with author Chris Kraus, Thomas Gokey, an artist, educator, and organizer with Strike Debt, and Yates McKee, a writer, activist, and student in the Art History Department who is completing a manuscript for Verso entitled Art After Occupy.

What kinds of actual social movements and radical projects are actual artists engaged in today? Do they participate as artists, or is this aspect of their identity incidental to their involvement? Do artists have particular skills and knowledge that can be useful to emancipatory struggles? Conversely, in what ways do artists, wittingly or otherwise, contribute to the cooptation and recuperation of these struggles?

Full details on the event here!

 

Over the past year, AH PhD student Alise Tifentale has worked in a project team lead by Lev Manovich, Professor of Computer Science at the GC, to explore the role of social media photography in the world today.

The team’s latest study – “The Exceptional & The Everyday: 144 Hours in Kiev” – uses computational techniques and data visualizations to explore patterns in Instagram usage during the 2014 Ukrainian Revolution. While other researchers have already examined the use of Twitter and Facebook during recent social protests such as Arab Spring, this is the first study to focus on the visual medium of Instagram. The collected images depict not only confrontations between demonstrators and Ukrainian government forces, but also present everyday life in Kiev juxtaposed against the backdrop of an unfolding uprising and political revolution.

One of Alise’s contributions to the project was its Iconography section, which examines the themes and visual grammar of Ukrainian Instagram imagery. She’ll also co-present the team’s findings at the upcoming Big Humanities Data conference in Washington D.C.

Our congratulations!