Newberry Library, October 9, 2015 - May 2, 2016
Deadline: Nov 15, 2015
The Newberry Library is pleased to announce the inauguration of a new seminar focused on the history of European Art, from its origins through the nineteenth century. This seminar will provide a forum in Chicago for presenting current research, as well as a venue to bring together a diverse community of art historians for intellectual exchange, collegial conversation, and debate. We construe art history in broad terms, embracing painting, sculpture, graphic art, architecture, caricature, manuscript illumination, book arts, and material culture. We plan to invite papers that cross and challenge borders both within and outside the discipline; engage questions of methodology and ideology; examine dynamics between form and content; probe the categories of race, ethnicity, status, and gender; and reflect critically on the state and outlook of the field. Papers will be pre-circulated, enabling the seminar to be devoted to discussion. We encourage papers that draw upon the Newberry collection. In addition to the usual classroom seminar format, presenters may request a hands-on workshop with original materials from the collection. If you are interested in this option, please indicate this in your proposal. The seminar will meet four times over the course of the 2015-16 academic year, on Friday afternoons.
We seek proposals for Spring 2016, for February 19, 2016 and April 22, 2016. To submit a proposal, please visit our webform at http://www.newberry.org/seminar-proposal-form and upload a one-page proposal, a statement of your work and a brief CV. Applications will not be accepted via email nor in hard copy. Scholars whose papers are selected may apply for a travel subsidy of up to $450.00. The Newberry is unable to provide additional funds for travel or lodging, but can assist in locating discounted accommodations.
Seventh Floor Galleries
The Andy Warhol Museum
This installation is a collection of documents that afford various impressions of the left-wing political, economic, and artistic life in Pittsburgh, from the communist movements of the 1920s, to the union rallies of the 1930s, to the Red Scare of the 1950s. Installed as several boxes filled with archives collected by U.S.-based, Russian artist Yevgeniy Fiks, it comprises dozens of photographs, printouts, PDF files, and books, including a government’s report on communist activities in Pittsburgh, images of artworks by Andy Warhol’s art professors at Carnegie Tech (now Carnegie Mellon University), and first-person accounts of race and labor relations.
The pieces are displayed on the museum’s seventh floor, which presents the early decades of Warhol’s life, including an emphasis on his working-class, European immigrant family in depression-era Pittsburgh. This display does not contain any documents related to Warhol or his family, it does capture the persistent political strain of proletarian life in the city at that time. Though Warhol’s career after his arrival in New York City in 1949 has more in common with the rampant and entrepreneurial individualism of post-war America than the collectivization of socialist activism, this project presents various cultural waves that may have shaped and ultimately informed the artist’s diverse and complex history. He would later incorporate numerous symbols of communism, from his Mao and Hammer & Sickle portraits of the 1970s to his 1986 portraits of Lenin.
Yevgeniy Fiks was born in Moscow in 1972 and has been living and working in New York since 1994. Fiks has produced many projects on the subject of the post-soviet dialogue in the West, for example, his project Lenin for Your Library?, in which he mailed Vladimir Lenin’s text “Imperialism: The Highest Stage of Capitalism” to 100 global corporations as a donation for their corporate libraries. His work has been exhibited widely, including at Mass MoCA, North Adams, MA; Moscow Museum of Modern Art; Sala de Arte Público Siqueiros, Mexico City; and Museu Colecção Berardo, Lisbon.
This exhibition brings together seventeen twentieth-century Russian rural and urban scenes from the Thomas P. Whitney (Class of 1937) Collection. It offers a journey to places around the world that were cherished by the artists who depicted them. The works continue the nineteenth-century tradition of Russian landscape painting, founded by a group of realist artists called the Wanderers, which split off from the classical academic canon, with its emphasis on rendering scenes from the Bible and mythology, and started to depict their environment, frequently with sociocritical intentions.
Progressive artists of the twentieth century—as featured in the exhibition—rejected, however, the realism from the previous century, which continued to be popular with the Soviet regime. Their art was rooted in Impressionism, Post-Impressionism, Cubism, and, after the Second World War, in modernist currents from the early twentieth century and contemporary Western art. What remained active in these artists’ worldview was the dispute about Russian culture and politics, and questions of identity and belonging, nostalgia and survival.
The display includes views of St. Petersburg by Mstislav Dobuzhinskii, Alexandre Benois, and Vladislav Izmailovich. All three artists loved the city and depicted it throughout their careers, both while living there and when recalling it from memory while living abroad. Other works in the exhibition include a view of Paris by Robert Fal’k, a fantastic African landscape in Pavel Filonov’s Flight into Egypt, and an early work by Natalia Goncharova depicting Moscow, as well as paintings by Mikhail Larionov, Isaak Levitan, Oskar Rabin, and Marianne von Werefkin. Print materials on view from the holdings of the Amherst Center for Russian Culture include journals featuring David Burliuk, the “Father of Russian Futurism”; The City (Gorod), a poem by Aleksandr Rubakhin illustrated by Goncharova; and Chant of the Universal Flowering (Propeven’ o prorosli mirovoi) by Filonov.
The exhibition has been organized by Bettina Jungen, senior curator and Thomas P. Whitney, Class of 1937, Curator of Russian Art, Mead Art Museum.
Römisch-Germanisches Zentralmuseum, Ernst-Ludwig-Platz 2, 55116 Mainz
Registration deadline: Oct 28, 2015
Admission free, registration necessary. E-Mail: Bosselmann-Ruickbie@uni-mainz.de
New Research on Late Byzantine Goldsmiths’ Works (13th-15th Centuries)
Research into late Byzantine goldsmiths‘ works is only at the beginning. This conference, the first of its kind on the subject, brings together acknowledged experts on the medieval art of the goldsmith. The period from the 13th to 15th centuries is especially rewarding for studying and discussing questions of cultural transfer and contact between Byzantium and its neighbours. Following the events of 1204, the influence of the Crusaders, among other things, becomes noticeable in Byzantine art. To mention but a few, the rise of the Seljuk Empire or the Christianization of the Balkans and Russia led to an extensive exchange and mutual influence in art, as well as trade. This was especially so in the 13th century, during which the Byzantine capital Constantinople was occupied by the so-called “Latins” for about 60 years and is very revealing in this respect. For example, elements of Western heraldry in the shape of heraldic shields or lion rampants were taken up and elements of Islamic art were adapted. These complex processes have not been studied sufficiently and will be a focus of this conference. The papers will deal with questions of typology, style, ornaments, materials, techniques and functions, as well as dating and attribution of late Byzantine goldsmiths’ works, especially proposing new dating and interpretation.
Dr. Antje Bosselmann-Ruickbie Johannes Gutenberg-Universität Mainz
Institut für Kunstgeschichte und Musikwissenschaft
Abteilung Christliche Archäologie und Byzantinische Kunstgeschichte
Georg Forster-Gebäude (Campus)
Donnerstag, 29. Oktober 2015
Univ.-Prof. Dr. Thomas Bierschenk, Dekan der Fakultät für Geistes- und Kulturwissenschaften, Johannes Gutenberg-Universität Mainz
Dr. Antje Bosselmann-Ruickbie, IKM, Abteilung Christliche Archäologie und Byzantinische Kunstgeschichte der Johannes Gutenberg-Universität Mainz
PD Mag. Dr. Andreas Rhoby, Wien: Gold, Goldsmiths and Goldsmithing in Byzantine Sources
Dr. Paul Hetherington, London: Late Byzantine Enamel: A Period of Transition
11.15-11.45 Uhr Kaffeepause
Dr. Olga Shashina, Moskau: Two Little-Known Pre-Mongolian Cloisonné Medallions in the Moscow Kremlin Armoury Collection: On Peculiarities of Denominative Inscriptions of the Virgin in the Art of Pre-Mongolian Rus’
Dr. Martin Dennert, Heidelberg: Displaying an Icon: The Mosaic Icon of Saint Demetrios at Sassoferrato and Its Frame
12:45-14:15 Uhr Mittagspause
Sabrina Schäfer M.A., Mainz: Neue Forschungen zum Trapezunt-Kästchen und seiner Datierung
Dr. Antje Bosselmann-Ruickbie, Mainz: Cultural Transfer Between Byzantium, Russia, Sicily and the Islamic World: The Trier Casket and Its Ornaments Reconsidered
Dr. Anastasios Antonaras, Thessaloniki: Late Byzantine Jewellery from Thessaloniki
15:45-16:15 Uhr Kaffeepause
Antje Steinert MA, Mainz: Late Byzantine Jewellery and Accessories from Mistra
Dr. habil. Beate Böhlendorf-Arslan: Nicht alles, was glänzt, ist Gold: Mittel- und spätbyzantinischer Schmuck aus Kleinasien
18.30 Uhr Öffentlicher Abendvortrag
Markus Engert, Würzburg: Die Restaurierung der byzantinischen Staurothek in Limburg an der Lahn
Anschließend Empfang in den Sammlungsräumen des Römisch-Germanischen Zentralmuseums
Freitag, 30. Oktober 2015
Jessica Schmidt M.A., Mainz: Representations of Jewellery in the Late Byzantine Murals of Crete
Dr. Nikos Kontogiannis, Washington: The 14th-Century Chalcis Treasure from Euboea, Greece
Prof. Dr. Silke Tammen, Gießen: Religiöse Schmuckanhänger im Westen (14./15. Jahrhundert): Kleine Medien der Andacht
10.30-11:00 Uhr Kaffeepause
Dr. Holger Kempkens, Bamberg: Westliche sakrale Goldschmiedekunst des Mittelalters und ihre Rezeption im spätbyzantinischen Kulturraum
Dr. Irina Sterligova, Moskau: On the 15th Century Pendilia (ryasny, Temple Pendants) on the Cover of the Byzantine Mother of God Hodegetria Icon in the Moscow Kremlin Armoury Collection
Dr. Vesna Biki?, Belgrad: Archers’ Rings: Eastern Heritage in the Byzantine Milieu of the Late Medieval Balkans
12:30-14.00 Uhr Mittagspause
14:15- ca. 20.00 Uhr
Exkursion der ReferentInnen nach Limburg an Lahn zur Besichtigung des byzantinischen Kreuzreliquiars
Während der Tagung Posterpräsentation des Projekts „Der griechische Traktat ‚Über die edle und hochberühmte Goldschmiedekunst‘ – Edition und interdisziplinärer Kommentar“
Tuesday, October 20, 2015
Harriman Institute Atrium (12th Floor, 420 West 118th Street)
Please join the Harriman Institute for the exhibit opening and reception with remarks by the artists, Natasha and Valery Cherkashin.
The exhibit features unique black and white hand manipulated photographs by the artists Natasha and Valery Cherkashin. The exhibit will commemorate the “Last November” –the final official celebration of the October Socialist Revolution to take place on Red Square. That day, a huge portrait of Lenin unfurled outside of the GUM [State Department Store] for the last time. People from all over the Soviet Union came to Moscow, walked in Red Square, and took photos in front of Lenin’s Tomb. The exhibit will feature images from the Cherkashins’ series, “Art for the People,” which capture portraits of the bronze sculptures of Soviet heroes and workers from the 1930s in Moscow’s Revolutionary Square metro station.
Both of these series were originally exhibited in the Santa Fe Museum of Fine Arts in 1994, under the title “4+4 Late Modern: Photography Between the Mediums,” along with an installation called “Moscow’s Red Square in Santa FE.” After the Santa Fe exhibition, the Cherkashins did not have a place to store the works. They were stored by the couple’s friends Claire Shipman (a Columbia University and Harriman alumna) and Jay Carney, who moved from one place to another, taking the works with them for nearly twenty years. The Cherkashins haven’t seen these works since and are excited to exhibit them at the Harriman Institute.
The Gospel Circle of Vassily Polenov
26 November 2015, 6pm
The Courtauld Institute of Art
A screening and discussion of The Gospel Circle of Vassily Polenov will take place at the Lecture Theatre, The Courtauld Institute of Art.
Vassily Polenov was one of the most important Russian painters of the Peredvizhniki art movement in the late nineteenth century. He is remembered primarily for his sublime landscapes. However, the deeply religious Polenov considered the series of paintings on the life of Christ his most important work. He was the only Russian artist who made long trips to the Middle East to study nature and characters for his “Gospel Circle.”
The film is directed by Elena Yakovich, with participation of the writer Alexander Ilichevsky. The producer of the film is the artist’s great-granddaughter, Natalya Polenova, founder of the Vassily Polenov Association.
After the screening there will be a round-table discussion with Elena Yakovich, Alexander Ilichevsky, and Natalya Polenova, followed by a wine reception.
Entrance is free but advance booking via The Courtauld Institute website is essential.
The exhibition includes some iconic pieces of the Soviet lifestyle, examples of graphic and industrial design, technical drawings and prototypes made by Soviet designers. The exhibits come from the Moscow Design Museum and private collections.
The exhibition is divided into sections, each representing a certain aspect of a Soviet citizen’s life and material culture: childhood and leisure, sports and public events, visual communication and packaging design, furniture and household products, precision engineering and industrial production, as well as unique VNIITE projects.
The exhibition features video interviews with leading Soviet designers, filmed specially for this project: Yuri Soloviev, Valeri Akopov, Vladimir Runge, Igor Zaitsev, Svetlana Mirzoyan, Alexander Yermolayev, and others. Also on show is the unique archival documentary “Design in the USSR” (1977) that was originally filmed to promote Soviet design abroad.
A special project of the Sixth Moscow Biennale, Peripheral Visions is a solo exhibition from the internationally celebrated, Moscow-based artist Olga Chernysheva, curated by GRAD Director Elena Sudakova.
A leading figure in the artistic generation of 1990s Moscow, internationally acclaimed artist Olga Chernysheva documents the interactions of people and objects with the structures and spaces of contemporary Russia. Her powerful images record strangers unselfconsciously navigating the practices of everyday life. Eschewing social criticism or judgement, she continues to document the people and objects that she feels are ignored by mainstream narratives. This exhibition highlights the power of an artistic ‘peripheral’ vision to broaden perceptions and bring attention to issues relegated to the margins of our everyday thought processes.
The new exhibition showcases 30+ rare icons depicting significant feast days on the Russian Orthodox calendar commemorating the annual cycle of holy days, the veneration of saints and the Church’s twelve major feast days. The show also underscores icons role as tangible markers or symbols of noteworthy events.
The goal of the exhibition is to increase visitors’ understanding of the Russian Orthodox lifestyle, by exploring how and why the church celebrates events in the life of Christ and the Virgin Mary, and how this reasoning is reflected in iconography. It hopes to show that these feasts are an integral and on-going part of Russian life, fully integrating the church into their daily life and routine. In this way, the exhibition will allow visitors to see icons not only as ancient objects and artifacts but part of the fabric of the living church and their function in the daily life of Russian Orthodox - and hopefully, in the future visitors will explore the museum by seeing icons in a different, “living” context.
By exploring icons as markers of significant events and feasts throughout the year, this exhibition will foster a greater understanding of Russian life by viewing it through the lens of the church. Additionally, this exhibition hopes to impart a new appreciation of icons by seeing them in the light of an ancient, on-going church cycle in place for centuries and still valid and true today.
Bratislava, Slovak National Gallery, October 1 - 02, 2015
Registration deadline: Sep 30, 2015
October 1 / Thursday
9:00 – 9:30
9:30 – 10:00
opening – Katarína Chmelinová (Head of the Institute of Art History, Faculty of Arts, Comenius University, Bratislava);
Dušan Buran (Head of the Old Masters Collections, Slovak National Gallery)
International Connections of Biedermeier
10:00 – 10:20
Anikó Dworok (Institut für Geschichte,Universität Würzburg, Würzburg)
About the influence of Biedermeier at Viennese and Budapest historical painting
10:20 – 10:40
Agnieszka Rosales Rodriguez (Institute of Art History, University of Warsaw)
Polish Biedermeier: National Discourse and European Relations
10:40 – 11:00
Júlia Papp (Research Centre for the Humanities of the Hungarian Academy of Sciences, Institute for Art History, Budapest)
Family, Home and Fashion in the First Third of the 19th Century in the Mirror of the Book Illustrations by Johann Blaschke (1770-1833)
11:00 – 11:20
Nóra Veszprémi (University of Birmingham, UK)
Ideal Beauty and Earthly Love in Biedermeier Book Illustrations and Portraits
11:30 – 12:00
Lifestyle in Biedermeier
12:00 – 12:20
Katarína Beňová (Institute of Art History, Faculty of Art, Comenius University, Bratislava)
Album of the Zichy Family from Rusovce as a Example of Relation between the Aristocrat Families in Biedermeier
12:20 – 12:40
Eva Hasalová (Slovak National Museum – Historical Museum)
Aristocrat versus Merchant. Fashion Ideals in Biedermeier
12:40 – 13:00
Július Barczi (SNM – Museum of Betliar, Betliar)
At the service of Count Andrássy. Emanuel Andrássy as a Customer and Author of Biedermeier Paintings
13:30 – 15:00
Pluralism of Ideas – case studies I.
15:00 – 15:20
Zuzana Labudová (Department of Monument Protection, Košice / Institute of Art History, Faculty of Arts, Technical University, Košice)
Bellaagh (Belágh) Album of Košice Drawing School and the contemporary Style Plurality
15:20 – 15:40
Pavel Štěpánek (Institute of Art History, Palacký University, Olomouc)
Biedermeier Environment of the Castle of Čechy pod Kosířem, the Seat of Portugal Family Silva Tarouc, the Basis for Josef Mánes by His Journeys to Slovácko and Slovakia
15:40 – 16:00
Petr Tomášek (Moravian Gallery in Brno, Brno)
Biedermeier or Romanticism? Style and Ideological Pluralism at the early Stage of Work of Peter Fendi
16:00 – 16:20
Katarína Tánczosová (Bratislava)
Biedermeier in Life and Work of Jozef Božetech Klemens
16:20 – 16:40
Anna Schirlbauer (Vienna)
Aspects of Central-European Artistic Career at the Example of Female-painter Anna Zmeškalová (1813 – 1880)
17:00 – 18:30
Biedermeier – Exhibition tour with the curators Katarína Beňová, Jana Švantnerová and Silvia Seneši Lutherová
October 2 / Friday
Biedermeier at Gallery and Museum Collections
9:30 – 9:50
Jana Švantnerová (Slovak National Gallery, Bratislava)
Towards Equality. Curatorial Selection of Judaica echoing seven main themes of „Biedermeier“exhibition
9:50 – 10:10
Alena Krkošková (Moravian Gallery in Brno, CZ)
Hair Jewelry as a Specialty of Biedermeier Style and the Examples from the Moravian Gallery in Brno and other Collections
10:10 – 10:30
Zuzana Francová (Municipal Museum, Bratislava)
Porcelain and Glass from Biedermeier Period from the Collection of the Municipal Museum in Bratislava
10:30 – 11:00
Marta Janovíčková (Municipal Museum, Bratislava)
Furniture in Biedermeier Style from the Collection of the Municipal Museum in Bratislava
11:00 – 11:20
Toward the Modernization of the Biedermeier Era
11:20 – 11:40
Silvia Seneši Lutherová (Department of Theory and History of Art, Academy of Fine Arts and Design, Bratislava)
Biedermeier Ideal of Modern Interior
11:40 – 12:00
Lucia Almášiová (Slovak National Gallery, Bratislava)
The Beginnings of the Photography Media in Slovakia
12:00 – 12:20
Ivana Komanická (Institute of Art History, Faculty of Arts, Technical University, Košice)
Pottery from Upper Hungary: Democratic Inversion or Forming of Consume Society?
Pluralism of Ideas – case studies II.
12:20 – 12:40
Viera Bartková (Institute of Esthetic, Faculty of Arts, Comenius University, Bratislava)
Ethno Motives in Painting of the first half of the 19th century in Slovakia
12:40 – 13:00
Silvia Lorinčíková (SNM – Museum of Betliar, Betliar)
Count George Andrássy. Between the City and Village
Participants are kindly asked to register by e-mailing email@example.com
Deadline for registration: September 30, 2015