Past Events

Global Approaches to Sacred Space Workshop Series 2023-2024 co-sponsored by the Ho Center for Buddhist Studies and the Department of Religious Studies, Stanford University 

According to legend, the Buddha ascended to the Heaven of Thirty-Three to preach to the gods and to his deceased mother, Queen Māyā, who had been reborn there. Missing the Buddha’s presence on earth, King Udayana commissioned a statue made in his likeness. Centuries later, sculptures inscribed as “Udayana statues” (Youtian wang xiang 優填王像) appeared; copies were produced and worshipped as First Images. Udayana statues belong to a special category of Buddhist images attributed with special powers, known as ruixiang 瑞像 (auspicious images) in Chinese. They can move about, levitate, and can refuse to be moved. As emblems of Buddhist kingship and institutional orthodoxy, the statue and its copies were much sought after and were carried from place to place, displayed in ritual processions, and ensconced in palaces or monasteries for worship. Legends of Udayana statues are recorded in a variety of literary sources, from canonical Buddhist texts to biographies of monks, travelogues of pilgrim-monks, miraculous tales, and historical chronicles. In addition to sculptures, narratives of Udayana statues are also depicted in mural paintings, woodblock prints, and scroll paintings. Using both literary and visual evidence, this paper examines the geography traversed and the ritual and sacred spaces occupied by these extraordinary statues. 

Get ready to embark on a magical journey at The Stan Winston and Steven Warner Festival of the Moving Creature, taking place on April 26th at 7PM!

Join the menagerie of mythical entourages of two giant creatures roaming UVA Arts Grounds. Designed, built, and puppeteered by UVA’s Art of the Moving Creature class, the creatures will come to life and parade through central grounds, and we want you get up close and personal to dance the night away with this captivating pair.

Creatures first roamed Grounds in 2013, and this year we honor the festival’s namesakes Stan Winston, UVA alumnus and Hollywood creature maker and Steven Warner, beloved UVA Drama Technical Director and co-founder of the original festival.

Come in costumes!

Keep an eye out for upcoming student and community workshops! Don't miss this unforgettable night of wonder and excitement at The SW2 Festival of the Moving Creature.

It's the last Final Friday of the year at The Fralin, so come on out!

There will be...

Live music performed by the University Records student group Almost Nothing!

Art Scavenger Hunt in the museum!

Student Docent Spotlight Talks!

The Little Museum of Art reopens with a new exhibition of student work!

Sombrero’s food truck will also be onsite with FREE food truck vouchers to the first 150 guests! SUPPLIES ARE LIMITED. Cash sales will be available.

This program is generously supported, in part, by the UVA Parents Program. The Little Museum of Art was sponsored by The Volunteer Board at The Fralin Museum of Art.

Please join AISEES on April 24 for a lecture by Marina Mandrikova. The lecture will begin at 9:30 a.m. PT / 12:30 p.m. EST / 7:30 p.m. in Eastern Europe.  

"On the Wrong Side of Christ: Female Damned in Texts and Monumental Paintings" investigates images of female damned in Byzantine, Post-Byzantine, and Slavic monumental paintings between the thirteenth and sixteenth centuries and explores their complex and surprising relationships to written sources that describe the punishment of women at the end of time. After a brief general survey on the topic, this talk considers the most critical apocalyptic and educational Christian texts that describe sinful women and their torments in Hell and discusses how Early Christian and medieval Byzantine writers perceived and described sinful women. By exploring the surviving visual evidence, primarily from modern-day Greece and the Slavic-speaking countries of Bulgaria, Serbia, Kosovo, and North Macedonia, this study then examines the inconsistencies between textual descriptions of the damned and their dramatic representations on the walls of churches. This presentation also intends to raise awareness about the current issues of their preservation. Parts of this talk have been previously presented elsewhere.

Please join the Department of Art and the rest of our community in congratulating our graduating students and 5th Year Aunspaugh Fellows on the work they have done and the exhibitions we now get to enjoy on all three floors of Ruffin Hall and in Ruffin Gallery. 

Thesis shows in Studio Art are the culmination of four academic years of undergraduate liberal arts at UVA. We, as faculty & staff, are incredibly proud of the hard work all of our students put into their creative practices and exhibitions. Students are involved with the production and installation of these exhibitions and gain valuable experience in the handling and hanging of important works of all types, as well as the work of hosting their own receptions. We all come together as a department during these Friday student exhibition receptions to recognize the student’s successful completion of the major.

Full Press Release

Week 3

April 22 - April 26

Ruffin Gallery: Samantha Farber, Heeran Karim,Adrian Moore

3rd Floor: Natalie Schiff

2nd Floor: Adam Centanni

1st Floor Performance Room: Rian Gonzalez 

The twentieth annual Art History Symposium Towards a Multiple Worldview: Remapping Paradigms of Modern and Contemporary Art, hosted by the California State University, Sacramento Art Department, will be on April 19th, 2-4:30pm in Mariposa 1000.

Featuring Keynote Speakers Dr. Zamansele Nsele, Assistant Professor, University of California, Berkeley; Dr. Henry Skerritt, Assistant Professor, University of Virginia; and Maryrose Cobarrubias Mendoza, Associate Professor, Pasadena City College.

The event is co-sponsored by the Sacramento State Art Department, the College of Arts and Letters, and the Center for Teaching & Learning.

Please join the Department of Art and the rest of our community in congratulating our graduating students and 5th Year Aunspaugh Fellows on the work they have done and the exhibitions we now get to enjoy on all three floors of Ruffin Hall and in Ruffin Gallery. 

Thesis shows in Studio Art are the culmination of four academic years of undergraduate liberal arts at UVA. We, as faculty & staff, are incredibly proud of the hard work all of our students put into their creative practices and exhibitions. Students are involved with the production and installation of these exhibitions and gain valuable experience in the handling and hanging of important works of all types, as well as the work of hosting their own receptions. We all come together as a department during these Friday student exhibition receptions to recognize the student’s successful completion of the major.

Full Press Release

Week 2

April 15 - April 19

Ruffin Gallery: Maddie Butkovich, Claire Szeptycki

3rd Floor: Proud Chandragholica

2nd Floor: Christina Liu

1st Floor Performance Room: Hyebin Lee

Join UVA Library & artist Amy Chan to celebrate the public art piece dedicated to the UVA Asian American community on the second floor of the Edgar Shannon Library.

Remarks at 2:15 p.m.

Light refreshments to be served.

Sponsored by the UVA Library's Idea Division

2nd Floor Study Courts in Shannon Library

Part of the  “Paradoxes of Ancient Citizenship” events of the academic year.

Professor Myles Lavan (St. Andrews) for:

• A public lecture: on “Manumission and Ancient Citizenship in the Roman World” TUESDAY, April 9th at 5:00 pm, in the Gibson Room of Cocke Hall.

• A lunch discussion of his chapter on “Manumission in Roman Egypt,” on Thursday (April 11) in Gibson Hall #341 (not Bond!). Lunch at noon, discussion to start around 12:20. Paper linked.

Myles Levan works on Quantifying Enfranchisement, a project to quantify the spread of Roman citizenship from Augustus to Caracalla. The project centres on a novel, probabilistic approach to uncertainty in historical estimation. The initial phase was supported by a Leverhulme Trust Research Fellowship (2014-15). He has published the methodology and the preliminary results in an article in P&P 2016, a more detailed study of the army in JRS 2019 and a case study of the province of Asia in Chiron 2020. He has also collaborated with Clifford Ando on a British Academy/Leverhulme-funded project (2016-18) to investigate the significance of Roman citizenship in the century before Caracalla’s universal of citizenship in 212 CE; the project has produced an edited volume just out from Oxford University Press.

Sisters Project Peru, a new CIO at UVA, is seeking donations for an art auction we are hosting on April 7th at Kardinal Hall. SPP was founded with the mission of providing healthcare access to the community of Huacahuasi, a rural village in the Sacred Valley of Peru. Our goal is to raise funds for a small level 2 clinic in Huacahuasi and work to holistically engage and provide more opportunity for the community.

All proceeds from this event will go towards increasing healthcare access and ultimately building a health clinic. In collaboration with the studio art department, SPP is hoping to receive art donations from studio art majors, generated through their coursework over the first half of the semester. The deadline for donations is April 4th, and students (and faculty!) can drop off their artwork outside of Ruffin 303A (the mail room)! We would greatly appreciate it if you could inform your students about this collaboration, and feel free to set up a time for one of our team members to come explain our mission to your class in more detail! Please email Abby Taylor with any and all questions. 

Art After Hours

In experimental film and multimedia installation, Federico Cuatlacuatl explores transborder indigenous Nahua identities. His work envisions indigenous futurity as a means of thinking about history, diasporic legacies, and cultural identities connected to his hometown of Coapan, Cholula, Mexico.

Cuatlacuatl draws on his own personal and familial experiences to foreground the marginalization of and violence against indigenous communities in Mexico and the struggles of indigenous migrants in the United States. His work merges the past, present, and future, exploring the transcendence of time and space “to reclaim a new dimension of territory or place that must exist in between two worlds, between the past and the future, between two identities, between one’s many selves.”

Tiaxcas Intergalácticxs, Topileastronáuticxs includes a new three-channel video alongside regalia the artist has altered for use in the videos. The exhibition highlights the full range of Cuatlacuatl’s practice, giving visitors the opportunity to experience the materiality and physicality of his sculptural installations, along with the expansive vision of his video work.

Federico Cuatlacuatl, Xochipitzahuatl-Nova (still), 2024, Three-channel HD video installation, color, sound, 10 min.

Portrait And Place: Photography In Senegal, 1840–1960 (2024) Author Giulia Paoletti In Conversation With Smooth Nzew

By way of introducing Portrait and Place: Photography in Senegal, 1840–1960 (2024), author and educator Giulia Paoletti puts forth the Senegalese cultural practice of xoymet (kho-e-mët). Paoletti translates the Wolof verb as “to let someone catch a glimpse of something intimate,” one of several interpretations of the expansive tradition. Here, she highlights the practice of decorating a bride’s room with a temporary archive of family history and borrowed photographic images." 

This event will be held in the Riese Lounge at 721 Broadway on April 4, 2024 from 6pm-8:30pm.

RSVA REQUIRED. NO ENTRY WITHOUT A GOVERNMENT ISSUE ID. 

Macky Kane, “Portrait of Mrs. Fatou Thioune, Saint Louis “(1939–1941), scan from gelatin negative, 3 1/2 x 5 inches (© Photo Macky KANE; image courtesy Estate of Macky Kane, all images courtesy Princeton University Press unless otherwise noted)

Muralism, Indigeneity & Contemporary Art in Cholula

This course is a studio art structured time of working together on a mural in Cholula, Mexico.  While working collectively on a mural, this course will also focus on the history, culture, and indigeneity specific to Cholula.  Learning about contemporary artists and muralists in Mexico will also be an emphasis in the course.  To better understand the local complex history, the class will visit archaeological sites and museums.  Contemporary galleries and museum site visits will also be an important part of the course activities with dedicated time to the City of Puebla.  Guest artists from Mexico will share their knowledge and artistic practice with the class to better understand contemporary art in Mexico and Latin America.  

The program will start with two days in Mexico City visiting contemporary museums and galleries as well as historical and archeological sites. Then the group will travel to Puebla, one of the 31 states in Mexico. It is located in East-Central Mexico. The capital city, Puebla City was founded in 1531. The city’s important sites include the oldest library in Latin America, the Museo Amparo, and the Forte de Loreto museum. We will be spending much of our time in the city of Cholula, one of the oldest preserved Mesoamerican cities in the continent with much history, culture, traditions, and art to offer.

On a Scale serves as a visual testimony of the intricacies of our present-day milieu, revealing and exploring the tension that lies in everydayness through observation and encounter with the minutiae of the mundane. Displaying a wide range of mediums used by student artists at the UVA Department of Art, this showcase provides onlookers a peek into the varied life journeys of individuals navigating a world in constant flux. Visitors are encouraged to reconsider the influence of personal experience on perception by looking through kaleidoscopic views from various artists.

Exhibition text was written by Muyang Chen and Meixin Yu, who served as Assistant Curators for this exhibition alongside Studio Art faculty (Conrad Cheung, Anna Hogg, and Marisa Williamson) to put this show together. 

The exhibition will run March 1-30, 2024.

McGuffey Art Center
201 2nd St NW
Hours: Tue-Sat 10am-6pm, Sun 1-5pm

Experience the Crystal Palace in Virtual Reality.

What did people in England during the nineteenth century care about? What did they consider worthy enough to be exhibited and seen by everyone? Join us to hear more about the Great Exhibition in the famous Crystal Palace in London in 1851 and why we should care about the past!
​

Professor Douglas Fordham, Professor Beth Turner, and Chris Jessee
What did people in England during the nineteenth century care about? What did they consider worthy enough to be exhibited and seen by everyone? Join us to hear more about the Great Exhibition in the famous Crystal Palace in London in 1851 and why we should care about the past!
​
Fayerweather Hall Lounge, Rugby Road 

Thursday, March 28th, 2-5pm, experience the Crystal Palace in Virtual Reality.

Room 308 of the Main Library Building (now known as the Shannon Library)

The Mary Ann Frable Lecture in Ancient Art: It's Showtime!  Greek Vases and Ancient Performances

Fri, Mar 22, 2024 | 6:30–7:30 pm
Reynolds Lecture Hall

Among the ancient Greek vases in VMFA’s collection are a number of examples that relate directly to ancient dance, drama, and other types of performance. In this talk, Dr. Tyler Jo Smith will highlight these vases—made not only in the city of Athens but also in other regions of ancient Greece—to show the ways their shapes and decorations have the power to reveal important information about settings, participants, and audiences. She will also consider the ways that vases may have been used within these specialized settings.

This program is made possible by the Jack and Mary Ann Frable Fund for Ancient Art. 

Exhibition opening March 15th at 5:30p @ the tranSci Lab for Real World Chemistry and Creative Communication, Chemistry Building, Room 222.

The Aperiodic Table offers a methodology for transdisciplinary research on material trajectories across space and time. It is a roadmap for the new, strange, and often harmful material formations, unique to this geological epoch of human-accelerated change.

The tranSci Lab for Real World Chemistry and Creative Communication is a new transdisciplinary space for planetary health and sustainability research at UVA. The lab studies material pathways to address how unsustainable relationships to the material world are related to global emergencies such as climate change, biodiversity loss, pollution and more. The tranSci Lab project includes specially designed multimedia and wet lab spaces (presently under construction) adjacent to the STEM Commons, equipped for cross-grounds and community research, as well as all stages of the creative/design process. We also envision a robust annual residency program that supports interdisciplinary research and professional development for graduate students and scholars, as well as for-credit undergraduate offerings.

WHAT: Majors Party and Info Session

WHERE: Basement of Fayerweather Lounge

WHEN: 11:30 AM-1:00 PM

FOOD: Mochiko Hawaiian Luau | Gluten-free and Vegetarian Options Available

Come, grab a plate and stay for Information at about: Art Majors, New Studio Requirements, New DMP Options in Art History, Paid Internships, UVA Docents & MORE!

The Undergraduate Research Symposium wil take place on Thursday, April 18, 2024

Undergraduate students from all disciplines at UVA are invited to present their research and creative inquiry at this annual event. Students may use the abstract submission form to provide information about themselves, any co-presenters they are working with, their research mentor(s), and their project. 

Abstract Submission Process

Abstract submissions are due on Tuesday, March 12, 2024. Please read THIS PAGE thoroughly and then submit your abstract HERE. 

Join the Fine Arts Museums of San Francisco for the 14th annual Caroline and H. McCoy Jones Memorial Lecture on Ottoman textiles with Amanda Phillips, associate professor at the University of Virginia.

In the Ottoman Empire, the making, exchange, and use of textiles touched every level of society. Lively trade with Italy, Iran, and India was complemented by the huge array of textiles made within the empire’s bounds. In this talk, Amanda Phillips offers a series of object studies, while also considering how different types of textiles interact. It begins with a hanging made for a Sultan around 1400, moves on to velvet-weaving in Bursa, and ends with an 18th-century barber’s apron in the Museums’ collection.

The Studio DMPs and Aunspaugh Fellows will be welcoming Katrina Palmer, as a guest speaker on Friday, February 23rd at 9:30am (via ZOOM). See poster and artist bio below for more information.

Hope you can join! Please reach out to Neal Rock (nr9dk) with any questions about the talk or to get a Zoom link.

Katrina Palmer

Visual Artist & Associate Professor of Sculpture; Slade School of Art. London, UK 

Katrina Palmer's artistic practice includes writing and exhibition making. Palmer produces written compositions and locates objects, bodies, and voices as covert material presences in narrativized contexts. Using an expanded conceptualization of sculpture, she explores the edges of language, focusing on uncanny physical displacements, marginalization and absence. This work often results in confrontations with holes.

Get Tickets

A Conversation with Sara Curruchich: Indigenous Arts and Activism.

We are pleased to announce the return of the Arts Students Society!! Have ideas about what arts students at UVA need? Unsure about making arts friends? Want to collaborate with other artists? Well the Art Students Society is for you! We are having our first meeting on February 18th at 11:00am in Ruffin 203 to source ideas and get started with this semester. Please join the GroupMe to stay updated with more information, and hope to see you then!

The Film/Cinema Concentration will be welcoming Noor Abed as a guest speaker on Wednesday, February 14th at 9:30am (via ZOOM). She will show her recent films A Night We Held Between (2023) and our songs were ready for all wars to come (2021). See poster and artist bio below for more information.

Hope you can join! Please reach out to Anna Hogg (aeh8rg) with any questions about the talk or to get a Zoom link.

Noor Abed (Palestine) works at the intersection of performance and film. Her works create situations where social possibilities are both rehearsed and performed. Abed attended the Whitney Independent Study Program in Νew York in 2015-16, and the Home Workspace Program (HWP) at Ashkal Alwan, Beirut 2016-17. In 2020, she co-founded, with Lara Khaldi, the School of Intrusions, an independent educational collective in Ramallah, Palestine. Abed was an assistant curator in documenta fifteen, kassel 2021-22.  She is currently an artist in resident at the Rijksakademie in Amsterdam 2022-24 and was recently awarded the Han Nefkens Foundation/Fundació Antoni Tàpies Video Art Production Grant 2022.

Curated By: Djambawa Marawili, W. Wanambi, Yinimala Gumana, Wäka Munuŋgurr, Henry Skerritt and Kade McDonald. Organized by the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia in partnership with the Buku-Larrŋgay Mulka Centre in Australia.

The Fralin Museum of Art at the University of Virginia showcases Indigenous art in Maḏayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala and an exhibition of slit drums of New Guinea.

One of the most significant touring exhibitions of Aboriginal Australian art ever staged returns to the city where it was first envisioned. The Fralin Museum of Art at the University of Virginia presents “Maḏayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala” from Feb. 3-July 14, 2024. The exhibition features more than 50 masterpieces of ochre painting on eucalyptus bark, many of which have never been on view outside of Australia.

MADAYIN: LAND AND LINEAGE

Charlottesville Indigenous Art Takeover 2024

Mayatili Marika will deliver the W. Wanambi Distinguished Lecture in the Dome Room of the Rotunda on Feb 3 at 4 pm, followed by a reception in the Upper West Oval Room. Marika is a Rirratjingu Traditional Owner and Yolŋu woman based in northeast Arnhem Land. Part of a new generation of leadership for Yolŋu people, she is a bilingual leader and advocate who is involved in the education pipeline for Yolŋu people in the region. Her lecture ties in with two of Kluge-Ruhe’s exhibitions of Yolŋu art at the University of Virginia this spring, Madayin: Eight Decades of Aboriginal Australian Bark Paintings from Yirrkala at The Fralin Museum of Art, Feb 3 – Jul 14, 2024, and Waŋupini: Clouds of Remembrance and Return in the Upper West Oval Room of the Rotunda, Jan 8 – July 8, 2024.

If you are unable to join in person in Charlottesville, you can tune in virtually at Kluge-Ruhe’s YouTube Channel.

Charlottesville Indigenous Art Takeover 2024

Join Yolngu artists and knowledge holders for a tour of Madayin: Eight Decades of Aboriginal Australian Art from Yirrkala and experience one of the world’s greatest artistic traditions from the perspective of those who shaped it.

Organized by the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia in partnership with the Buku-Larrŋgay Mulka Centre, and hosted at The Fralin Museum of Art Feb 3 – Jul 14, 2024, Madayin is the most significant exhibition of bark painting to tour the United States, presenting eight decades of artistic production, from 1935 to the present, and including newly commissioned art works.

The exhibition shows bark painting to be a dynamic tradition, brought forward by the artists of Buku-Larrŋgay. Ancient mark making traditions are carried into the present through the passion and artistry of these leading artists. Here in a remote corner of Australia has emerged one of the most powerful painting movements of our time.

Charlottesville Indigenous Art Takeover 2024

Get an exclusive first-look and engage in enriching discussions at our special exhibition preview featuring visiting artists from the distinguished Buku-Larrnggay Mulka Centre. Delve into a fascinating exploration behind their art before the exhibition opens to the public. This special event promises guests an intimate exchange with the artists that is not to be missed. 

Join us at Second Street Gallery on Friday, February 2, from 10 to 11:30AM for this artist talk moderated by Kade McDonald of Agency Projects, Melbourne. Coffee and light breakfast will be served. RSVP is required; register HERE.

First Nation Australia: Contemporary Artists from Buku-Larrŋgay Mulka Centre, Yirrkala is organized by the Second Street Gallery in partnership with the Buku-Larrŋgay Mulka Centre, Yirrkala and Agency Projects. The exhibition is generously sponsored by Pamela Friedman & Ronald Bailey, the Virginia Commission for the Arts and the National Endowment for the Arts.

The ArtLab Artists-in-Residence program began informally in 2013 when 13 artists were invited to stay at Mountain Lake for part of the summer. Artists were recruited from Virginia, nationally, and globally. Most stayed for about two weeks. The program has continued ever since. Six artists-in-residence are invited to live and work at MLBS alongside six undergraduate student artists from the University of Virginia, and a Lucile Walton Fellow. Residents share studio space. All studio fees, user fees, and housing costs are covered by the program. Artists-in-Residence pay only dining fees.  Complete an application to be considered for the program. Questions about the program or the Station? Contact Eric Nagy, MLBS Associate Director, enagy@virginia.edu, 434-243-4989.

Celebrate the opening of close to the wind: Lisa Waup and welcome artists and knowledge holders from Buku-Larrnggay Mulka Centre, Yirrkala, and Moa, Badu and Erub Islands in the Torres Strait to Charlottesville during this reception at Kluge-Ruhe. Artists are visiting to participate in multiple events that are part of the Indigenous Art Takeover of Charlottesville 2024. Visit exhibitions at Kluge-Ruhe, The Fralin Museum of Art, Second Street Gallery, Les Yeux du Monde and the Rotunda, get a stamp from each one and win a free Kluge-Ruhe T-shirt!

Murad Khan Mumtaz, Assistant Professor, Williams College and UVa Art Departmen Alum

As a young prince, Dara Shikoh (1615–1659), heir to the Mughal throne, compiled an album for his fiancée, Nadira Banu Begum. The album celebrates the theme of union through various visual and literary metaphors, including the conspicuous presence of dervishes shown viewing princes and princesses in idyllic garden settings. In this talk, join Murad Khan Mumtaz, Assistant Professor, Williams College, to explore how depictions of Muslim ascetics in this album aided in constructing the courtly persona of Dara Shikoh as a locus of godly manifestation within Indo-Muslim devotional culture.

The lecture series is made possible by The Norbert Schimmel Trust.

Free, though advance registration is required.  Please note: Space is limited; first come, first served.

Use the street-level Ruth and Harold D. Uris Center for Education entrance at Fifth Avenue and 81st Street.

 The exhibition AMBI PLAYGROUND features a new installation by Bogotá, Colombia-based interdisciplinary artist and professor Camilo Leyva Espinel. 

The prefix ambi can be traced to its Proto-Indo-European roots: mbhi could mean “around,” and it is probably derived from ant-bhi, which might mean “both sides.” Doubt is ingrained in etymology, which is captivating and fortunate in this instance. The paradoxical aspect of ambi’s meaning is what called for its use in the title of the exhibition. It creates a third space, a spiraling cycle, an open site for possible outcomes and mistakes. This playground will exist in the exhibition space as a process, an adventure, and as a moment for reflection and participation.

ABOUT THE ARTIST

Camilo Leyva is an interdisciplinary artist and professor that lives and works in Bogotá, Colombia. Leyva makes participatory installations and sculptures that focus on how memory and stories stay latent within matter and context, how those memories can be articulated into or revealed through a material statement and its subsequent interaction with the public. Through his work he has investigated processes of communication and collective construction of meaning. Leyva has addressed questions of power, games, manipulation, corruption, façades, and lure strategies; also taking into consideration the tension between our digital and concrete realms. Leyva received an MFA at Parsons the New School for Design and an MA in Art History form Andes University in Colombia. He has shown his work in solo and group exhibitions in New York and Bogotá. Leyva is part of the Agoraphobia collective.

MAP FORUM PRESENTS: The Shadow Drawing: How Science Taught Leonardo How to Paint ~ Presented by Francesca Fiorani ~ Tuesday, 23 January 2024 at 5pm EST/11pm CET

In her last book, Fiorani reorients our perspective on Leonardo da Vinci, offering a new account of Leonardo the artist and Leonardo the scientist, and why they were one and the same man. Taking a fresh look at Leonardo’s celebrated but challenging notebooks, Fiorani argues that Leonardo mastered the science of optics when he was still an apprentice in Verrocchio’s workshop. Fiorani revises and refines the origin of Leonardo’s ideas on the art of painting, which the artist set down in a book he considered his greatest achievement—Libro di pittura—bringing into focus the foundational role an eleventh-century highly scientific tract by the Arab philosopher ibn al-Haytham had on Leonardo thought and art.

Francesca Fiorani is Commonwealth Professor of Art History at the University of Virginia, where she also served as Divisional Dean for the Arts and Humanities and Chair of the Art Department. A Guggenheim fellow and an expert on Renaissance art, science, and technology, she is the creator of the digital platform Leonardo da Vinci and His Treatise on Painting (2012) and the author of numerous books including The Marvel of Maps: Art, Cartography, and Politics in Renaissance Italy (New Haven: Yale UP, 2005; Yale UP A&AePortal, 2022), Leonardo da Vinci’s Optics. Theory and Pictorial Practice (Venice: Marsilio, 2013) (with Alessandro Nova), and The Shadow Drawing. How Science Taught Leonardo How to Paint (New York: Farrar, Straus and Giroux, 2020; paperback 2022), which was widely reviewed, including in the New York Times and the Wall Street Journal.

Link to the lecture series HERE.

Applications for the Graduate Fellowship in Digital Humanities are due soon! The application deadline for Graduate Fellowships in Digital Humanities to be held in the Scholars’ Lab during the 2024-2025 academic year is February 15th, 2024.

If you’re interested in learning more about the fellowship or have questions, please consider attending this information session. The session will be recorded and made available to registrants, so please register if you want the recording but cannot attend. The full CFP can be found here.

Waŋupini (clouds) is the same story as my father taught me about the sunset.

—Bulthirrirri Wunuŋmurra

Curated by: Douglas Fordham, Professor and Chair of the Department of Art, University of Virginia. 

Clouds drift in subtly modified patterns in these artworks by Nawurapu Wunuŋmurra and  Bulthirrirri Wunuŋmurra, both Yolŋu artists from Arnhem Land at the top end of Australia’s Northern Territory. The thunderheads are associated with the beginning of the monsoonal wet season and the first sighting of perahu (boats) from Indonesia on the horizon. Fishermen based in the port of Makassar in Sulawesi, Indonesia, visited the north coast of Australia every year starting in late December or early January to gather trepang (sea cucumber) and engage in trade. They departed on the winds associated with bulunu, or the southeast cloud formations that herald the dry season.

Curated by Emma Dove, she/her, 2022–2023 Barringer-Lindner Curatorial Fellow

Look before you leap.

Slow and steady wins the race.

Necessity is the mother of invention.

Aesop’s Fables have long been used to teach moral lessons, like the ones above, to people of all ages. Aesop (ca. 620–564 BCE) may be a work of fiction himself, but various ancient authors describe him as a once-enslaved storyteller of incredible wit and attribute to him short stories with moral lessons and animal characters.

In many early versions of the fables, artwork depicting Aesop and text detailing the story of his life were included prominently alongside his tales. Though Aesop’s name remains associated with a large group of fables, some recent versions have excluded Aesop from the narrative, repackaging the fables as standalone educational material for children.

Bringing together versions of Aesop’s Fables published between 1501 and 1988 in Switzerland, England, Scotland, France, and the United States, this exhibition explores how artists and authors have reinterpreted Aesop and his fables for their changing audiences over time.

Curated by Adriana Greci Green, she/her, Curator of Indigenous Arts of the Americas and Dorie Reents-Budet, she/her, Research Associate, National Museum of Natural History, Smithsonian Institution

The homelands of the ancient Maya spanned a vast region that today includes central and south Mexico, Belize, Guatemala, and the western portions of Honduras and El Salvador. Maya peoples expressed their cultural practices and belief systems through distinct artistic styles and a hieroglyphic writing system. Over time, many pieces of pottery have been removed from ancient Maya sites without archaeological excavation. Even though knowledge of where vessels came from is lost, they can nevertheless offer many insights about Maya artistic production.

Drawing from The Fralin’s collection of Maya painted pottery made during the first millennium (250–900 CE), this exhibition highlights three approaches used by scholars today to understand and interpret these works. The two most established methods are epigraphy, meaning the study of the written texts painted on vessels, and the art historical analysis of visual characteristics such as shape, size, and composition of the imagery. The third approach—instrumental neutron activation analysis—is a more recent technique developed in the material sciences to determine the geographic locations of where the vessels were made. These three methods complement each other in restoring lost knowledge and help reveal the complex social networks within which Maya pottery was circulated.

Join us for a free, in-person artist talk between exhibiting artist Clay Witt and Second Street Gallery’s Executive Director & Chief Curator, Kristen Chiacchia, on Saturday, December 16 at 11AM. The pair will discuss Witt’s solo exhibition, THE LABYRINTH, on view in the Main Gallery December 1, 2023 - January 19, 2024. Attendees will have the opportunity to ask questions at the end of the event.

Space is limited, CLICK HERE to reserve your place at the event!

The event will also be streamed live on Instagram (no reservation required for IG).

Odds & Ends is an experimental film festival located in Charlottesville, Virginia. The festival will hold its 2nd annual screening on April 6th, 2024 at the Vinegar Hill Theatre and will be presented by Light House Studio.

We seek films and videos that push formal and conceptual boundaries, allowing for multiple ways of understanding and interpretation. Our aim is to celebrate a diverse range of films that work across modes and genres, addressing the materiality of the medium from poetic, personal, or political perspectives. We welcome everyone, especially innovative works by emerging filmmakers that work outside of commercial structures. 

Join us on Thursday, December 14, 5:30-7:00PM, for a paper-based workshop with exhibiting artist Akemi Ohira! Make your own custom blank book or creative card using age-old techniques, like the Turkish map fold and buttonhole binding. Akemi has taught creative papermaking and bookbinding to countless students through UVa, in Charlottesville and beyond. Here she will guide us through a fun and unique process in which you will walk away with a wonderful gift or personal art object to fill with your creativity!

* You’re welcome to bring any photo, writing, or other personal memento you might wish to include inside your book or card. 

The workshop is available at $10 SSG members / $15 non-members. This fee covers workshop instruction and access to all workshop materials for the activity.

The workshop is limited to 25 attendees and will take place in person at Second Street Gallery. 

Click HERE to reserve your spot!

On Thursday, Dec. 7, in Fayerweather Hall, room 102, from 2-5 pm, we will host professor Stella Nair for a lecture on Inka Ephermerality, part of her new book project, "Inca Architecture: Chapters in the History of a (Gendered) Profession." The talk will go from 2-3:30 pm, ish, and be followed by a reception until 5. 

The reception will serve as our end-of-year party for the Indigenous Studies PhD Fellowship, wrapping up a semester with a public conversation and cooking demo on food sovereignty, a lecture and graduate seminar on displaying Indigenous art in Italy, and other things that I am forgetting about because it has been a long week. So come join us!

Abstract:

With its impressive stone walls that have survived for over 500 years, Inca architecture projects an image of permeance. Yet, much of Inca architecture was intentionally made to be ephemeral. Thus, the majority of the Inca built environment has escaped serious study. In this talk, Nair examines some of the lost half of Inca architecture, and in doing so, raises critical questions about how we understand Inca spaces and history.

Bio:

Stella Nair is Associate Professor of Indigenous Arts of the Americas in the Department of Art History at UCLA, where she is also core faculty in the American Indian Studies program and director of the Architecture Laboratory in the Cotsen Institute. For the 2023-24 year, Stella Nair is a fellow at the National Humanities Center in Durham, NC, working on her current project, "Inca Architecture: Chapters in the History of a (Gendered) Profession," which highlights the profound ways in which women designed, constructed, used, and gave meaning to Inca spaces and places. 

The visit is sponsored by the Department of Spanish, Italian, and Portuguese and Art and the Department of Art.

Lindner Lecture Series: Mapping Art History and its Futures: Steven Nelson in Conversation with David Getsy 

Speakers: 
Steven Nelson, Dean, Center for Advanced Study in the Visual Arts, National Gallery of Art 

David J. Getsy, Eleanor Shea Professor of Art History, University of Virginia 

In this conversation, Steven Nelson and David Getsy will explore the practice, politics and poetics of writing art history. Drawing from his pioneering scholarship on African and African American art, Nelson will discuss his own practice of writing, which has crossed genres from autobiography to criticism, and shaped fields beyond art history, including architecture, urbanism, and film. For this occasion, Nelson will read passages from his latest two new manuscripts: “Structural Adjustment: Mapping, Geography, and the Visual Cultures of Blackness” and “On the Underground Railroad.”  

A Two-Person Exhibition by Lucia Jones & Dylan Williams 

November 10th – December 1st / Opening Reception November 10th at 6pm | Visible Records Gallery. 1740 Broadway St. Charlottesville, Va 22902 

You are invited to attend the launch a new initiative and collaboration between Elysium Gallery in Swansea, South Wales, the Freeman Artist Residency and Visible Records in Charlottesville, VA. The Freeman / Elysium International Artist Exchange has invited two artists from Wales, Dylan Williams & Lucia jones, to be in-residence at Visible Records during October and November 2023. Dylan and Lucia will exhibit work made exclusively whilst in residence, with the generous support of Visible Records, Elysium Gallery and Wales Arts International.

The Price of Everything
Directed by Nathaniel Kahn 
Starring Jeff Koons, Jeffrey Deitch 

Rated NR | Runtime 1 hours & 38 minutes
 

Exploring the labyrinth of the contemporary art world, The Price of Everything examines the role of art and artistic passion in today’s money-driven, consumer-based society. Featuring collectors, dealers, auctioneers and a rich range of artists, from current market darlings Jeff Koons, Gerhard Richter and Njideka Akunyili Crosby, to one-time art star Larry Poons, the film exposes deep contradictions as it holds a mirror up to contemporary values and times, coaxing out the dynamics at play in pricing the priceless.

Are we in the midst of an art crisis? Can the value of art really be measured in dollars and cents? How are these values assigned and who assigns them? Does the art market have a chilling effect on our great museums and the ability of the public to engage in the art of our time? Most importantly, what does this new consumerist approach to art mean for artists themselves?

Presented as part of the Downtown Fralin Film Series presented in partnership with The Fralin Museum of Art at the University of Virginia. 

The ARTS 2620 Drawing II class invites you to join them for a talk by visiting artist Sandy Williams IV on Thursday, Nov 16 at 2:15pm via Zoom. 

Sandy Williams IV is an artist and educator whose work generates moments of communal catharsis. Their conceptual practice uses time itself as a material and aims to unfold the hidden legacies of public spaces. Through ephemeral, malleable, and collaborative public memorials, Williams’ work unsettles popular colonial logics of permanence, uniformity, and displacement. This work creates participatory paths for communal engagement informed by targeted research and site-specificity: holding space for disenfranchised public memories and visualizing frameworks of emancipation and shared agency.

Please direct any questions to Prof. Elizabeth Schoyer 

Predoctoral dissertation fellowships support advanced graduate research in the history, theory, and criticism of art, architecture, urbanism, and photographic media. Each of the following ten fellowships has specific requirements and intents, including support for the advancement and completion of a doctoral dissertation, and for residency and travel during the period of dissertation research. Application for a predoctoral dissertation fellowship may be made only through nomination by the chair of a graduate department of art history or other appropriate department. To be eligible, the nominee must have completed all departmental requirements, including coursework, residency, and general and preliminary examinations, before November 15, 2023. Certification in two languages other than English is required. Candidates must be either United States citizens or enrolled in a university in the United States.

If you are looking for other fellowship opportunities, we are currently accepting applications for senior, visiting senior, and postdoctoral fellowships. Learn more.

On November 14 at 7pm, the UVA Department of Germanic Languages and Literatures will host a screening of the recently restored 1923 silent film THE ANCIENT LAW (dir. E. A. Dupont, 135 min.) in the Old Cabell Hall Auditorium. Ewald André Dupont’s 1923 silent masterpiece, is the moving story of the rupture between a rabbi and his son in a Polish shtetl, when the young man abruptly leaves to become an actor in Vienna. With its fascinating attention to cultural detail, and an ensemble of some of the great actors of the day, the film still resonates deeply with audiences in its 100th anniversary year. The renowned klezmer violinist Alicia Svigals and the celebrated silent film pianist Donald Sosin will be present to perform their newly composed score live. You can read more about the film and watch a trailer here.

Islamic Art History and the Global Turn, The Tenth Biennial Hamad bin Khalifa Symposium on Islamic Art 

November 11 - 13, 2023, Doha, Qatar

How have art history’s concerns with the global turn, and associated calls for decolonial, diverse, inclusive, and equitable histories, been taken up by scholars, educators, curators, and related practitioners of Islamic art history? The Symposium explores how the past two decades of debating these methodologies have shaped practices in classrooms, galleries, and related settings. It aims to highlight the challenges – and not just successes – of teaching, curating, and researching Islamic art history in a global context, while also contributing new perspectives to discourses on the global turn writ large.

Keynote Address | Finbarr Barry Flood, William R. Kenan, Jr., Professor of the Humanities; Founder-Director of Silsila: Center for Material Histories, NYU | Shifting Scales: Islamic Art History as Global Microhistory

Speakers include Nebahat Avcıoğlu | Sam Bowker | Aditi Chandra | Karen Exell | Talinn Grigor | Negar Habibi | Ranjit Hoskote | Noora Abdulmajeed Hussain | Ellen Kenney | Vasif Kortun | Aparna Kumar | Jenny Norton-Wright  | Anissa Rahadiningtyas | Kirsten Scheid | Mirjam Shatanawi | Sadia Shirazi | Suheyla Takesh

Chaired by: Hala Auji, Hamad bin Khalifa Endowed Chair for Islamic Art, VCUarts, Richmond, Radha Dalal, Director of Art History, VCUarts, Qatar

For more information and to register, please visit https://islamicart.qatar.vcu.edu/.  The Symposium will be held in person in Doha and live-streamed; registration is available for in-person attendance or for the live-stream.

In 1994, the Hungarian-born architectural photographer Balthazar Korab was contacted by a Protocol Officer in Washington, D.C., and asked to send a selection of forty prints to the U.S. State Department, twelve of which would be personally selected by President William J. Clinton as a state gift to Árpád Göncz, the then-president of Hungary. The criteria spelled out by the State Department for the selection of the gift was rather straightforward: “A creative work by an American that contains a definitive link to Hungary.”  

Korab titled his selection, “The Mark of Man on the Land,” and chose images that reflected “the extraordinary urban development in the United States, which has occurred largely at the expense of rural life.” The set of images, on view as part of the exhibition Balthazar Korab: Portrait of a Nation, represent a broad spectrum of cultural expressions that range from America’s agrarian foundations to its urban and industrial growth. Examined more closely, however, and the images reveal a much more complex, if not complicated, narrative about America through an immigrant's lens.

Join the School of Architecture's John Comazzi, author of Balthazar Korab: Architect of Photography, for a gallery talk on Friday, November 10, at 12 pm in the Elmaleh Gallery.

A Two-Person Exhibition by Lucia Jones & Dylan Williams 

November 10th – December 1st / Opening Reception November 10th at 6pm | Visible Records Gallery. 1740 Broadway St. Charlottesville, Va 22902 

You are invited to attend the launch a new initiative and collaboration between Elysium Gallery in Swansea, South Wales, the Freeman Artist Residency and Visible Records in Charlottesville, VA. The Freeman / Elysium International Artist Exchange has invited two artists from Wales, Dylan Williams & Lucia jones, to be in-residence at Visible Records during October and November 2023. Dylan and Lucia will exhibit work made exclusively whilst in residence, with the generous support of Visible Records, Elysium Gallery and Wales Arts International.

Katherine Burnett, Professor of Chinese Art History and Founder and Director of the Global Tea Institute for the Study of Tea Culture and Science at UC Davis

 Art History without the Art: The Curious Case of Sino-Vietnamese Teapots before 1700

This presentation investigates the exchange of tea culture and teapots between China and Vietnam between 1300–1700, with an emphasis on the late Ming period. This is the time when steeped tea became the norm and teapots began to be a required form. Although it is well-known that China was trading tea and ceramics to other East Asian and European countries at this time, this project initiates the exploration of China’s cultural exchanges surrounding tea with its Southeast Asian neighbors starting with Vietnam. It aims to find out how Vietnam responded to this trade, especially through its own ceramic industry. Problematically, although Vietnam closely copied many important Chinese ceramic shapes and wares, examples of the teapot are curiously absent. At the same time as asking, Where are the Vietnamese teapots? this presentation also attempts to determine exactly what is a teapot (vs. a water or wine pot) in these early years, a task that turns out to be not as obvious as one might think.

The Weedon Lecture is presented in partnership with UVA's East Asia Center at The Fralin's Miller Gallery, Thursday Nov. 9th at 5 pm and will be followed by a reception including light refreshments.

We invite parents and families of our A-School students to join us at Campbell Hall to kick off Family Weekend (11.3– 11.5) with the School of Architecture. Meet Dean Malo A. Hutson, faculty, staff and student ambassadors, and participate in hands-on activities, career-focused programming, and student-guided tours. Light food provided. 

More details about the University's full weekend can be found here. 

Please note, the University is requesting registration for Family Weekend 2023 by October 8th, 2023. 

Lindner Lecture Series

Nancy Marie Mithlo, Professor  Departments of Gender Studies and American Indian Studies University of California Los Angeles

Elisabetta Frasca, independent curator, Rome, Italy

The "place" of contemporary Native arts in broader discourses of art history, visual culture and American Indian Studies remains contested, even twenty years after the opening of the Smithsonian's National Museum of the American Indian. While Indigenous arts receive more attention in the press than twenty years ago due to recent curatorial efforts, how sustainable is this inclusion given the lack of mainstream academic research needed to guide conversations?  Anthropologists Elisabetta Frasca (independent curator) and Nancy Marie Mithlo (UCLA) discuss the emergence of Indigenous arts in global contexts from 1997-2017 drawing from their work together curating exhibits at the Venice Biennale.

IMAGE CREDIT: Shelley Niro, The Show Off, from the series Toys Are Not Us, 2017

POSTERS FROM THE FRONT LINES OF THE CLIMATE JUSTICE MOVEMENT, 1968–2022
__________

EXHIBITION
FRI, SEPT 22 – SUN, OCT 29
CAMPBELL ELMALEH GALLERY
__________

POSTER WORKSHOP
MON, OCT 23, 5PM
CAMPBELL ELMALEH GALLERY

Like the Waters We Rise is a collection of culture, ephemera, and history charting early and recent waves in climate justice organizing, from 1968–2022. 

The scale of the climate crisis we are collectively facing is daunting. This collection of 23 posters and banners offers a portal to an inspiration, a victory, or a teaching about how people-powered action is the most viable strategy we have for building the future. Each screenprint provides viewers with an understanding of climate justice as a rich, intersectional movement of movements driven by a multitude of visions for a better world. Together, they are a call to action. 

Like The Waters We Rise was created as part of a larger exhibition and event series developed with both the Nathan Cummings Foundation (New York City) and Interference Archive (Brooklyn) in 2019–2020. The box set—recently acquired by the School of Architecture—was created in 2022 in collaboration with Booklyn, Inc., an artist-run non-profit that archives and distributes the work of artists and social justice groups, and organized by curator Raquel de Anda and artist-activist Josh MacPhee. 

Get inspired by this collection of climate justice posters, then make your own with Assistant Professor Jennifer Lawrence, whose work unveils the structures of environmental injustice through creative artistic forms. 

Panel
Supported by the Dean's Forum on Inclusion + Equity and the Harry Shure Visiting Professor Endowment.

2023 DISTINGUISHED ALUMNI OLLE LUNDBERG IN CONVERSATION WITH ROBIN DRIPPS AND LUCIA PHINNEY

Join the 2023 Distinguished Alumni Award Recipient, Olle Lundberg, AIA, (MArch '79) who speaks with the School of Architecture's Robin Dripps and Lucia Phinney about his four-decade career designing lasting, transformational works of architecture with Lundberg Design.

Presented in coordination with the exhibition Selected Works by Lundberg Design. 

Sean Tennant, Archaeology Data Manager, Survey and Information Management Division, Virginia Department of Historic Resources

(Dr. Tennant is a recent UVA PhD and this event is especially for undergraduate and graduate students)

Dr. Anatole Tchikine is Curator of Rare Books, Dumbarton Oaks Research Library and Collection, Harvard University.

Reception to follow

Kathryn Grossman, Department of Sociology & Anthropology, North Carolina State University

In recent years, archaeologists have shifted their attention away from animals as passive participants in their own fate, and focused instead on animals as constitutive members of multispecies societies. The intertwined lives of humans, animals, things, and divinities come together dramatically in the case of religious sacrifice, where boundaries between worlds are broken down and rebuilt through ritual, death, and consumption. In a new project undertaken in collaboration with Erin Averett (Creighton Univ.) and David Reese (Yale), we consider the fates of people and animals as together they practice religious sacrifice in Cyprus in the Late Bronze and Iron Age. Cypriot religious and ritual iconography is rife with animal imagery, in votive offerings, depictions of deities, and zoomorphic masks, suggesting a broad role for animals in Cypriot religious life. This project considers animal remains from sanctuaries across Cyprus, along with art historical and archaeological evidence, and highlights the ways in which animals contributed to world-building (through the negotiation of earthly, liminal, and divine realms) and knowledge-creation (through prognostication and divination).

• James Benning | 2022 | U.S. | 65 minutes

Q&A with James Benning and Kevin Jerome Everson on Oct. 8 & 9

The town of Allensworth, California, was founded in 1908, established, run, and entirely financed by African Americans; decades later, the once thriving town was all but abandoned, later to be reconstructed. In his new film, James Benning uses his structuralist approach to landscape to etch an evocative portrait of the town. Preceded by Kevin Jerome Everson’s Air Force Two and Boyd v. Denton.

Showtimes: 

October 8 6:30 PM Francesca Beale Theater

October 9 12:30 PM Howard Gilman Theater

“Monumental Concerns,” a daylong symposium hosted by Syracuse University artist-in-residence Carrie Mae Weems, will consider the role of monuments and their contested histories in contemporary society. The event will bring together scholars, artists, curators, activists and local historians to explore how monuments can commemorate challenging histories and shape dominant narratives on national and local levels.

How do we dialogue about these often-controversial issues and fairly address a multitude of perspectives? To what extent do we invite opposition to discussions of monument removal or displacement? When and how do these debates spill over into racial violence and what can we do to address this reality? How do we acknowledge the emotional and nationalistic role that monuments often play while advocating for more inclusive historical framing? Through sustained, thoughtful and respectful dialogue in thematic presentations, participants can begin to define what a monument is in 21st-century America and imagine what monuments could be for the future.

IFA CHINA PROJECT WORKSHOP FALL 2023 SCHEDULE

The in-person workshops will take place at the Institute of Fine Arts (1 East 78th St). Seating is on a first come, first served basis. In order to reserve a seat, RSVP by the morning of the event is required. The workshop will begin at 6:00 pm EST. Registration links will be sent out 1-2 weeks prior to the workshop.

October 6, 2023

Dorothy Wong (University of Virginia), present on the topic “Prints and Narrative Paintings of the First Image of the Buddha in East Asia, 15th – 17th century”.
The discussion will be moderated by Hsueh-man Shen (Institute of Fine Arts, NYU).

The China Project Workshop, founded in 2011, is open to anyone interested in premodern Chinese art or archaeology. It takes place monthly at the Institute of Fine Arts, 1 East 78 Street. The Workshop meets eight times each year, from September to December and February to May, attracting on average an audience of around 40 people. Presentations are usually in English but are occasionally in Chinese. 

All meetings of the workshop begin at 6:00 pm.

Add your name and email address to the mailing list

RSVP: chinaprojectworkshop@gmail.com

zoom: https://virginia.zoom.us/j/96292620956?pwd=RGlHWWJTblZ0QWVjTWdzckFNRllmUT09 

Meeting ID: 962 9262 0956 Passcode: 580663 

In this workshop three artists and two curators and scholars will discuss their practice of working between and across the media of photography and textile, opening avenues to understand each in new ways, which are haptic, gendered, material and decolonial. 

Dr. Christine Checinska is the V&A’s inaugural Senior Curator of African and African Diaspora Fashion and Lead Curator of the Africa Fashion exhibition, 2nd July 2022 – 16th April 2023.  Prior to joining the V&A, Christine worked as a womenswear designer, academic, artist and curator. Her creative practice and research explore the relationship between fashion, culture and race.  

Sandrine Colard is Assistant Professor of Art History at Rutgers-Newark University in the United States, and associate curator at the Kanal-Pompidou Museum in Brussels. She holds a doctorate from Columbia University (2016), and she is a historian of African, modern and contemporary arts, as well as a historian of photography. Her research has been published internationally and supported by grants from the Musée du Quai Branly, the Institut National d'Histoire de l'Art, the Ford Foundation and by the Getty/ACLS for his book project on the history of photography in the colonial Congo.  

Sasha Huber is a Helsinki-based internationally recognised visual artist-researcher of Swiss-Haitian heritage. Huber's work is concerned with the politics of memory and belonging in relation to colonial residue left in the environment. Connecting history and the present, she uses and responds to archival material within a layered creative practice that encompasses performance-based reparative interventions, video, photography, and collaborations.  

Mónica de Miranda is a Portuguese/Angolan visual artist, filmmaker, and researcher known for her interdisciplinary approach. Her work explores the intersections of politics, gender, memory, space, and history, employing drawing, installation, photography, film, and sound. Her art has been showcased at renowned international events including the Lubumbashi Biennale, Berlin Biennale, Dakar Biennial, Casablanca Biennale, Bamako Encounters, Venice Architecture Biennale, BIENALSUR, and Houston FotoFest.  

Zohra Opoku (b.1976, German and Ghanaian; lives and works in Accra, Ghana) examines the politics of personal identity formation through historical, cultural, and socio-economic influences, particularly in the context of contemporary Ghana. Opoku's explorations have been mostly through the lens of her camera; her photography is expressed through screen-printing and alternative photo processing on varieties of natural fabrics. In 2023, she is among the artists exhibited in the 15th edition of Sharjah Biennale “Thinking Historically in the Present” (United Arab Emirates).  

Giulia Paoletti is Assistant Professor in the Department of Art at the University of Virginia. Her research focuses on the histories of modern art and photography in Africa. Based on over ten years of research, her book Portrait and Place: Photography in Senegal, 1840-1960 is forthcoming with Princeton University Press (March, 2024). 

This talk is part of The Siren Project: Women’s Voice in Literature and the Visual Arts    

With generous support from the Center for Global Inquiry + Innovation, University of Virginia 

For info contact: Giulia Paoletti, gp5mt@virginia.edu

Michael Sheehy, Ph.D., is the Director of Scholarship at the Contemplative Sciences Center, Research Assistant Professor in Tibetan Buddhist studies in the Department of Religious Studies, and affiliated faculty at the Tibet Center at the University of Virginia. As lead for the Contemplative University, an international digital publishing platform, he facilitates interdisciplinary collaborative work to document historical contemplative practice traditions, develops pedagogical resources that foster human flourishing, and synthesizes research in the contemplative humanities and sciences.

The Stuart Weitzman School at the University of Pennsylvania and the Institute of Contemporary Art are pleased to present the first artist lecture and conversation of the season with artist and filmmaker Kevin Jerome Everson. Everson’s work films are performative explorations into African American culture.

This free public lecture is part of a series that gathers distinguished artists, activists, writers, and disruptors whose work engages with the social and cultural themes of our time.

Artist/Filmmaker Kevin Jerome Everson was born and raised in Mansfield Ohio He has an MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia in Charlottesville Virginia. He has made over two-hundred films including Tonsler Park (2017), The Island of Saint Matthews (2013), Erie (2010), Quality Control (2011), Ten Five in the Grass (2012), Ears, Nose and Throat (2016), Spicebush (2005), Stone (2013), Pictures From Dorothy (2004), Century (2013), Fe26 (2014), Sound That (2014), Sugarcoated Arsenic (2013) with Claudrena Harold, Emergency Needs (2007) and the eight-hour long film Park Lanes (2015). He also has three DVD box sets of his films How You Live Your Story: Selected Works by Kevin Jerome Everson distributed by Second Run, Broad Daylight and Other Times and I Really Hear That: Quality Control and Other Films with a catalog distributed by Video Data Bank.

Captioning will be available for this program via Zoom. If you require any other accessibility accommodations such as audio description or ASL interpretation, or have any questions about the program, please contact Brittany Clottey at bclottey@ica.upenn.edu.

The Fralin will host the Tashi Kyil Tour Monks who will create a sand mandala in the museum. Visitors are welcome to watch the monks at work October 3-6.

This week, Tibetan Buddhist monks from the Tashi Kyil Monastery will create a sand mandala, a process that takes several days. 

After an opening ceremony at 9:30am Tuesday, the monks at The Fralin will painstakingly place colored sand in an elaborate arrangement that is specific to the Buddhist deity Avalokiteshvara. Known as Chenrezig in Tibetan language, this deity is considered to be the embodiment of pure compassion. As the monks create The Fralin mandala, they will focus their minds on cultivating compassion and reducing suffering for all living beings.

The American Academy in Berlin invites applications for its residential fellowships for the academic year 2024/25. 

The Academy seeks to enrich transatlantic discussion in the arts, humanities, social sciences, and public policy through the development and communication of projects of the highest merit. Past recipients include anthropologists, historians, literary and legal scholars, philosophers, writers of fiction and nonfiction, journalists, translators, musicologists, sociologists, economists, political scientists, diplomats, and public policy experts. While the Academy supports projects from a wide range of disciplines, some fellowships are granted to projects covering specific topics, including those seeking innovative solutions to major global issues such as climate change or armed conflict; projects in political economy; biotechnology and public health; Jewish studies; and migration and social integration.

Approximately two dozen Berlin Prizes are conferred annually. Fellowships are typically awarded for an academic semester, but shorter stays of six to eight weeks are also possible. Benefits include round-trip airfare, partial board, a $5,000 monthly stipend, and accommodations at the Academy’s lakeside Hans Arnhold Center in the Wannsee district of Berlin.

For all projects, the Academy asks that candidates explain the relevance of a stay in Berlin to the development of their work. Proposals need not focus on German topics, but the Academy is interested in projects that will resonate with a Berlin public. The fellowship carries the expectation that recipients will engage with audiences in Germany on one or more occasions.

Fellowship candidates must be based in the United States. Candidates in academic disciplines must hold a PhD at the time of application. The Academy seeks to support both established and emerging scholars with strong records of peer-reviewed work beyond the dissertation, as well as writers and professionals who wish to engage in independent study. Writers should have published at least one book with an established press at the time of application. Candidates working in journalism, film, law, public policy, or related fields must have equivalent professional experience and a strong body of work. 

Following a peer-reviewed evaluation process, an independent Selection Committee reviews finalist applications. Recipients will be notified in March 2024. The 2024/25 Berlin Prizes will be publicly announced in May 2024. Please note that Berlin Prizes for visual artists, composers, and poets are determined in invitation-only competitions. 

The application deadline for 2024/25 is Friday, September 29, 2023 (12pm EST/6pm CET).

PANEL WITH DR. ASHLEY ADAMS, DENISE KADARA, DR. TIMOTHY E. NELSON, AND LA BARBARA JAMES WIGFALL; MODERATED BY DR. ANDREA ROBERTS

Part of the 2023 Sara Shallenberger Brown Cultural Landscapes and Sites Symposium

FOLLOWED BY A RECEPTION
This event is in-person only; a recording will be made available on UVA School of Architecture's YouTube Channel.

The notion of the Western frontier prompts recognition of the genocide and forced removal policies informed by notions of Manifest Destiny that dismembered Indigenous and Native communities. Native and Black landscapes of the West have historically lost population, been destroyed by development, and industry has extracted water and oil. Post-Emancipation, Black Western place makers sought a promised land in places like Nicodemus, Kansas, Blackdom, New Mexico, and Allensworth, California. During this event, descendant activists, planners, preservationists, and scholars from these towns will share their experiences preserving and planning in these emancipatory landscapes or Western Afrotopias. 

This symposium is a generative, re-memory project in which attendees share counter-narratives of Black Western placemaking, contemporary grassroots preservation efforts, and current movements to right the wrongs that led to the decline of Western Afrotopias. To shape practice and intellectual inquiry, the event showcases descendant leaders, practitioners, and scholars who historically frame Black settlement in the West as a contemporary reparative struggle and as a seat of speculative Black futures. The audience is invited to engage frontierism as being about expansive, new ways of increasing the capacity of Black folks to speak and plan in boundaryless ways about their pasts, presents, and futures.

A companion exhibition, Afrotopias of the West is on view in the Campbell Hall Corner Gallery, September 18–October 27. 

Meet the Professionals Behind the Museum

Free | Registration Required

You are invited to the Smithsonian American Art Museum for an informal networking with museum professionals. Connect with SAAM staff and research fellows to explore the wide range of career possibilities that exist in museums. This open house is designed for undergraduate and graduate level students, as well as recent grads.

Learn from the pros! SAAM staff with various backgrounds and expertise will share their career stories and advise how SAAM develops exhibitions, digital content, publications, education resources, and more. Information about SAAM’s paid advanced level intern program will be available.

Participants are encouraged to attend a series of afternoon gallery talks exploring the newly reimagined and reinstalled modern and contemporary art galleries and the current special exhibitions, Many Wests: Artists Shape an American Idea and Musical Thinking: New Video Art and Sonic Strategies.

Illustrator, journalist, and Pulitzer Center grantee George Butler will visit the University of Virginia, in collaboration with Virginia Quarterly Review (VQR), to speak with students and share his experiences merging art and journalism. Butler draws in real time as a witness, documenting conflict zones, climate issues, humanitarian crises, and social issues for the news in pen, ink, and watercolor. 

Butler will present to students on Tuesday, September 19, 2023, at 5:00pm EDT, with a Q&A moderated by VQR editor Paul Reyes. Copies of Butler's Drawn Across Borders will be available for purchase and signing. The next day, September 20, Butler will engage with students and visit classes at the University of Virginia. 

Over the last 15 years, Butler has been commissioned to offer a deliberately slow alternative to the headlines. He attaches his drawings to the personal testimonies of those he meets and records their resolve and resilience alongside the vulnerability of their situations.

This has included a leprosy clinic in Nepal, a militia in Yemen, the mass graves in Bucha, a cesarean section in Afghanistan, the artisanal oil fields of Myanmar, the aftermath of the earthquake in Turkey and Syria, and most recently, the war in Ukraine, published in VQR.

On Wednesday, September 13, the UVA Library will open the exhibition Their World As Big As They Made It: Looking Back at the Harlem Renaissance in the Main Gallery of the Small Special Collections Library. It will be on view through June 22, 2024.

One hundred years ago, the artistic and political revolutions of the Harlem Renaissance were in full swing. The unmistakable sounds, images, words, and conventions of the era indelibly shaped American culture.

We’ll celebrate this retrospective throughout the building with an open-house style event that will feature live music from the Charlottesville Jazz Congregation, great food, and gallery talks. Art in conversation with Harlem Renaissance poetry—part of our Arts Council grant project As Big As We Make It!—will be on display in the Main Gallery.

This event is free and open to the public! No ticket required, but register to let us know you're coming and to stay updated on event details—and especially if you'd like free parking in the Central Grounds Garage!

Come learn about study abroad opportunities led by UVA faculty and chat with ISO staff. Open to all Architecture, Art History, and Studio Art undergrads. Lunch to be provided.

UVA Arts invites all UVA Undergraduate & Graduate Students and Faculty & Staff + family to the Betsy and John Casteen Arts Grounds for the annual UVA Arts Welcome Picnic from 6:00 to 8:00pm with information tables, performances, & food and drinks. Come learn about curricular, extra-curricular, and volunteer opportunities from the Visual & Performing Arts & Architecture Departments, Programs, and Community. Bring your camp chair or a blanket to get comfy… 

Musical Performances all evening!

• Tyler Burkhardt 
• D’Earth Jazz Trio 
• Richard Will Bluegrass 
• AKAdeMiX Dance Crew
• UVA Marching Band Small Group
• WTJU/WXTJ DJs

Department Happenings:  

• Photo Booth all evening! Come take some awesome photos and leave with your photo strip…
• The first 300 people to sign up for the UVA Arts Newsletter at the UVA Arts table will get a FREE T-Shirt!! 
• WTJU will be giving away FREE WTJU SWAG & its newest ZINE for those who participate in the Mobile Recording Studio + brand new WTJU buttons and the world-famous WTJU soaps! 
• Creative Writing Table: Leave with your very own personal Horoscope Haiku created on old-school typewriters! 
• Virginia Film Festival Swag Raffle Giveaway, VAFF Colored Pens, and stickers!!
• Play a LAWN JENGA with the School of Architecture!  
• The Fralin and Kluge-Ruhe Aboriginal Art Collection will have GOODIES for the taking! 
• Pick up SWAG from Dance & Drama, Music, Art, Arts Administration, the Arts Libraries, the Career Center, UVA Acts + many others!

Graciously sponsored in part by the UVA Arts Council. 

Picnic from Harvest Moon: Grilled Hamburgers, Veggie Burgers, Hot Dogs, Smoked Pulled Pork BBQ, Southern Style Cole Slaw, Herbed Potato Salad, Watermelon Slices, & Assorted Cookies and Brownies

Please note: The Culbreth Parking Garage will be open & FREE, but Culbreth Road will be closed for the event, access will be available from University Avenue (not Rugby).

Rain Location: Drama Building: Food in the Lobby; Tabling will be in Helms Theater

On View: August 25 – October 26

Gallery Hours, Mon-Fri 9am-5pm

Supported by the UVA Arts Council and the UVA Department of Art

Former art students, colleagues, and mentors of Elizabeth Schoyer are combining energy, moving through the air, connecting creative visions, and converging in Ruffin Gallery for six weeks this fall. This show is curated by Professor Schoyer, who has taught introductory and advanced drawing, as well as painting, in UVA’s Studio Art Program for many years. 

Murmuration Artists:

Golnar Adili | Michael Bogin | Erin Crowe | Ellen Driscoll | Ellen Gallup | Rachel Lane | Kera MacKenzie | Andrew Mausert-Mooney | Sarah Morrison | Kristen Nyce-Reed | Danielle Riede | Martha Saunders | Sandy Williams IV

From nighttime constellations to fun cloud shapes to manifestations of the divine, we often look for something when our eyes turn toward the sky. Through select artworks from The Fralin’s collection, this exhibition explores the nuanced and complex relationships between the sky, landscape, and human experience, as well as the physical act of looking up.

Here you will see artworks that show intimate views of the heavens, intense loneliness, pastoral skies, bold abstractions, and dramatic figurations. With artworks dating from the 17th through 21st centuries, the works in this exhibition place earlier artists’ depictions of the celestial in conversation with those of more contemporary artists. Looking Up attests to human fascination with the sky above, an experience that transcends time and place. 

As you move through this gallery space, consider the types of landscapes represented, the textures of the works, and the interplay of nature, technology, and the divine. As you look at each work, consider the act of “looking up” as a meditative practice. Does looking up make us feel small? Or part of something bigger? How might our perspective influence our view of what lies above us?

This exhibition was curated by students from the 2022–2023 University Museums Internship class: Alana Clements, Kalista Diamantopoulos, Harper Didlake, Brenna Gomez, Laura Guerrero, Anne Kickert, Krystyna Piccorossi, Rebecca Wu, and Roxy Yuan under the direction of M. Jordan Love, Carol R. Angle Academic Curator.

Andrew Beckham, American, born 1969. Pleiades Rising from the series Twenty Thousand Square Miles: The Sand Hills of Nebraska, 2011. Inkjet print, 17 x 22 inches (43.18 x 55.88 cm). Collection of The Fralin Museum of Art at the University of Virginia. Gift of Carl and Kira Cafaro, 2016.10.14. © Andrew Beckham

Curated by Victoria Valdes, Visual Resource Center 3D Fabrication Lab Director

“The desire to accomplish my goals is something that keeps me going every day”

 –D’Sean Perry, artist statement

D’Sean Perry, a fourth-year Studio Art major, football player, devoted friend and beloved son, was tragically killed in November 2022.  

Artistically speaking, spring of 2023 should have been a time of high productivity for D’Sean as he worked toward his senior show. His death deprived him of the opportunity to create his final portfolio, and deprived his peers and instructors a chance to see how his work might have grown and developed. 

In this show, we celebrate D’Sean’s projects as they are, as well as the artist and person that he was.

The show also features objects created by people who loved him and who continue to grieve his passing; our work commemorates in some small way the great impact that D’Sean had on our lives.

The primary piece on display in this show is a 3D model collage titled “Icarus,” created by D’Sean Perry in spring of 2022.  For this assignment, D’Sean was asked to learn photogrammetry, a technique that uses software to compile photos of a physical object, creating a digital 3D model.  The theme of the project was “Cruel Optimism” – a mentality or position that provides temporary confidence or enjoyment at the cost of a person’s long-term benefit.  The assignment required him to create a single model; D’Sean created three, including a beautifully detailed self-portrait, an extremely difficult capture for a beginner 3D modeler.  He took the theme of “Icarus,” a young man from Greek mythology whose pride led him to fly too close to the sun on homemade wings that melted, leading to a fatal fall.  D’Sean mentions the stress of balancing his busy life, finishing his projects and graduating, and saw the project as an opportunity to face his challenges head on: “I hope by acknowledging these traits and habits, that it will lead to a positive impact of change and personal development.” 

For those of us who knew and loved him, there was an immeasurable positive impact.  D’Sean’s will be remembered for his joy and his willingness to pitch in on any project. His love for his friends, his team and his work were infectious, and a testament to his character.  His easy smile and approachability, and his enthusiasm in encouraging his friends to join him in artistic pursuits made an incredible impact on his peers, and built up the welcoming and inclusive culture of the Art Department.  He is deeply missed and lovingly remembered.

Unsettling Grounds: an Augmented Reality Exhibition

Unsettling Grounds is a pilot platform showcasing experimental and monumental works by Black, Brown, Indigenous & rural artists. An augmented reality exhibition located in the Charlottesville Woolen Mills, Unsettling Grounds is an interactive storytelling tool. Using this app audiences will uncover hidden histories of lesser-known struggles for freedom. Monuments are missing; voices are silenced. Unsettling Grounds makes visible and audible the hidden past.

The project makes possible place-based artworks in the Charlottesville area through support from The National Endowment for the Arts, Albemarle County, Charlottesville Area Community Foundation, Virginia Humanities, The Memory Project at the University of Virginia Democracy Initiative.

“20 YEARS AND ONE MOMENT: VIENNA SHORTS CELEBRATES ITS ANNIVERSARY WITH GUEST OF HONOR KEVIN JEROME EVERSON

Two months before its 20th edition, the International Short Film Festival presents its motif—Portraits on Kevin J. Everson & Claudrena N. Harold as well as Christiana Perschon—June 1 to 6 in Vienna

This year, VIENNA SHORTS pays tribute to the renowned filmmaker Kevin Jerome Everson with an extensive portrait. The artist, who was born in Ohio in 1965 and lives in Virginia, works with photography, printmaking, sculpture, and film, but is especially incredibly productive in the latter field: In his well over 150 films—ranging in length from one minute to eight hours, mostly shot on 16 mm and with handheld camera—he vividly captures theeveryday life and working realities of African-American communities in the Midwest and Southern US. VIENNA SHORTS will present two film programs and an installation together with Blickle Kino at Belvedere 21. Another focus will be Everson’s short films with Claudrena N. Harold, Professor of African American and African Studies and History. The two colleagues from the University of Virginia have joined forces to investigate and make visible the cultural life of black students and workers at the prestigious educational institution in the second half of the 20th century and into the 21st century under the label Black Fire. In cooperation with the Austrian Film Museum, the artists will screen eight of their films as well as present their working methods in a master class, addressing research, production, aesthetics and the politics of collaboration. In addition, Claudrena N. Harold will spend a month in Vienna as part of our Artist-in-Residence program with Q21 in MuseumsQuartier.”

The Department of Art’s Diploma Ceremony will be held at 11:30am on Saturday, May 20, in the Culbreth Theatre (the Drama Building) rain or shine. This ceremony follows the Lawn ceremony, which will take place at 9:00am that day.

Official Finals Weekend information: https://majorevents.virginia.edu/finals  

• Lawn Ceremony Tickets: https://majorevents.virginia.edu/finals/tickets-and-seating  

• Schedule: https://majorevents.virginia.edu/finals/schedule  

• Diploma Ceremonies: https://majorevents.virginia.edu/finals/saturday-ceremonies  

• Cap and Gown pickup: https://majorevents.virginia.edu/finals/students/caps-and-gowns  

• Safety, Security, and Clear Bag Policy: https://majorevents.virginia.edu/finals/generalinformation/safety-security  

• Remote/Indoor Viewing: https://majorevents.virginia.edu/finals/generalinformation/remote-viewing  

• Lawn Ceremony Assembly Areas: https://majorevents.virginia.edu/sites/majorevents2017.virginia.edu/files/Sat-Assembly-Areas.pdf 

The UVA Department of Art, New Media program is excited to invite you to the student animation screenings on May 5th at Visible Records, 7pm, with food catering from Pearl Island!

Professor Federico Cuatlacuatl's New Media courses have been developing experimental animations exploring different contemporary thematics. Introduction to New Media II, ARTS 2222, will feature short experimental animations with an emphasis on socially engaged productions, bringing awareness and highlighting pressing societal urgencies as explored through each student's animations. This event is made possible with the support of a UVA Mellon Race, Place, & Equity Grant. 

Week 4

April 24 - April 28

Ruffin Gallery: Zhiwen Xu, David Askew

3rd Floor Hallway: Val Deshler, Paul Leclere

2nd Floor Media Lab; Adrian Moore

1st Floor West: Sean Moore

1st Floor North: Marion Pearson

Week 2

April 10 - April 14

Ruffin Gallery: Pilar Grover, Claire Szeptycki, Madeline Butkovich, Mira Manalastas

1st Floor Media Gallery: Christopher Pinto

On Wednesday, April 12, from 12:30 - 3:00, the Painting Department will host two arts professionals who will address issues of professional arts practices and procedures.

Dr. Dena Jennings is a doctor, artist, and Chairperson of the Virginia Commission on the Arts. She’ll talk about grant writing and organizing creative communities. More about her can be seen on this link:

https://www.richmondfolkfestival.org/2022-folklife-demo/2022/9/6/dr-dena-jennings

Kristen Chiacchia is the Executive Director of Second Street Gallery. She’ll talk about applying for exhibitions to galleries and other venues. More about her can be seen on this link:

https://www.secondstreetgallery.org/staff-and-board

Each guest will present for about 45 minutes with Q & A. Refreshments afterwards.

All are invited to join.

Essing, Fawning, Gawping, Hocking, Isling, Jostling, Keening, Legging, Moping, Nodding, Ooling, Putzing, Querling proposes a range of queer furniture and toys as grounds for participatory performance and play. These objects seek to serve as set pieces for kinds of queer sociality — the ludic, the leisurely, the cooperative, the curious, and the unintelligible — and as, more broadly, incitements to stranger, mushier relations, interactions, and fantasies that might emerge from the encounter between participant and place.

Bio:

Conrad Cheung is an artist and educator whose practice couples transdisciplinary, collaborative, and ethnographic processes with wide-ranging artistic methods and media to address various urgencies, including post-truth and related crises of knowledge, the empathic and affective demands of democracy, crises of public space and commons, and sustainability in the face of multispecies extinction. Cheung’s work spans installation, performance, VR, cyberintervention, and more, and they collaborate regularly with practitioners across creative and academic disciplines. They are currently an Assistant Professor of Art at the University of Virginia.

Left to Right: Bankes Haden, Mary O'Connor, Léo Zhang

Please join the Department of Art and the rest of our community in congratulating our graduating students and 5th Year Aunspaugh Fellows on the work they have done and the exhibitions we now get to enjoy in Ruffin Hall. 

Thesis shows in Studio Art are the culmination of four academic years of undergraduate liberal arts at UVA. We, as faculty & staff, are incredibly proud of the hard work all of our students put into their creative practices and exhibitions. Students are involved with the production and installation of these exhibitions and gain valuable experience in the handling and hanging of important works of all types, as well as the work of hosting their own receptions. We all come together as a department during these Friday student exhibition receptions to recognize the student’s successful completion of the major.

Week 1

April 3 - April 7

Ruffin Gallery: Anna Myers, Mary O’Connor, Léo Zhang

1st Floor Media Galleries: Emma Spence, Zoe Orr

1st Floor West: Bankes Haden

Week 2

April 10 - April 14

Ruffin Gallery: Pilar Grover, Claire Szeptycki, Madeline Butkovich, Mira Manalastas

1st Floor Media Gallery: Christopher Pinto

Week 3

April 17 - April 21

Ruffin Gallery: KJ Vaughan, Tori White, Virginia Gibson

3rd Floor North: Ruoxun Yuan

2nd Floor North Benjamin Larsen

1st Floor Media Gallery: Olivia Shepard

1st Floor Performance Room: Scott Hong

1st Floor West: December Murphy

Week 4

April 24 - April 28

Ruffin Gallery: Zhiwen Xu, David Askew

3rd Floor Hallway: Val Deshler, Paul Leclere

2nd Floor Media Lab; Adrian Moore

1st Floor West: Sean Moore

1st Floor North: Marion Pearson

Week 5

May 1 - May 5

Ruffin Gallery: Alyce Yang, Mia Gualtieri

2nd Floor South: Sharon Chong

1st Floor East: Skye Jung

1st Floor West: Vibha Vijay

1st Floor North: Luke Wentz

1st Floor South: Luis Colon

Legacies of State Socialism, Renewed Dichotomies, and Southeast European Diaspora

Muralism, Indigeneity, & Contemporary Art in Cholula

Summer 2023

Location: The program is based in Cholula, a city known for its Great Pyramid with the Iglesia de Nuestra Señora de los Remedios on top. It is one of the oldest continuously inhabited cities on earth.

Tuition and Program Fees: TBD

Program Director: Federico Cuatlacuatl 

JOINT LECTURE

THE AMERİCAN RESEARCH INSTİTUTE IN TURKEY AND

THE AMERICAN INSTITUTE FOR SOUTHEAST EUROPEAN STUDIES

The Studenica Silk (ca. 1400): Object and Interpretation

by Dr. Amanda Phillips, Fulbright Fellow, University of Virginia, Koç University

Wednesday March 29, 2023 7PM Istanbul Time

Postponed from February 15, 2023

On Friday, March 24th Erik DeLuca​ will present a colloquium in 107 Old Cabell Hall on The Lawn at the University of Virginia. This event is free and open to the public.

Erik DeLuca is an artist and musician working with performance, sculpture, and text, in dialogue with social practice and critique. Erik is Associate Professor of Art Education and Contemporary Art Practice at Massachusetts College of Art and Design, as well as being an alumnus of the UVA music program.

Erik DeLuca (born Tampa, FL 1985; German—through restitution law Article 116) is an artist and musician working with performance, sculpture, and text, in dialogue with social practice and critique. Striving for dialogue and policy change, he sets up scenarios where technologies of dispossession are revealed. Recently, his projects have been included at Braunschweig University of Art, Kling og Bang (Iceland), Sweet Pass Sculpture Park, MASS MoCA, Bemis Center for Contemporary Arts, and Fieldwork: Marfa. His writing is published in Public Art Dialogue, Mousse, Third Text and The Wire. He received a PhD in Music from the University of Virginia (2016), was a resident at Skowhegan School for Painting and Sculpture (2017), and was an Asian Cultural Council Fellow in Myanmar (2018). He lectured at the Iceland University of the Arts (2016-2018), was Visiting Assistant Professor of Music at Brown University, and a critic at Rhode Island School of Design. Erik is Associate Professor of Art Education and Contemporary Art Practice at Massachusetts College of Art and Design.

Old Cabell Hall is located on the south end of UVA’s historic lawn, directly opposite the Rotunda. (map) Parking is available in the central grounds parking garage on Emmet Street, in the C1 parking lot off McCormick Rd, and in the parking lots at the UVA Corner. 

All events are subject to change. 

For more information call 434.924.3052 or write music@virginia.edu

To see all events in our colloquium series visit https://music.virginia.edu/colloquia

Valerie Cassel Oliver, Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts

In this talk Valerie Cassel Oliver will discuss her 2014 exhibition at the Contemporary Arts Museum Houston entitled, Black in the Abstract, that looked at the history of Black artists working in abstraction. It was the basis of several solo exhibitions that came in its wake including monographs on Jennie C. Jones, Angel Otero and Howardena Pindell. 

Valerie Cassel Oliver is the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. Prior to her position at the VMFA, she was Senior Curator at the Contemporary Arts Museum Houston. Her debut at the Virginia Museum of Fine Arts was the critically acclaimed retrospective entitled, Howardena Pindell: What Remains to be Seen co organized with Naomi Beckwith (2018). Most recently, she opened the groundbreaking exhibition, The Dirty South: Contemporary Art, Material Culture and the Sonic Impulse (2021) that toured nationally.

NFTs have become a topic of intense debate since the landmark Christie's auction of Beeple's Everydays - The First 5000 Days in March 2021. Closely related to blockchain technologies and cryptocurrency, scholarly and journalistic discussion of NFTs has centered on their relationship to broader questions of political economy and art under globalized capitalism. Recipients of the Double Hoo Grant, undergraduate Hazel Schaus and graduate student Karl-Magnus Brose aim to clarify the terms of the debate by historicizing the emergence of NFTs and blockchain technology, analyzing the dominant genres of art on the blockchain, and offering a perspective on the potential for future development and the shape of the emerging artistic and theoretical field of NFTs and blockchain.

A presentation by Hazel Schaus (AH major) and Karl-Magnus Brose (PhD candidate) who were awarded a Double Hoo grant to pursue an independent research project.

Dean Dass

“Clouds, Flares, Fireflies”

19 March - 14 May 2023
Schmidt/Dean Gallery
1879 Old Cuthbert Road
Warehouses 13 and 32
Cherry Hill, NJ 08034

Reception Sunday 19 March 3-5pm

Gallery Hours: Wed. – Sun. 11-4 And by appt.

www.schmidtdean.com

schmidtdean(at)netzero.net

From ‘Enslavement’ to ‘Empowerment’ and What Comes After: Plantation Futures on a Palimpsestic Landscape 

The idea of the landscape as a palimpsest, where traces of a former version can be read under the present one, came out of Paleolithic archaeology, where thousands of years of human activity must be discerned through low-density artifact scatters. In 2013’s “Plantation Futures,” Black geographer Katherine McKittrick describes the plantation landscape as a “meaningful conceptual palimpsest” that underpins the association between Blackness, geographic othering, and dispossession. McKittrick’s “plantation futures,” however, are ultimately hopeful – or rather, McKittrick is hopeful about the potential to avoid what would seem to be an inevitable outcome of continued oppression. In Powhatan County, Virginia, St. Emma Military Academy and St. Francis de Sales School, two Catholic-run boarding schools for African American and Native American students, were housed on the former grounds of Belmead Plantation – what one stakeholder group described as going “from ‘enslavement’ to ‘empowerment.’” How did living on this palimpsestic landscape shape students’ experiences? Did lingering plantation logic inform their daily practices?  And now that St. Emma and St Francis de Sales are closed and the property under private ownership, will plantation logic relegate them to obscurity based on their Blackness, or can archaeology help unbind this Black future from the plantation?

Image: Emily Kame Kngwarreye, My Country, 1994, acrylic on canvas. Gift of John W. Kluge, 1997. 1996.0002.022.

OPENING RECEPTION FOR “PERFORMING COUNTRY” EXHIBITION

Thursday, March 16, 5-7 pm at Kluge-Ruhe

Join us this Thursday for a reception to celebrate the newest exhibition at Kluge-Ruhe! Curated by our very own Emmy Monaghan and Brendan O'Donnell with Henry Skerritt, it is a fascinating look into the connections between performance, art and land. Refreshments will be provided.

The UVA Department of Art is excited to be sponsoring a limited number of paid internship positions in Summer 2023! Internship applications are open to all rising 2nd, 3rd, and 4th year studio and art history undergraduate majors. Each internship will run for 8 weeks with a total stipend of $3000 up to 29 hours per week for a duration of 8 weeks beginning between May 22 and June 5, depending on the internship location. 

Interns will also meet as a cohort three times throughout the summer to discuss what they’re learning and participate in workshops with Art Department staff. Application deadline has been extended to April 10th at 5PM. All applicants will be notified of decisions by April 19th.  

To Apply:  Please submit an application and attach a cover letter, resume, writing sample (500 words), and contact information for at least two references by April 10th, 2023 at 5PM  - https://forms.office.com/r/t35LNawbAF

Your cover letter should address the following:  

·         Why are you interested in interning at the specific locations you have selected? 

·         Explain your interest in Collections Management, Education, Marketing, or Community Programming 

·         Please share any experience, skills, or interests that may be relevant to this internship.

Global Histories and Transgender Studies in the Humanities

“A Global History of Trans Panic”

Jules Gill-Peterson, Johns Hopkins University, author of Histories of the Transgender Child

6.30pm, Wilson Hall 142, with livestream and simultaneous Spanish interpretation

A lecture and seminar series sponsored by the Institute of the Humanities & Global Cultures at the University of Virginia

UVA Ruffin Gallery • Feb 24 — Mar 24

Opening Reception • Fri, Feb 24, 5:00pm — 7:00pm

every bit     unrending, unreading is a collection of works that examines the tension between that which is archivable and that which is not.

Women in the artist’s family do the labor of preservation, as they hand-wash a quilt made by her great-grandmother, imagining and remembering fragments of its story. Uncertainty surges as faded ink-stains appear on the quilt only after being soaked in water. This collective work is posed alongside a film that imagines the perspective of an archive as it destroys—or erases—itself. Feeling around in the dark, one still senses its presence, but like the edges of burnt paper, it crumbles upon the slightest disturbance. One may only read the traces of memory backward, through absence. The viewer is invited to read the space, its images and its objects, differently, through failure. What remains, and what takes the place of an archive that is itself limiting and limited in how and what it preserves? Generously supported by the UVA Department of Art and the UVA Arts Council. 

Anna Hogg is an artist and filmmaker whose work addresses the relationship between memory and the body archive. These investigations extend to the collective feminine that gathers memory, its objects and stories, the relationship between trauma and memory, and the intergenerational archive in contrast to that of the institution. Within these contexts, one finds that the act of remembering and forgetting, preserving and refusing—making into refuse—are often intimately connected, and the boundary that divides them more fluid.

Erica Rand, Bates College, author of The Small Book of Hip Checks: on Queer Gender, Race, and Writing

6.30pm, Wilson Hall 142, with livestream and simultaneous Spanish interpretation by Esperanza Gorriz Jarque and David Florez-Murillo

(co-hosted by QVA)

Part of Global Histories and Transgender Studies in the Humanities, a lecture and seminar series sponsored by the Institute of the Humanities & Global Cultures at the University of Virginia

POSTPONED

The AISEES-ARIT lecture on February 15, 2023 by Amanda Phillips is postponed to March due to the Maraş-based earthquake disaster that devastated Turkey and neighboring regions in Syria.  We will soon share with you the new date for the lecture.  

Joint Lecture:

The American Research Institute in Turkey (ARIT)

The American Institute for Southeast European Studies (AISEES)

 Dr. Amanda Phillips, Fulbright Fellow, University of Virginia, Koç University

Among the treasures in the monastery of Studenica in Serbia is a large silk hanging, woven for the Ottoman Sultan Bayezid I (r. 1389-1402). It is the earliest known Ottoman textile, and is among the earliest works of Ottoman art of any sort. Although it is very well preserved, its initial production remains mysterious, as do its trajectories in the fifteenth century and later. This talk combines an overview of the silk's historical context with a discussion of technology and material, and makes a brief foray into its later life in Studenica and elsewhere.

Detail of the Studenica Silk (ca. 1400), showing an inscription naming the Ottoman Sultan Bayezid I. 

 Monday, February 13th, Graphic Artist and Designer Ovila Mailhot will be joining us for an interactive Coast Salish Art session in the Multicultural Student Center. In this session, Ovila will discuss his process and how he approaches creating as a Coast Salish graphic artist, as well as how he builds story through design. He will walk participants through the creation of their own graphic and show how he embeds various art forms into his work.

Ovila Mailhot is originally from the Seabird Island reservation in British Columbia, whose roots are both of Stó꞉lō & Nlaka’pamux Nation. From the day he became a graphic designer, Ovila has been extremely successful. His art has been picked up for apparel design, book covers, logos, and merchandise. Ovila focuses on the Triagon, Crescent and circle symbols, and keeps his designs both contemporary and traditional.

We hope you can join us.

Book Talk & Discussion: Rhiannon Stephens, Associate Professor of History, Columbia University

Poverty and Wealth in East Africa: A Conceptual History
“Rhiannon Stephens offers a conceptual history of how people living in eastern Uganda have sustained and changed their ways of thinking about wealth and poverty over the past two thousand years. This history serves as a powerful reminder that colonialism and capitalism did not introduce economic thought to this region and demonstrates that even in contexts of relative material equality between households, people invested intellectual energy in creating new ways to talk about the poor and the rich. Stephens uses an interdisciplinary approach to write this history for societies without written records before the nineteenth century. She reconstructs the words people spoke in different eras using the methods of comparative historical linguistics, overlaid with evidence from archaeology, climate science, oral traditions, and ethnography. Demonstrating the dynamism of people’s thinking about poverty and wealth in East Africa long before colonial conquest, Stephens challenges much of the received wisdom about the nature and existence of economic and social inequality in the region’s deeper past.”
 
This event is co-sponsored by the Department of History, Department of Anthropology, Archaeology Interdisciplinary Program, and Karsh Institute of Democracy.
 
A reception will immediately follow the talk. 

Special Sunday Tour with Anthropologist Fred Myers

In this very special tour, anthropologist and professor Fred Myers will give a tour of our current exhibition, Irrititja Kuwarri Tjungu |Past & Present Together: Fifty Years of Papunya Tula Artists. Myers co-edited the exhibition catalogof the same name and contributed to the online exhibition. He is fluent in Pintupi and conducted field work in central Australia in the early 1970s when the earliest Papunya artists had just begun painting – artists who would go on to become the painting legends we know them to be today. Myers continues to work with Pintupi communities today. He is Silver Professor of Anthropology at New York University and has published extensively.

UVA-Phillips Collection Fellowship in Modern and Contemporary Art History

The University of Virginia–Phillips Collection Fellowship in Modern and Contemporary Art History will support interdisciplinary research in American, European, or non-western art and art history from roughly 1750 to the present. Priority will be given to proposals that demonstrate a commitment to social justice and an engagement with postcolonial and diasporic studies.

The appointments carry the appropriate departmental affiliations with UVA and with the Phillips. Fellows will be appointed as graduate fellows at UVA and receive an annual fellowship stipend of $34,000 plus full tuition and fee remission, health insurance, and other standard UVA benefits, with an estimated total cost of approximately $46,000. In addition, they will have university and museum privileges, including but not limited to access to libraries, equipment, support staff, curators, students, and faculty, subject to compliance with appropriate guidelines established by the Phillips.

These fellowships are half-time with a term from August 15 of every year, beginning in 2023 through July 15 of the following year

The deadline to apply is January 31.

There is no easy way to define undocumentedness and no single definition that stands true across the globe. In the words of Jose Antonio Vargas, “If there are an estimated 45 million immigrants living in America, then there are 45 million ways of being an immigrant in America. Like all groups, we are not a monolith.”[1] Of those forty-five million immigrants, and as per the Department of Homeland Security, eleven million immigrants currently residing in the United States are unauthorized.[2] Borrowing Jose Antonio Vargas’ logic, there are eleven million ways of being undocumented in the United States. Thus, to completely comprehend undocumentedness, and in the words of Federico Cuatlacuatl, one must consider undocumentedness a spectrum.[3] To understand the complexity of belonging to the undocumented community, the undoc+ spectrum and undocumented diaspora emerge to tease out undocumentedness. Individuals within the undoc+ spectrum have lived or are currently living undocumented, whereas individuals in the undocumented diaspora are directly or indirectly affected by undocumentedness but have not embodied undocumentedness themselves. Examples of the undoc+ spectrum are current or former undocumented individuals, while examples of individuals in the undocumented diaspora are children or partners of individuals in the undoc+ spectrum.

Speakers: Jackie Amezquita, MFA from UCLA. Federico Cuatlacuatl, MFA from Bowling Green State University. David Cuatlacuatl, MFA, from Pennsylvania State University. Francisco Donoso, BFA, from the State University of New York. Luis Fidencio Fifield-Perez, MFA, from the University of Iowa. Luis Alvaro Sahagun, MFA from the Northern Illinois University.

Keynote: Erika Hirugami, MA. MAAB. 

There is no easy way to define undocumentedness and no single definition that stands true across the globe. In the words of Jose Antonio Vargas, “If there are an estimated 45 million immigrants living in America, then there are 45 million ways of being an immigrant in America. Like all groups, we are not a monolith.”[1] Of those forty-five million immigrants, and as per the Department of Homeland Security, eleven million immigrants currently residing in the United States are unauthorized.[2] Borrowing Jose Antonio Vargas’ logic, there are eleven million ways of being undocumented in the United States. Thus, to completely comprehend undocumentedness, and in the words of Federico Cuatlacuatl, one must consider undocumentedness a spectrum.[3] To understand the complexity of belonging to the undocumented community, the undoc+ spectrum and undocumented diaspora emerge to tease out undocumentedness. Individuals within the undoc+ spectrum have lived or are currently living undocumented, whereas individuals in the undocumented diaspora are directly or indirectly affected by undocumentedness but have not embodied undocumentedness themselves. Examples of the undoc+ spectrum are current or former undocumented individuals, while examples of individuals in the undocumented diaspora are children or partners of individuals in the undoc+ spectrum.

Speakers: Jackie Amezquita, MFA from UCLA. Federico Cuatlacuatl, MFA from Bowling Green State University. David Cuatlacuatl, MFA, from Pennsylvania State University. Francisco Donoso, BFA, from the State University of New York. Luis Fidencio Fifield-Perez, MFA, from the University of Iowa. Luis Alvaro Sahagun, MFA from the Northern Illinois University.

Keynote: Erika Hirugami, MA. MAAB. 

Hazel Ruth Edwards, Professor of Architecture at Howard University.

Dean's Forum Inclusion + Equity Lecture and Reception
5pm, Campbell Hall 153

Reception to follow.

Architects of color are responsible for countless projects across the globe. Their work confirms why we need more
people who bring varied backgrounds, viewpoints and life experiences to designing and building places that matter. One such place is Howard University, long considered the Mecca of black education. Within the sacred boundaries of its campus, fledgling architects and planners have been trained at Howard since architecture education was established in 1911. 

The College and Graduate School of Arts & Sciences aims to enhance diversity, equity, and inclusion, through programs that cultivate a respectful, inclusive environment where all members of our community can exchange ideas, grow, and flourish. Excellence is achieved through the engagement of diverse perspectives, expertise, and contributions. We are now accepting proposals for Diversity, Equity, and Inclusion (DEI) grants to stimulate and support new ideas.

Proposals may pertain to student, staff, and faculty activities, including, recruitment and retention, partnerships with other institutions, hosting visitors, participating in special events, research or educational programs, pressing issues of the day, and any other initiatives that foster a diverse, equitable, inclusive, and welcoming environment for students, staff, and faculty. Of particular interest are projects that test new ideas or proven initiatives from other fields, universities, etc., and these serve as effective models that could be broadly applied and embedded in Arts & Sciences programs, practices, and culture. Crosscutting initiatives that engage and benefit more than one department or group will also be viewed favorably.

PROPOSAL MATERIALS

Please use the proposal template to prepare your proposal (Link to download the template). Proposals need to include a project description, itemized budget, and statement of support from the department chair or program director.

Please combine your materials into one file saved as: your last name, first name, DEIGrant_Name of your department/program. Example: Doe_Jane_DEI_Music.

DEADLINE

Friday, January 13, 2023

Submit proposals via the DEI Grant Submission Form (LINK to form).

QUESTIONS

Please direct any questions to Andie Weaver at aw7tk at virginia.edu. 

Prof. Anastasia Dakouri-Hild, Associate Professor, Department of Art and Interdisciplinary Archaeology Program, University of Virginia
“The Kotroni Archaeological Survey Project (KASP): a Synthesis from Seasons 1-3 (2019, 2021)”

KASP is an international, interdisciplinary project that combines expertise across the Humanities, Sciences and Social Sciences (Earth and Environmental Sciences, Archaeology, Classics, History, Anthropology, Architectural Preservation). It utilizes a combination of historical research, architectural study, digital applications, and conventional and innovative field techniques (collection of surface artifacts, Geographic Information Systems, remote sensing, photogrammetry, geophysics, geological and geomorphological analysis), in order to evaluate the complex, multi-temporal cultural landscape at hand. KASP also seeks to highlight the relationship between the past, contemporary communities and academic practice in the framework of public archaeology by engaging communities at all scales (local, national and global/international).  The project operates under the auspices of the Greek Ministry of Culture (Ephorate of Antiquities of East Attica) and the Irish Institute for Hellenic Studies at Athens (IIHSA), with the participation of the University of Virginia and several other US and European academic institutions.

Dr. Sonia Alconini (Professor of Anthropology at UVA) will present a lecture on “Rethinking Andean and Amazonian Relations: The Taypi Yungas as Spaces of Encounter, Ethnogenesis and Sociopolitical Transformations.” Co-sponsored by the UR Department of Classical Studies and the Richmond Society of the Archaeological Institute of America, the free lecture will be free and open to all, held in Jepson Hall 118 on the UR campus

Lecture abstract: Twenty-first century climate change threatens all kinds of cultural heritage—archaeological sites, historic monuments and buildings, traditional subsistence or cultural practices, among many others. This is especially urgent in coastal areas where the triple threat of rising sea level, more powerful coastal storms, and growing coastal populations create a monumental challenge. At the same time, though, people are placing a greater value on cultural heritage and gaining a better understanding of how precarious these resources are. In this talk, I will discuss global efforts to, first, understand the scale of the problem and, second, decide how to address it. Archaeologists cannot overcome this challenge alone, nor is it possible to save everything. We must develop strong community partnerships and think creatively about what is truly valuable in cultural heritage. I will specifically discuss my research in coastal California and the importance of partnering with indigenous communities to decide what matters most in cultural heritage.

The Smithsonian Art Museum and its Renwick Gallery invite applications for 2023–2024 research fellowships in the art, craft, and visual culture of the United States. Fellowships are residential and support full-time independent research. Recipients will be part of the oldest, largest, and premier fellowship program in American art. SAAM is home to one of the largest and most inclusive collections of American art in the world. Its holdings include over 45,000 works in various media by more than 13,000 artists from the colonial period to today. Contemporary American craft and decorative art are featured in the Renwick Gallery, a branch of the museum near the White House.

SAAM hosts a number of fellows each year through the Smithsonian Institution Fellowship Program (SIFP), and also awards its own named fellowships to candidates from this general pool. The deadline for applications is November 1, 2022. Residencies are available at the graduate, doctoral, postdoctoral, and senior levels.

Apply Now

Calista Lyon & Carmen Winant

UVA Ruffin Gallery • Oct 28 — Dec 9

Opening Reception • Fri, Oct 28, 5:00pm — 7:00pm

The collaborative work of Calista Lyon and Carmen Winant examines the profound psychological impact of ecological breakdown, with a particular focus on the interconnectedness of the water crises and the body. Both artists share an interest in the ways in which feminist and posthumanist perspectives have the potential to intervene within patriarchal and capitalist norms to radically shift the personal and political. Working from a research-based approach, Winant draws heavily on 1960s and ’70s ecofeminist traditions and the lesbian feminist separatist movement to build alternative image archives that center women, collectivism, and care. Lyon, on the other hand, reflects on ecology, environmental precarity, and the historical and present-day human exploitation of land in installations and performances combining found images, obsolescent technology, and reclaimed materials. 

Generously supported by: Ruffin Distinguished Artist-in-Residence Program, UVa Department of Art, and the UVa Arts Council

Performance/video/sound artist Fetter (https://jessica-tucker.com/Navigation-OnPages) will be giving a visiting artist talk to Conrad Cheung's Foundations class October 25th at 4:30 pm. Zoom link is below, and the lecture is open to the public. They will also be screening an episode from Lorna Mills's "Ways of Something", which rereads John Berger's Ways of Seeing in technofeminist terms, starting at 3:45.

https://virginia.zoom.us/my/conradcheung

Matthew Reeves has been the Director of Archaeology and Landscape Restoration at Montpelier since 2000. Dr. Reeves’s research interests center on the archaeology of plantation life, African Americans (both enslaved and free), and the Civil War. His background includes more than two decades of directing research projects on plantations and freedman period sites in Jamaica, Maryland, and Virginia. A distinguished scholar, he has published numerous articles and monographs on his research on African American and Civil War sites and presented conference papers on these subjects.

At Montpelier, he directs the Montpelier Archaeology Department which has hosted field schools since 1987, giving students training in field and laboratory techniques. His innovative public archaeology program set national precedent for inviting the public to work side by side with professional archaeologists excavating places where enslaved people lived and worked. He has collaborated with members of Montpelier’s descendent community since his arrival at Montpelier and trained a generation of archaeologists passionate about investigating the institution of slavery. Dr. Reeves received his Ph.D. from Syracuse University in 1997 and prior to his work at Montpelier held positions with the University of Maryland and the National Park Service.

This event is co-sponsored by the University of Virginia Scholars' Lab, Institute for Advanced Technologies in the Humanities, and the Interdisciplinary Archaeology Program at UVA, with generous support from the Kelly-Tukey Endowment, dedicated to advancing scholarship in Historic Preservation.

In this explorative Friday afternoon lecture, anthropologist and fashionista Louise Hamby will discuss the movement of Indigenous Australian textiles and fashion that has emerged over the past ten years. From textiles that are designed and hand-printed in Aboriginal communities inspired by country and culture, to super chic runway shows at Australian Fashion Week and exhibitions in Los Angeles and beyond, this talk will explore how artists from some of the most remote locations on the planet are improving upon what couture can mean and what it can look like.

Click here to find out where Campbell Hall is and to access directions.

If you are interested in fashion at UVA, please check out The Fralin Museum of Art’s Fashion as Art event in late September 2022.

Second Street Gallery is pleased to present Mummers, a solo exhibition featuring paintings and sculptures by Charlottesville-based artist Megan Marlatt, to be held in the Main Gallery from October 7 - November 18, 2022. 

The exhibition will open on First Friday, October 7, 2022 from 5:30-7:30PM. The artist will be present during the opening evening to chat with visitors. A small parade procession with the artist and the Big Head Brigade will take place from 5PM to 5:30PM along the Downtown Mall and will lead back to Second Street Gallery for the exhibition opening.

Sea Change: Ottoman Textiles Between the Mediterranean and Indian Oceans

Amanda Phillips, Associate Professor,  Art History, UVA 2016-17 Mellon Fellow

Respondent: Nancy Micklewright 
Andrew W. Mellon Fellow in the Department of Islamic Art, Metropolitan Museum of Art,
Head of Public and Scholarly Engagement, Freer | Sackler Galleries, Smithsonian 

Friday, October 14, 2022 | 10:00 am - 11:30 am ET

Sea Change explores the history of Ottoman textiles from both a global and interdisciplinary perspective, uniting the eastern Mediterranean with the Indian Ocean on one hand, and social and economic history with art history, technical studies, and global history on the other. Phillips' study insists on a more comprehensive history of textiles, arguing that the plain, the non-canonical, the well-worn, and the downright mediocre are necessary parts of an expanded topography, and deserve treatment on their own terms. Artisans made decisions as the worked, and the book also returns agency to the men and women earning their livings in the textile sector. It shows how they coped with economic hardship and technological change, as well as how they resisted regulations imposed by the central authorities.

Jackson Taylor, New works in printmaking

Currently the Assistant Professor of Printmaking and Drawing at the University of Virginia, Jackson Taylor was born and raised in rural Kentucky on a large intergenerational cattle and tobacco farm. He holds a BFA in 2D Studio Art from the University of Louisville and received his MFA in Printmaking and Drawing from the University of Iowa in 2021. He is a master of lithography and monotype processes, which he uses to generate multifaceted prints and drawings about growing up in the American South. Taylor has conducted printmaking workshops across the US and exhibited his work internationally.

On Tuesday 9/27 at 12:30pm, interdisciplinary artist Mariana Parisca will give a talk about her work in Anna Hogg's Intro to Studio Art class.

Mariana Parisca is an interdisciplinary visual artist and educator from the USA and Venezuela. They create sculptures, installations, videos, performances, and printed matter that question and redefine the social abstractions that shape value, resource distribution, and consumption in the Americas. 

Parisca received an MFA in Sculpture + Extended Media department at Virginia Commonwealth University and a BFA from Washington University in St. Louis. Parisca’s work has shown at CUE Art Foundation, New York, NY, documenta fifteen, Kassel, Germany, Mas Allá, Bogota, Colombia, Rudimento in Quito, Ecuador, NARS Foundation in New York City, NY, the New Wight Biennial in Los Angeles, CA, the Virginia Museum of History and Culture, Anderson Gallery, and Cherry Gallery in Richmond, VA, the Virginia MOCA in Virginia Beach, VA, and New Works Gallery in Chicago, IL among others. They have received various awards including an Emergency Grant from the Foundation for Contemporary Arts, the Eliot Scholarship, and the Paul F. Miller Scholarship. They have been artist in residence at Atlantic Center for the Arts, Nave Proyecto, Vermont Studio Center, Visual Arts Center in Richmond and Studio Two Three. They currently teach sculpture at George Mason University.

At the end of Spring 2022, the Art Department’s American Modernisms class created an exhibition for UVA Library’s newly expanded collection The Masses 1911-1917, a radical journal edited by artists and writers equally.   On September 22 from 5:30 to 7:30 the Special Collections Library is hosting a public reception where the student curators will be available to discuss their show on the first floor of the Harrison Small Building.  Also, a terrific exhibition from the Holsinger Collection of photography is being celebrated and discussed. 

The University of Virginia Library’s exhibitions program delights and informs by showcasing the rare and unique materials available to the University’s faculty, students, and visiting researchers. Partnerships—with other institutions to bring treasures to our galleries and with guest curators to bring fresh perspectives to our collections—allow the Library to serve the UVA community as an evolving space for discovery and celebration of our shared cultural heritage.

Speakers:

Fotini Kondyli - University of Virginia

Benjamin Anderson - Cornell University

Moderator:

Nikos D. Kontogiannis - Dumbarton Oaks

Francesca Fiorani, University of Virginia

Leonardo da Vinci and Cortona: Wetlands, Mapping, and the Art of Painting in Renaissance Italy

In the early sixteenth century Leonardo da Vinci made a spectacular map of the Tuscan countryside that features Cortona prominently—just a bit off center, towards the right. Far from casual, Cortona’s position offers insights on the ecclesiastical and political context of Leonardo’s map.

The lecture starts with an examination of the map’s visual language in the context of Renaissance geography. Then it reconsiders the map’s scope, which is traditionally related to Cesare Borgia’s military campaigns or a never-realized project to drain the valley’s malarian marshes. But taking into account Cortona’s prominent position within the map, the lecture addresses also the role Cortona’s bishopric played in the power struggle between Rome and Florence. The lecture concludes with a new evaluation of wetlands—including those around Cortona— within Leonardo’s art theory. Even though military campaigns, draining projects, or even power struggles between may have been at the origin of Leonardo’s map, it was the wetland landscape itself that stayed with artist for years to come and that came to play a foundational role in his art and thought.

Francesca Fiorani is a professor of art history at the University of Virginia. An expert on Renaissance art and the application of computer technology to the humanities, she designed the digital platform Leonardo da Vinci and His Treatise on Painting. She is the author of The Marvel of Maps: Art, Cartography, and Politics in Renaissance Italy (Yale UP, 2005) and The Shadow Drawing: How Science Taught Leonardo How to Paint (New York, 2020; paperback May 2022).

Kera MacKenzie and Andrew Mausert-Mooney

A family rests in the shade of a C-47 warcraft. An army installation contains the last remnants of an endangered grassland ecology. Young filmmakers hone their skills making cop shows on Chicago streets.

A debut hybrid non-fiction feature, Make a Distinction maps unseen forces of US imperialism through ostensibly disconnected aspects of daily life. If you can’t name the enemy do you become it?

Ivan Vasilevm (Bulgarian Heritage Foundation) - Frescoes of the Boyana Church (Bulgaria) - joint ARIT*/AISEES Lecture

The American Institute for Southeast European Studies (AISEES) is an institution dedicated to facilitating academic research in Southeast Europe for North American scholars and collaboration between scholars from North America and countries situated in Southeast Europe (Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Kosovo, Moldova, Montenegro, North Macedonia, Romania, Serbia, and Slovenia).

*American Research Institute in Turkey

Installation of red dresses at Kluge-Ruhe, 10 am – 4 pm
May 5 is known in First Nations communities as “Red Dress Day,” drawing awareness to the thousands of Missing and Murdered Indigenous Relatives whose tragic disappearance is a daily heartbreak for their families and communities. The movement started in Canada where Jaime Black, a multidisciplinary artist of mixed Anishinaabe and Finnish descent, originated The REDress Project in 2010. Installing hundreds of red dresses in locally-specific landscapes, including forests, parks, apartment buildings, and museums, draws attention to the disappearance of women, girls, and two-spirits, a loss that is both individual and collective. Black said, "People notice there is a presence in the absence.” Since her first installation of red dresses in Winnipeg, Black has brought the project to a variety of locations in Canada and the USA, including the Smithsonian’s National Museum of the American Indian in Washington DC in 2019. Jaime Black has given Kluge-Ruhe permission to present a community-driven installation of red dresses in the trees surrounding the museum.

Missing and Murdered Indigenous Relatives (MMIR) is one of the most pressing ethical issues of our time. Although statistics on gender-based violence are difficult to collect, the data are chilling. According to the Coalition to Stop Violence Against Native Women, four out of every five Indigenous women, girls, and two-spirits will be affected by violence in their lifetimes, and Native women are murdered at a rate that is ten times higher than that of white women. Kluge-Ruhe, in partnership with the Native and Indigenous Relations Community at UVA, offers this installation and lecture to invite faculty, staff, students, and community members to better understand the history and present of gender-based violence and to participate in local, regional, and transnational conversations on MMIR. Art and education are two parts of a long-term solution to a deeply-entrenched problem.
Make a reservation to visit Kluge-Ruhe.

Melissa Baltus, University of Toledo

The neighborhoods of ancient Cahokia tell its stories. Their similarities and differences provide invaluable insight into the processes of urbanization, as well as the ways in which lived lives shaped the urban landscape.  Much of what we know about Cahokia’s neighborhoods derives from salvage excavations in or near the core of “downtown”. These excavations demonstrate planned site organization, dynamic neighborhood uses, and varying relationships between politico-religious practices, landscape features, and domestic spaces. Describing the development and depopulation of Cahokia through its neighborhoods, I will contextualize the findings of a recent multi-year project at one area of Cahokia and what we have learned about the city from this newly explored neighborhood. 

Artist talk tonight with Veronica Jackson!

In person!!

6:00 Campbell hall room 160!

"My artwork is also grounded in the belief that studying visual culture is a transformative experience. As an emerging cultural producer with a social justice practice, my goal is to engage audiences who may benefit from the ways visual culture incites the imagination to see the world differently, and eventually empowers and provides them the agency to creatively contribute to it."

As an artist, performer, and researcher Nikolaus Gansterer is deeply interested in the relational field between drawing, thinking and action.

Across forms of installations and performances he traces the translatability of phenomena of perception into an artistic environment. In his transmedial work, he focuses on mapping ephemeral and emergent processes unfolding their immanent structures of interconnectedness, questioning the imaginary threshold between nature and culture, art and philosophy. He currently teaches at the University of Applied Arts in Vienna, Austria.

The Modern Contemporary Studies Workshop (https://art.as.virginia.edu/modern-contemporary-culture-workshop) will meet Monday, April 11, at 1pm, to discuss Tyler Solon Williams (UVA Lecturer, Media Studies) "Porn, Malware, and the Fragile Web." We will meet in New Cabell Hall, Room 236. Refreshments will be served.

The Fralin Museum and V magazine are co-hosting a fashion gala this Friday (4/1) 5pm at the museum inspired by Emilio Sanchez's work and themed over "Dreamscape". There will be pictures, light refreshments, and a live DJ. People are welcome to come in semiformal dress or anything that is inspired and fun! You can RSVP online from the Fralin Instagram.

STEPHANIE H. SHIH explores the diasporic nostalgia and material lineages of migration and colonization through the lens of the Asian American kitchen. Her painted ceramic sculptures examine the relationship between consumerism, cultural interchange, and identity in immigrant communities.

“Shih’s food products speak to a seismic shift in America’s demographics that began to take place around the time of the Civil Rights movement... [The] work is both aesthetic and political, a commentary on assimilation as a process in which one’s national origin is not forgotten or erased.” —John Yau

The St. Anselm Institute for Catholic Thought here at UVa will be hosting a public lecture, “Henri Matisse’s Rosary Chapel: A Catholic Reading,” by Prof. John Dobbins, Professor Emeritus in Department of Art, on 24 March at 5.30p in Clark Hall 107. All are invited to learn more about this work by Matisse—a gift to the French Dominican sisters in Vence, France. Matisse himself called this work, in particular, “the fruit of my whole working life.”

Bettman Lecture Series, Columbia University

In Buddhist cultures across Asia, the “First Images” of the Buddha hold a special status. Derived from the prototype allegedly commissioned by King Udayana and made in the likeness of the Buddha, the prototype and its copies possess attributes commonly associated with miraculous images, including supernatural forces in creation, mobility or immobility, light emission, and protective power as palladia. From China to Japan, Mongolia, and Tibet, the so-called Udayana Buddhas were widely worshiped. Acquisitions of Udayana Buddha statues enabled monastic institutions to claim religious orthodoxy and empowered royal patrons to assert legitimacy. Artistically, two very distinct types of Udayana Buddha images exist, one seated and the other standing with stylized drapery. This paper is part of a larger project studying miraculous images in China, employing the case study of Udayana Buddha images to analyze what accounts for miraculous attributes, contexts for cultic developments, the intersections (or lack thereof) of textual and visual records, artistic sources, and how recent discourse on material religion can shed light on this phenomenon.

Delinda Collier is Associate Professor of Art History, Theory and Criticism and Interim Dean of Graduate Studies at the School of the Art Institute of Chicago. Her research interests are in old and new media in Africa, Luso-African Art, and Cold War modernisms. She is the author of Repainting the Walls of Lunda: Information Colonialism and Angolan Art (University of Minnesota, 2016) and Media Primitivism: Technological Art in Africa (Duke, 2020), among many articles, essays, and reviews.

The editors and graduate student authors of Boomalli Prints and Paper: Making Space as an Art Collective are delighted to invite you to a book launch party at the Kluge-Ruhe Collection on Monday evening, March 14 anytime between 5:30 and 7:30 p.m.. The weather should be fine, and we’ll be gathering outside for a casual gathering with snacks, drinks, and a boatload of books! Feel free to pass along this invitation to anyone you like and we’d love to see you there!

Turn on the Light! / A Memorial Show in honor of Lyn Bolen Warren features work by Ed Miller, Bill Bennett and others.

Opening is this Saturday 3-5PM!

Deborah Anzinger is an artist and founder of New Local Space (NLS), Kingston, Jamaica. Anzinger works in painting, sculpture, video and sound to interrogate and reconfigure aesthetic syntax that relate us to land and gendered and raced bodies. Her current work, Training Station, is a large-scale earthen sculpture in Maroon Town, Jamaica, through which she attempts to locate and enact notions of liberation through ecology and community within ancestral land. Anzinger’s work was the subject of a solo exhibition at the Institute of Contemporary Art (University of Pennsylvania, Philadelphia) in 2019 and has been included in other institutional exhibitions at the Prez Art Museum Miami; The Museum of Contemporary African Diasporan Art, Brooklyn, NY; National Art Gallery of the Bahamas; National Gallery of Jamaica and the Kent State University Museum. Her work is most recently published in the monograph Deborah Anzinger: An Unlikely Birth edited by Daniella Rose King published by the Institute of Contemporary Art, University of Philadelphia. Other publications of her work are included in Small Axe Journal (Duke University Press), Caribbean Quarterly (Taylor & Francis), Bomb Magazine and Art Papers. Anzinger was awarded a fellowship to Skowhegan School of Painting and Sculpture (2016), the Pollock-Krasner Foundation Grant (2018), the Soros Arts Fellowship (2020) and a MacDowell fellowship (2022).

Martina Rugiadi, Metropolitan Museum

"Afghan marbles: the expanded archaeological archive"

*co-sponsored by the Interdisciplinary Archaeology Program

Prof. Kondyli is delighted to launch our 60 Days Writing Challenge for a third year in a row(!) to bring our writingcommunity together and encourage good writing habits that can help us improve our work and reduce our anxiety about writing. You can all participate remotely so no excuses!

The challenge: 

- Write 1 hour, 5 days a week.  - Log each hour you write online so you and everyone else participating can see and celebrate your progress.   - Keep it up for 60 days (February 15th-April 15th).

If you are interested, please register on the online platform https://clockify.me/ , find our project named Writing Challenge 2022 and get ready to write. We start tomorrow, Feb 15th.

This is primarily for our graduate students, but DMP undergraduate students are welcome to join (If you are advising one, let them know).

 We also want to encourage faculty members who are currently working on a writing/publication project to join the challenge and set a good example!

Ed Miller's J-Term Sculpture students are putting together an exhibition of their work and having an opening entitled Warrior Figures this Friday 5-7 pm.

Ruffin Hall 1st Floor Gallery

Ols Lafe  (Aleksander Moisiu University at Durres, Albania)​ - Private-Sector Archaeology in Albania: between Tradition and Innovation

Ols Lafe is a classical archaeologist and has studied history and archaeology at the University of Tirana, Albania. He received an MA at the University of Cincinnati, Ohio (USA), and holds a PhD in cultural heritage management from the University of Tirana. His co-authored book on the tribal cultures of northern Albania, titled Light and Shadow: Isolation and Interaction in the Shala Valley of Northern Albania, has won the 2014 SAA-Society for American Archaeology Book Award.He is currently leading CDAMAH-Center for the Development of Ancient and Medieval Albanian Heritage, a scientific research center based at the state university “Aleksandër Moisiu” in Durrës, Albania, while teaching at the University of Tirana and Polis University as an invited lecturer. His work experience has been focused on archaeology, excavation and publishing but professional interests include also training in tourism and cultural policies, historic tourism, management of monuments and their restoration, museum and archaeological parks administration and their presentation and communication of values to the public.

Artefacts, Creativity, Technology, and Skills from Prehistory to the Classical Period in Greece

Prof. Dakouri-Hild will be giving an invited talk on the Mycenaean ornamental industries this Friday at Heidelberg University as part of a lecture series on creativity (please see links below), a component of this 4EU+ Alliance funded project (Heidelberg, Charles, Copenhagen and Warsaw).

She will be discussing ancient fine crafts vis a vis up to date thinking on creativity in cognitive science among other things, so it may be broadly interesting and thought provoking outside of archaeology. 

The talk is scheduled at 2 pm Central Europe time (so 8 am EST).

Facebook: https://m.facebook.com/ACTS-ArtefactsCreativityTechnology-and-Skills-in-the-Aegean-Bronze-Age-105826365286928/?tsid=0.9832368232609443&source=result 

Instagram: https://www.instagram.com/4eu_acts/

Facebook event: https://fb.me/e/1iPiOu9YO

Sepideh Dashti joins the UVA Department of Art to discuss her work and current exhibition Counterpoint on view in the Ruffin Gallery through February 24th.

Counterpoint, includes recent and new photography, textile, and video installation work by Sepideh Dashti. Using personal and marginalized methods of research, as an artist Dashti performs her bodily material, stitching her hair and blurring the boundaries between languages, to challenge ideas of femininity and domesticity and depict the experience of her diaspora.

Not all diasporas are the same. Not all female experiences of oppression are the same. Dashti’s experience as an Iranian diasporic woman is fragmented along ethnic, religious, social, political, and class lines. These fragments pose challenges to her attempts to bind with others and find solidarity based in multiculturalism and ethnicity. Dashti establishes her body as an integral material in her art practices to make the explanation of her experiences and challenges possible. She seeks to claim her body across multiple media to question her identity with regard to the deplorable conditions of history, language, and culture existing between different spaces she has occupied.

“Elegantly shot in his narrative hometown, Mamadou Dia’s praiseworthy first feature is engrossing, urgent cinema that is at once local and universal.”  International Film Festival of Marrakech

The film recounts a dispute between an Imam and his powerful brother over their childrens’ marriage. At stake: how a small community slowly drifts towards extremism. 

Filmed with warmth and even humor, the brewing feud between the two brothers-- who adhere to two competing visions of Islam-- offers an uncompromising and nuanced portrait of how families and an entire Senegalese village strain to deal with tensions that threaten to unravel an entire culture and way of life.

Baamum Nafi was selected as the Senegalese entry for the Best International Feature Film at the 93rd Academy Awards. It is currently selected as the only feature-length Senegalese film in competition for the 2021 "l'étalon d'or du Yennenga" to be given at the Panafrican Film and Television Festival of Ouagadougou (FESPACO) in Burkina Faso this month.

Join artist and University of Virginia painting professor Megan Marlatt, and a panel of other artists, as she discusses her transition from painting to mask making and the returned influence of mask making on her painting. Marlatt formed  the Big Head Brigade after traveling to Spain to study the art of capgrossos with premier gegant/capgrosso makers, David Ventura and Neus Hosta in 2012. Her “big head” work grew and expanded as she returned to the states. Recently, Marlatt was the recipient of a Fulbright Scholar Research Fellowship to Belgium, where she studied Belgian carnival culture at the International Carnival and Mask Museum in Binche. She discusses the rich interplay between her work with masquerade and her work on canvas.

Registration for the panel that includes Kate Kretz and Sarah Bernstein, as well as other events, will be announced soon through the mailing list. Check out the schedule for the October weekend here.

Join the Department of Art for an artist talk in Ruffin Hall Room 320 with Christian Camacho whose exhibition "The Caterpillar Set" opens in the Ruffin Gallery on October 29th!

Christian Camacho (Estado de Mexico, 1985). Painting MA, Royal College of Art, London, UK. Visual Arts BA from ENPEG [National School of Painting, Sculpture and Printmaking] ‘La Esmeralda’ of the National Institute of Fine Arts, Mexico City, Mexico. His work has been shown in Mexico, Europe, the United States of America, and in South America in collaboration with institutions such as Museo Experimental El Eco, Museo de Arte Carrillo Gil as well as at the Royal College of Art and Imperial College in London, Palais de Tokyo in Paris, The Phoenix Art Museum and Museo Jumex in Mexico City. He has also been awarded grants from FONCA (National Endowment for the Arts, Mexico), and Fundación Jumex Arte Contemporáneo, where he designed and implemented education and public programs between 2014 and 2018. As part of his practice, Christian Camacho has also developed several formative initiatives –courses, seminars, workshops and readings– in collaboration with institutions and spaces such as Museo Tamayo, Museo Jumex, Instituto Alumnos, the International Symposium of Contemporary Art Theory PAC-SITAC in Mexico City, ESPAC, Colectivo Neter, Obrera Centro and Biquini Wax EPS among others. He is currently Professor at the Art Department of the University of Monterrey, in Monterrey, Mexico.

Join the Rasquache Mobile Cinema this Friday and Saturday for screenings featuring and celebrating Black and Indigenous filmmakers. Screenings will take place over previous confederate state sites and will begin with special guests and relevant opening remarks addressing these sites. Schedule posted below!

This event is supported by an Arts Enhancement Grant from the Office of the Provost & the Vice Provost for the Arts and the UVA Religion, Race & Democracy Lab.

Friday October 22

7-8 pm 

Former GRC Statue Site, Corner of Main St. and Jefferson Park Ave.

Featuring films by: Ethan Brown - Pamunkey Tribe, Kevin Krigsvold - Pamunkey Tribe, Sky Hopinka - Ho-Chunk Nation/Pechanga Band of Luiseño Indians

Saturday October 23

7-8 pm

Market Street Park

Featuring films by: Dana Washington-Queen, Ebony Bailey,  Kevin Everson

Marisa Williamson, Sandy Williams IV, Patrick Costello

From October 1-28, 2021, New City Arts presents Situated Knowledge, an exhibition featuring sculpture by Marisa Williamson, Sandy Williams IV, and Patrick Costello. This exhibition is presented by The FUNd at CACF and sponsored by Lisa M. Draine.

VALLEY.STREET.SCAPE is an exhibition by the Scottsville Center for Art and the Natural Environment in partnership with the town of Scottsville. This exhibit utilizes storefronts in downtown Scottsville in the interest of making art accessible to the community while also activating the streetscape. Organized in part by one of our inagural summer interns, Lydia Hendrickson with contributions from department staff members Laura Mellusi and Dan Weiss.

Dr. Eid-Sabbagh's will present on her photographic practice, collective work processes, engagement with digital and family archives and work as member of the Arab Image Foundation. 

Frictional Conversations is based on an extended stay in Burj al-Shamali, a Palestinian refugee camp southeast of Tyre, in southern Lebanon, where I lived between 2006 and 2011, and have been working since 2001. During this time I developed and gathered – mostly in collaboration with camp residents – an extensive digital depository of family and studio photographs, which also includes videos and audio recordings. However, it was when I met Hasna Abou Kharoub, a woman living in Burj al-Shamali, in 2007 that I first understood that in Burj al-Shamali “archives” actually already existed. It is in the conversations with Hasna about the images she had gathered from her extended family, that my understanding of photography shifted… 

This event is part of the Seminar series "The Sirens Project: Women's Voices in Literature and the Visual Arts" and is generously funded by an AHSS grants; Dr. Giulio Celotto (Classics), Dr Francesca Calamita (Dept. of Spanish, Italian and Portuguese)