Past Events

Join us on Thursday, December 5th, from 5:00 PM to 6:00 PM (EST) for an exclusive virtual information session tailored for students at the University of Virginia!

Explore the world of Sotheby’s, a global leader in fine art and luxury, and learn about our Internship and Associates Programs in New York. This session will feature Sotheby’s employees who are proud UVA alumni, sharing their career journeys and providing a firsthand perspective on life at Sotheby’s.

Whether you’re interested in fine art, client strategy, or luxury goods, this is your opportunity to connect with industry professionals, gain insights into the art and auction world, and discover how you can launch your career with us.

Don’t miss this exciting event—register now to reserve your spot!

Contact information: Katie Robinson-Duff, Manager, Early Talent Programs

Don’t miss the opportunity to join Professors Robin Garcia and LaRissa Rogers in NYC this winter break! Together you will visit museums, galleries, and studios across the city as you engage in discussions with artists, gallerists, museum professionals, and one another. 

Please note that this trip is not associated with a class, and you will not receive any credit. The only requirement is to learn and enjoy! This fully funded opportunity is only offered to Art Department majors every other year, so apply now.  

New Tape Worns: Public Cassette-loop Making

Live creation of tape loops feeding the Tape Worns sound installation, with Xolile ‘X’ Madinda, Alex Christie, Kittie Cooper and Noel Lobley.

Ubuhlanti is a Xhosa gathering space. It is part of a ceremonial and philosophical system designed to bring families and communities together to share, communicate and resolve the issues and problems of the day and the ages.

Including video projection, images, sound art and other newly commissioned art works, this pop-up exhibition is offered as part of the continuing relationship between The Black Power Station in Makhanda (formerly Grahamstown) in the Eastern Cape of South Africa and the University of Virginia. It is designed to create a space of solution-orientated dialogue in which new audiences can listen to landscapes, histories and communities.

All events are supported by the Office of the Vice Provost of the Arts.

‘天堂的骚动 (Divine Chaos)’ is a surreal, modern reimagining of Chinese mythology presented through animation, sculpture, and painting. Through a blend of traditional and contemporary mediums, this exhibition explores the fleshy creatures and otherworldly goddesses that intermingle in a divine chaos. The 3D-animated creature installation on outdated TV screens and monitors mimics retro visuals like camcorder footage and desktop backgrounds. Ceramic sculptures of cats and female figures act as lamps and planters, merging the mythical with the functional in playful, everyday forms. 

 The exhibition invites viewers into a world where beauty is found in the unpredictable, where the boundaries between creation and destruction are blurred. By reinterpreting these legends in a format accessible to today’s audience, Zhao and Zheng highlight the timeless relevance of Chinese myths and encouraging viewers to connect with their cultural roots in a fun, enlightening way.

Mindy Zheng is a fourth year Studio Art and Computer Science major at the University of Virginia concentrating in Painting. Her work has has been included in Up Next: SECAC 2023 Student Exhibition, Richmond, VA, 2023; McGuffey Art Exhibition, Charlottesvile, VA, 2023 and 2024; and Emerging Visions Student Art Exhibition, Reston, VA, 2020. 

 Judy Zhao is a fourth year Studio Art major at the University of Virginia concentrating in New Media. Their work has has been included in Sehsüchte International Student Film Festival, Potsdam, DE, 2024; Asifa-East Animation Festival, Queens, NY, 2024; Up Next: SECAC 2023 Student Exhibition, Richmond, VA, 2023; and McGuffey Art Exhibition, Charlottesvile, VA, 2024. 

Please join the UVA Department of Art for two public programs featuring Los Angeles-based artist, activist and educator Sandra de la Loza. De la Loza is the Fall 2024 Ruffin Distinguished Visiting Artist. Along with presenting a public workshop and artist talk, she will be in Charlottesville conducting research for a future exhibition.

How can we creatively, critically, and consciously deepen and transform our relationship with the lands we live on? How can art move between the personal and the collective, the social and ecological, and beyond the gallery to create possibilities of embodied joy and transformation? Join Los Angeles based artist Sandra de la Loza  as she shares reflections, strategies and revelations from her unfolding trans-disciplinary artistic practice. 

About the artist:

Sandra de la Loza is a Los Angeles artist whose artistic practice investigates underlying power dynamics embedded in social space while exposing the gaps, absences and the in-between spaces within dominant historical narratives through performative, social and aesthetic strategies that result in multi-media installations, video, photography, and public interventions.

In dialogue: Veronica Jackson and Andrea Douglas

Alumnae artist Veronica Jackson (BS Arch '85) and Andrea Douglas, Executive Director of the Jefferson School African American Heritage Center, come together to discuss visual culture's role in shaping Black identity. The conversation will highlight Jackson's installation BLACKTIVISTS featured in the Campbell East Wing Gallery (Nov 5–25), and Swords Into Plowshares, an innovative project spearheaded by the Jefferson School to melt down Charlottesville's former bronze statue of Robert E. Lee and transform it into a new work of public art.

Exhibition: Nov 5 - Nov 25
Campbell East Wing Gallery

Co-presented by the Dean's Forum on Equity & Inclusion and UVA's Center for Cultural Landscapes, with support from the Mellon Foundation and the Sara Shallenberger Brown Endowment. 

Academy Award-winning director Paul Wagner trains his lens onto one of the most influential American artists of the 20th-century. Prior to achieving her fame, Georgia O’Keeffe spent every summer from 1912-1916 taking art classes at the University of Virginia, where she rekindled her joy and desire to pursue painting, which she had considered giving up altogether.

Spiritually replenished, “The Mother of Modernism” headed for New York, upending the 1920s art scene with groundbreaking paintings of flowers, bones, and the splendor of the natural world. Denying her work depicted sexual imagery, she also posed nude for controversial photographs taken by Alfred Stieglitz. In the 1970s, isolated in the New Mexico desert, O’Keeffe emerged as a second-wave feminist icon.

Weaving together a fascinating and complicated story of an artistic life lived to the fullest, this essential biography features narration by Hugh Dancy and Claire Danes, and music by Emilie Levienaise-Farrouch (All of Us Strangers, Living).

Discussion with director/producer Paul Wagner (VAFF Governor Gerald L. Baliles Founder’s Award), and film subjects and O’Keeffe experts Roxana Barry Robinson and Elizabeth Turner. Moderated by Karen E. Milbourne (UVA).

Presented by Robin D. Baliles. Supported by The Fralin Museum of Art at UVA.

This film is part of the Virginia Filmmaking Series presented by Virginia Film Office.

POST-SCREENING RECEPTION
After the screening and panel discussion, join the filmmakers at The Fralin Museum of Art at UVA for a special reception hosted by the new J. Sanford Family Director, Karen E. Milbourne. Drinks and light bites will be served—all are welcome.

Come one!! Come all!

Pizza party and information session for ALL archaeologists at UVA 

on OCTOBER 29th at 6:30 pm in Fayerweather Hall Lounge.

We look forward to seeing you and please feel free to bring a friend!

In conjunction with UVA Arts, the UVA Library’s Art in Library Spaces Committee is accepting proposals for art to be displayed in the Shannon Library’s second-floor gallery. The Art in Library Spaces program is committed to upholding the Library’s values through creating inclusive artistic spaces that strengthen a sense of belonging for all individuals at the University of Virginia and the Charlottesville community. 

Submission Deadline: Submissions should be sent to Emma Terry by end of day, October 28. The artist(s) will be notified by Tuesday, November 5. 

Project Deadline:  The selected piece must be completed and ready to be installed by January 2, 2025.

For questions or more information, please reach out to Emma Terry, Programs & Communication Director for UVA Arts. 

Amy Chan's 'Double Happiness' in the Shannon Library

Representatives from more than 50 majors, minors, and programs will be on hand!

No registration is necessary. Visit Hoos Involved to add this event to your calendar (Please stay tuned for more information)!

Additional details, including a map and list of departments attending will be posted prior to the event. Our office will start contacting all the departments this May; if you have any questions, please feel free to contact Junjun Yu, the Georges Student Center Coordinator, at my2hg.

This exhibition celebrates the mission and history of UVA’s ArtLab Residency at Mountain Lake Biological Station. Begun in 2013, ArtLab brings together artists with scientists to observe, explore, and investigate the natural world. Each artist in the exhibition is a past participant of the residency, and each artwork reflects in its own way the type of exploration and research that ArtLab fosters. 

The artworks curated here communicate the profoundly positive impact of interdisciplinary interaction. Tapping into the principles of observation, they focus on the natural world and our relation to it, and call attention to the artist’s central role as observer. This has the collective result of blurring the fictitious line between observer and the observed, and of highlighting the human ability to step out of and interpret the workings of our planet. 

Exhibition dates: October 21-December 6, 2024

Panel Discussion: Friday, November 8, 4-5pm
Opening Reception: Friday, November 8, 5-7pm

Join Virginia Center for the Book for the launch of “MORNINGSIDE” with author Aran Shetterly, in conversation with Dr. Andrea Douglas, Executive Director of the Jefferson School African American Heritage Center. The event will include a 45 minute discussion with 15 minutes dedicated to audience questions. Book sales and book signings will take place immediately following the event.

“MORNINGSIDE” hones in on the long civil rights journey of Reverend Nelson Johnson and his wife Joyce Johnson, exploring their relentless fight for justice and community building in Greensboro. The book also highlights the city’s pioneering Truth and Reconciliation Commission in the early 2000s, modeled on the South African process, which has since inspired communities across the country.

As the 45th anniversary of the Greensboro Massacre approaches on November 3, 2024, “MORNINGSIDE” resonates with people everywhere in the US where painful, unresolved histories of race and class conflict, police corruption, and interactions with a biased legal system keep communities from more unified, secure futures. Despite the recent surge in racist violence, the Johnsons’ tireless fight for justice offers hope and a reminder of America’s promised ideals.

Dr. Andrea Douglas, holds an M.A. and Ph.D. in art history from the University of Virginia and an M.B.A. in arts management and finance from Binghamton University, NY. Douglas has taught graduate and undergraduate classes in African American, contemporary, and art theory, and has published exhibition catalogues and scholarly articles. From 2004 – 2010 she was Curator of Collections and Exhibitions and Curator of Contemporary Art at the University of Virginia Art Museum.

Endurance, grief, and collective power drive The Exact Right Amount of Force, a performance finale that runs from 7:10 – 7:40 pm on Friday, Oct. 4 in Ruffin Gallery.

This performance marks the closing of the exhibition The Threat, The, by the Institute for Improvisational Infrastructures (Conrad Cheung, Assistant Professor of Art). Just as the exhibition seeks to rewrite the possibilities of defensive and repressive architectures, this performance seeks to imagine new afterlives for the apparatus of state violence.

Following Audre Lorde's warning that "the master's tools will never dismantle the master's house," this performance seeks to queer and reconfigure those tools left behind by empire’s abandoned projects. Performers' bodies discover how a riot helmet might become an object of play, a fascist’s bunker might be coopted as a musical instrument, or a serpentine wall designed to conceal and restrain enslaved laborers might be transformed into an agent of respite.

This performance features Strings Applewood, Rachel Austin, Ben Cunningham, Piera Goldstein-Yerkes, Alma Rayen, and Jess Robbins, with a live score by Sugarlift (Adrian Wood).

Visual manipulation has been common in war photography, but in the digital age, correcting and colorizing vintage images has become pervasive. Projects like Random Acts of Photo Restoration on Facebook and Vintage Vietnam on Instagram use crowdsourcing to leverage the affordances of AI software to restore and colorize personal photographs, including those from the "Wall of Faces," a virtual memorial supported by the Vietnam Veterans Memorial Fund. In Vietnam, Project Team Lee is an initiative that deploys volunteers to digitize, colorize, and reunite portraits of martyrs with the revolutionary mothers who have long mourned sons sacrificed for the anticolonial cause. What drives this fascination with photographic restoration? How do practices such as colorization, influence the revolutionary spirit and elicit patriotism among the postwar generation in Vietnam and the U.S.?

This presentation examines the U.S.-based Wall of Faces project and contrasts it with the initiatives of Project Team Lee, situating their respective visual practices within a broader visual history of the Vietnam War. Specifically, I contrast the use of colored photographs in Vietnam Pictorial from the 1950s to the 1970s, which aimed to envision future socialist ideals, with today’s digital colorization, exploring how it seeks to revive revolutionary ideals in the context of late socialist capitalism. For those without direct war experience, vintage photographs offer a way to access memory, not just through displaying images but also through restoration and colorization, creating a poignant visual reunion as eyewitnesses age. However, these practices are controversial, especially in an era of deep fakes, raising concerns about the authenticity of heritage objects and history. I argue that an aesthetics of embellishment projects fantasies of the past to suit present needs as the U.S. and Vietnam grapple with the legacies of the war.

Details forthcoming

The rapid advancements in artificial intelligence (AI) and deep learning techniques have led to the creation of increasingly sophisticated visual misinformation, posing a multifaceted challenge for individuals, organizations, and democratic societies. The potential consequences of AI-generated visual content and propaganda, including the erosion of public trust in information and institutions, call for an urgent and collaborative response from industry, policy, and academic experts. 

In this panel discussion, Renée DiResta, Santiago Lyon, and Samuel Woolley discuss the challenges and opportunities of visual generative AI and examine potential solutions for addressing the complex ethical, policy, and technical issues that lie at the heart of this rapidly evolving technology. The conversation is moderated by UVA professor Mona Kasra. Registration is required.

Image courtesy of the artist

New City Arts presents fallow, the 2024 New City Arts Fellowship exhibition featuring work by Brielle DuFlon, Eboni Bugg, Elena Yu, and M. Pittman.

The 2024 New City Arts Fellowship invited a select group of artists to make work responding to the annual theme, fallow, written by Fellowship Guest Curator, MaKshya Tolbert. Following an open call and competitive application process, this year’s Artist Fellows were selected by a community panel.

During month-long Fellowships that included a studio space grant—located at The Underground (The Bridge Progressive Arts Initiative)—and a stipend, these four artists considered their “fallow places”.“Take us” MaKshya invited artists, “to your fallow place—that geographical, ecological, diasporic, and/or interior site where land, life, or living as you know it has folded, fallen apart, gone barren, turned over. This open residency call emerges from worn earth, the aftermath of tobacco and wheat, and the wake of plantation life across and beyond Central Virginia. What happens if we meet at our wounds? What do we make, when repair is our imperative?” (Read the full theme here.)

The Emerging Scholars Working Group of the Association of Historians of Nineteenth-Century Art, in association with the Historians of Eighteenth-Century Art and Architecture, is pleased to host a workshop on applying to doctoral programs in the history of art in the United States. A panel of art history graduate faculty will discuss the elements of a strong application, share tips, and offer their perspectives on the process. A Q&A will follow the panel discussion. This virtual event is open to everyone, regardless of field of study. This event is organized in association with HECAA. Neither AHNCA nor HECAA membership is required. 

UVA Art and Architectural History Alumna Jennifer Van Horn holds a joint appointment as associate professor in Art History and History at the University of Delaware. She is the author of The Power of Objects in Eighteenth-Century British America (2017) and Portraits of Resistance: Activating Art during Slavery (2022). She co-edited a special double issue of Winterthur Portfolio entitled “Enslavement and Its Legacies” and is now co-editing the collected volume The Disabled Gaze: Multi-Sensory Perspectives of Art, Bodies & Objects. She serves as the president of HECAA (Historians of Eighteenth-Century Art and Architecture).

Les Yeux du Monde proudly presents the fifth installment of an exhibition series orchestrated to honor the memory and scholarship of acclaimed Picasso scholar, beloved former professor of Modern Art at the University of Virginia, and sublime painter, Lydia Csato Gasman.

The exhibition features work by both Lydia Gasman and Pablo Picasso, the artist at the center of her scholarship, along with eight other contemporary artists whose work or thinking they inspired: William Bennett, Anne Chesnut, Dean Dass, Rosemarie Fiore, Sanda Iliescu, Megan Marlatt, David Summers, and Russ Warren. A portion of the proceeds from this show will benefit the Lydia Csato Gasman Archives for Picasso and Modernist Studies, the non-profit organization that LYDM Founder Lyn Bolen Warren and Art Historian Victoria Beck Newman co-founded to preserve and disseminate Gasman’s scholarship.

SAVE-THE-DATE

UVA Arts Welcome Picnic
Sunday, September 8, 2024 • 6:00-8:00pm
Betsy and John Casteen Arts Grounds
Open to all UVA Faculty, Staff & Students

UVA Arts invites all UVA faculty, staff, & students to the Betsy and John Casteen Arts Grounds for a FREE picnic from 6:00 to 8:00pm with performances, information tables, and food and drinks!! Come learn about curricular, extra-curricular, programmatic, and volunteer opportunities from the Visual & Performing Arts & Architecture departments, programs, and community.

Participating Departments & Programs:  Architectural History, Architecture, Art History, Arts Administration, Arts Libraries, Creative Writing, Dance, Drama, The Fralin Museum of Art, Kluge-Ruhe Aboriginal Art Collection, Landscape Architecture, Miller Arts Scholars, Music, Studio Art, University Career Center, Urban & Environmental Planning, UVA Acts, UVA Arts, UVA Arts Box Office, Virginia Film Festival, WTJU 91.1FM, & WXTJ Radio

Musical Performances all evening! Stay Tuned for the FULL Line-up!! 

Visible Man, or The Culture of Film (1924), by the Hungarian writer and critic Béla Balázs (1884-1949), was published exactly a century ago in German. The book is a landmark text not just for early film theory, but for twentieth-century media theory and aesthetic thought, whose reflections on the body, gesture, close-ups, faces, spectatorship, and more influenced generations of subsequent writers working in Europe and beyond. This workshop convenes an international roster of scholars to assess the legacy and ongoing significance of this groundbreaking work.

Collectively, we will draw on contemporary critical approaches–including queer studies, disability studies, the study of race and ethnicity, media history, media anthropology, and the study of material culture–to examine both the limits and potentials of Balázs’s theory of film, with an eye toward reorienting and reanimating key concepts. Through such varied engagements, we aim to better understand his significance as a critic responding to huge technological and cultural upheavals, and leverage this understanding to think about our own situation in the present.

Each session will discuss pre-circulated work-in-progress authored by the panelists. If you would like to attend a session, please email Paul Dobryden (pad9q@virginia.edu) to receive the pre-circulated texts, along with some relevant excerpts of Visible Man.

Join us at the Kluge-Ruhe for a reception on Thursday September 5th from 5-7pm to welcome Kluge-Ruhe’s 2024-25 First Nations Curatorial Fellow Katina Davidson!

Celebrate the opening of our newest exhibition Our Unbroken Line: The Griffiths Family

Light refreshments will be provided.

Katina Davidson is joining us for the 2024-25 academic year. Davidson (Kullilli/Yuggera) is Curator of Indigenous Australian Art at Queensland Art Gallery | Gallery of Modern Art in Brisbane. During her residency, Davidson will be fully integrated into the life of Kluge-Ruhe and the University of Virginia. She will curate an exhibition for the museum’s main galleries that focuses on paintings by Spinifex People from Tjuntjuntjara, Western Australia, produced between 2001-2021. Davidson’s residency is supported by Creative Australia.

Davidson said, “I am very excited and humbled to be able to live and work on the lands of the Monacan Nation while developing an exhibition of artworks by the Tjuntjuntara community. I truly look forward to this two-way learning opportunity where I have the privilege of being immersed in the Kluge-Ruhe collection, while advocating for an exchange of knowledge between our two continents, particularly our diverse First Nations communities.”

Read the full press release announcing Katina Davidson’s residency HERE.

Image: Jan Griffiths, History Beneath the Beauty, 57 x 76 cm, natural ochre and pigments on paper.

Cynefin is a Welsh word that does not have an exact equivalent in the English language. Often translated as habitat, the word has a deeper, more nuanced meaning that describes a place of existential belonging; a synchronicity between peoples and their relationship to habitat and cultural history.

This word names an inaugural group exhibition and opening of a new gallery and residency program in Athens, Greece. It marks the expansion of the Freeman Artist Residency program, founded by Welsh visual artist Neal Rock, in Charlottesville, Virginia (2020). Its mission is to provide creative opportunities to artists from traditionally underrepresented backgrounds, in memory of the Welsh artist and educator Michael Freeman, whose work is included in the exhibition. Freeman taught outside of formal educational institutions in the provision of adult education classes to working class communities in South Wales, from the 1970s through to the first decade of this century. This exhibition celebrates Freeman's passion and dedication by bringing together artists that curator Neal Rock has forged friendships and dialogues with over the past two decades, including current Freeman Artist Residents in the USA, Vibha Vijay and Virginia Gibson. The artists in this exhibition have led peripatetic lives in their pursuit of cynefin. Having often left their countries and communities of birth, many have created a foundation for a sense of belonging that crosses national, ideological and political borders and boundaries.

Maria Georgoula. Untitled. 2020. Rubber mats, cement cast. Dimensions variable.

The Freeman Artist Residency (FAR) is now accepting applications for 2023-24. Founded by Neal Rock, UVa Assistant Professor of Painting. The Freeman Artist Residency (FAR) is named after Welsh painter and educator Michael Freeman, who mentored Rock during his formative years in South Wales. FAR honors Freeman’s life-long dedication to educational equity and inclusion by giving the gift of time, space and mentorship to artists at a formative stage of their careers. FAR gives priority to BIPOC, LGBTQ+ candidates and first-generation college graduates.

Fellowship Dates and Responsibilities

September 1st 2024 – August 25th 2025. The residency concludes with a public two-person FAR Exhibition, date TBA. Fellows are responsible for all art materials, installation, de-installation and promotion of exhibition.

Michael Freeman. Shipwreck & Cloud. 1985. Woodcut on paper

Every Fall, the VAFF showcases new narrative and documentary features, independent and international projects, and local filmmakers from throughout Virginia. Each year, VAFF brings in a robust selection of guests, from internationally acclaimed directors and actors to craft talent and leading cultural experts, who power discussions that stimulate, educate, and engage. Today, the VAFF stands as one of Virginia’s most important cultural landmarks and one of the most respected regional destination film festivals in the United States.

We are looking forward to celebrating 37 years of the Virginia Film Festival October 30-November 3 in Charlottesville, VA!

Early Bird Deadline - May 15
Regular Deadline - Jul 9

First Friday Opening Reception

June 7 from 5-7:30PM; Artist talk at 6PM.
Free and open to the public. All ages welcome.

About the Exhibition (courtesy of the artist)

above [collecting] below [detecting] above is a multimedia installation that critically engages with surveillance, data collection, ocean mapping, artificial intelligence, and climate change. 

August 28, 2021 - June 1, 2024

Fralin Museum of Art

Admission is always FREE

This dynamic selection of 20th- and 21st-century artworks from the Museum’s permanent collection explores the ways that art can speak to or question the formal, physical, environmental, social, and institutional structures of our world. Here you will encounter the work of Robert Reed, whose abstract paintings and collages contain coded references to his life and memories. The depopulated architectural paintings of Emilio Sánchez invite us to contemplate our built environment. DJ and visual artist Rozeal addresses racism and the complexities of cultural appropriation and globalization in our current times. Alberto Rey encourages viewers to consider their own ecological surroundings from which we are often disconnected. These connections to regional resources and materials are also seen in the work of Maria and Julian Martinez, who innovated upon ancient forms of pottery in ways that still inspire Pueblo artists. Oftentimes, multiple structures are present in the same artwork, providing pathways and opportunities for interpretation and inquiry. From paintings to collages, from pottery to jewelry, the artworks in this exhibition inspire conversations about how our world is structured. This exhibition is curated by Laura Minton, Curator of Exhibitions; Adriana Greci Green,Curator of Indigenous Arts of the Americas; Emily Lazaro, Docent Coordinator; and Rebekah Boggs, former Tour Coordinator and Education Assistant.

Emilio Sanchez, American, born Cuba, 1921–1999. Untitled (Looking West from My Studio), ca. 1985. Oil on canvas, 14 x 14 inches. Gift of the Emilio Sanchez Foundation, 2011.3.2. © Emilio Sanchez Foundation

The American Academy in Rome will host a seminar and concert honoring the life and work of the archaeologist Malcolm (“Mac”) Bell III, who died in January of this year. A 1970 Rome Prize Fellow, a 1989 Resident, and Professor-in-Charge of the School of Classical Studies from 1990 to 1996, Bell made extensive contributions to the Academy and beyond. Papers presented today will celebrate the range of his impact: from his time as humanities professor at AAR, to his longtime direction of the excavations of Morgantina on Sicily, to his historic work repatriating looted artifacts and negotiating a bilateral agreement between Italy and the United States aimed at curtailing illegal trade in Italian antiquities.

A cello concert by Malcolm Bell’s son, Raphael Bell, will follow the seminar. Raphael Bell is the leader of the cello section at the Antwerp Symphony Orchestra, co–artistic director of La Loingtaine in Montigny-sur-Loing, cofounder of the Camerata Fontainebleau, and founder and co–artistic director of the Charlottesville Chamber Music Festival in his Virginia hometown.

We invite UVA students from any school to participate in this year's RGW Prize call for submissions.  Accepted submissions include, but are not limited to, writing, design, poetry, painting, legal/business briefs, scholarly/research essays, reports, music, film and photography.  Submissions should be a study of building, landscape and/or place. 

The prize is a tribute to Professor Emeritus Richard Guy Wilson, who for 40 years, had a major impact on countless students through his knowledge, teaching, mentorship - and wit - and his remarkable contributions to the Department of Architectural History at UVA. 

Submission criteria, details and instructions (along with FAQs) can be found at the link below.  Submissions are received through online upload (also accessible through the link below). 

The Art Department graduation ceremony will be held at 11:30am on Saturday, May 18, 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. 
 
Students, don't forget to RVSP to the department ceremony and get tickets for your guests (contact Emily Chen or Emily Daniel).

Lifelong learning program in Santa Fe, NM May 11-15, 2024

Join the University of Virginia’s Lifetime Learning program May 11-15, 2024, as we host distinguished Professors Elizabeth Turner, Art History, and Stephen B. Cushman, Department of English, on an inspiring learning experience of Georgia O’Keeffe in New Mexico. Delve into O’Keeffe’s creative process and see how the many facets of New Mexico impacted her life and her artistic work. 

This 4-day seminar will take place in beautiful Santa Fe, the City of Enchantment—a city unique in the nation for its combination of a long and fascinating history, a layered culture from ancient to modern, and a culinary cornucopia of indigenous food styles. On day trips to Taos and O’Keeffe’s home and studio in Abiquiu, experience the curvaceous adobe-style architecture and undulating landforms that create the chiaroscuro light and shadow so adored by O’Keeffe. 

You will enjoy private visits to noteworthy O’Keeffe sites, delectable New Mexican cuisine, and lectures by our esteemed faculty, who will provide the intellectual and historical framework for understanding the complexity of O’Keeffe’s sense of place and artistic genius. 

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. 

The Department's Distinguished Majors Program (DMP) is an opportunity for qualified undergraduates to undertake substantial, independent research projects while working closely with department faculty. Participants are prepared for advanced independent research and analysis by a required seminar in art historical theory, methods, and historiography. The program culminates in the submission of a DMP capstone project, a significant piece of original research, such as a text with a length of about fifty pages, a digital humanities project, an exhibition project, etc.. Students who successfully complete the program receive departmental honors, with a degree of Distinction, High Distinction, or Highest Distinction in art history.

Students who wish to apply for the Department's Distinguished Major Program should complete the application form and use the requirement guidelines for the submission of supporting materials. Complete applications should be emailed to the DMP Director, Giulia Paoletti

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.

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

The Role of Mud in the Darien Rainforest

Rolando Vargas, a Rising scholar at the Art Department and Global Studies program, shares how researching mud is an example of the intersection between artist practices and media theory. He will also discuss research topics connecting Global Studies, Art History, and Studio Art practice.

Rolando Vargas is a media artist and scholar working with installation and digital media. He has a BFA in Fine arts from Universidad de los Andes, Colombia, received a Fulbright grant for his MFA in Intermedia and Digital Arts at the University of Maryland, and has a Ph.D. in Film and Digital media from the University of California, Santa Cruz. Rolando’s research «Kuna Indigenous Media and Knowledge in the Darién Tropical Rain Forest» focused on the politics of traversal and terrain, mapping and survival, and the geographies of collective labor and will as modes of indigenous resistance. Rolando has presented his work at Transmediale, the Kassel Documentary Film Festival, SESC Videobrasil, Rencontres Internationales Paris/Berlin, Kunstverein Düsseldof, EMAF, Ficvaldivia, and other international venues. In 2022, he received a Processing Foundation Fellow for promoting the use by Kuna children of P5.js language while reflecting on digital workflows and appropriating digital methods in their terms and world conceptions. You can read more about his latest project in Darién here. 

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.

Join us for an Artist Talk with Lisa Waup, who will be in residence at Kluge-Ruhe March 8- April 7, and whose exhibition close to the wind is currently on view in the Focus Gallery.

Lisa Waup is a mixed-cultural First Nations artist and curator who was born in Narrm (Melbourne). Her multidisciplinary practice encompasses a diverse range of media, including weaving, printmaking, photography, sculpture, fashion, and digital art. With a deep connection to the symbolic power of materials, her work reflects her personal experiences, family history, Country, and broader historical narratives.

Through her practice, Waup weaves together threads of lost history, ancestral relationships, motherhood, and the passage of time, which culminates in contemporary expressions that speak to her past, present, and future. Waup holds a Master of Contemporary Art from the University Melbourne and her work is held in both public and private collections in Australia and internationally. Currently, Waup is a lecturer in the Drawing and Printmaking Department at the Victorian College of the Arts and the University of Melbourne.

close to the wind is curated by Hannah Presley and is on view until June 30, 2024.

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!
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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!
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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 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. All applicants will be notified of decisions by April 10th.  

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 March 22nd, 2024 at 5PM  - https://forms.office.com/r/t35LNawbAF

Changing Social Relationships Between Plantation Owners and Their Laborers in the 17th-Century Chesapeake: Evidence from Tobacco Pipe Assemblages from 44PG92, Flowerdew Hundred

Beth Bollwerk and Fraser Neiman
Department of Archaeology, Monticello

Abstract: Enslaved Africans, indentured servants, and land-owning family members lived and worked together in close proximity at 44PG92, a mid- to late 17th-century occupation at Virginia’s Flowerdew Hundred. The artifact assemblages, carefully excavated by Dr. Ann Markell and cataloged into the Digital Archaeological Archive of Comparative Slavery (DAACS), contain a wide variety of domestic refuse, including thousands of imported and locally made tobacco pipes. Using detailed contextual and artifact data, we track how these pipes were used across the site and what these patterns can tell us about who used them. We begin by developing a fine-grained, seriation-based chronology, which allows us to measure synchronic spatial patterning and change over time in multiple dimensions of variation among pipe assemblages. We discuss how the results clarify the extent to which locally made pipes were predominantly used by enslaved and indentured laborers or by landowners. 

Please join us for this presentation and Q&A. Light refreshments provided! The Brown Bag is sponsored by the Interdisciplinary Archaeology Program.

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.

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.

EscapeRoom, Curated by Kim Bobier and Marisa Williamson

February 23 - March 29, 2024

Press Release

Panel Discussion: Friday, February 23, 3 - 4:30 pm
Opening Reception: Friday, February 23, 5 - 7 pm 

University of Virginia (UVA) is a site of reckoning. The legacies of slavery and white supremacy reverberate throughout its built environment. EscapeRoom confronts frameworks of injustice that contemporary audiences inhabit and inherit in relation to this UNESCO World Heritage Site. Its title evokes “edutainment” formats, such as museum period rooms and escape room games, which immerse visitors in scenes of the past. Yet, rather than reproducing one historical container or master narrative, EscapeRoom charts critical routes through a maze of predatory systems. It showcases recent works by artists who operate across temporalities, geographies, and disciplines to hack the master’s tools and harness radical alternatives.

CURATORS
Marisa Williamson, Assistant Professor of Studio Art at University of Virginia with a research focus on Blackness and Kim Bobier, Adjunct Assistant Professor at Pratt Institute’s Department of History of Art and Design 

ARTISTS
Chotsani Elaine Dean | Sue Jeong Ka | Alma Molina Carvajal | Yanique Norman | Amina Ross | Mauricio Vargas | Carrie Mae Weems | Lauren Williams | The Unsettling Grounds Artist Collective | UVA’s Fall 2023 Introduction to New Media students

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

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.

This workshop is now SOLD OUT. Email us at info@secondstreetgallery.org to be added to the waitlist.

Charlottesville Indigenous Art Takeover 2024

Join us at Second Street Gallery on Saturday, February 3, from 10 to 11:30AM for a hands-on workshop and artist demonstration that explores the materiality of bark painting from Yirrkala. Drawn from techniques used for thousands of years and materials sustainably harvested from the string bark forests of north east Arnhem Land in Australia, this workshop will allow attendees an opportunity to delve into the process of ochre painting on eucalyptus bark.

Visiting Yolngu artists will demonstrate how they make natural brushes of human hair and grind ochres to create natural pigments. Participants will gain perspective on this unique approach to painting that’s been passed on through generations of leading artists. We will also learn about the importance of these contemporary artists becoming custodians of the patterns and designs displayed in works on view in both the exhibition at Second Street Gallery and Maḏayin, currently on view at the The Fralin Museum of Art at the University of Virginia.

RSVP required for this rare opportunity; availablity is limited. Secure your spot HERE.

First Nation Australia: Contemporary Artists from Buku-Larrŋgay Mulka Centre, Yirrkala is organized by 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.

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

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.

Celebrate the opening of Madayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala during a First Friday Reception at The Fralin Museum of Art. Be sure to arrive at 5 pm to meet the Yolngu delegation and experience a performance of manikay (sacred song accompanied by clap sticks and yidaki).

Image: Yolŋu ceremonial performance at American University Museum, March 2023.

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: Adriana Greci Green, she/her, Curator of Indigenous Arts of the Americas

In the 1850s many artists from Boston, New York, and other eastern cities were establishing their reputations by painting landscapes of the White Mountains of New Hampshire. Dedicated to capturing the natural beauty of Mount Washington and other regional high peaks, they rendered sweeping views of these rock formations from scenic vantage points such as the Intervale, or bottomlands, of North Conway and Lake Winnipesaukee. The rise of an American middle class with disposable income and the development of railroad travel during this period helped the region become a destination for artists and tourists who enjoyed the scenic charms of the White Mountains. 

Though depicted as idyllic landscapes, the White Mountain terrain lays at the heart of N’Dakinna, the traditional ancestral homeland of the Abenaki (People of the Dawn Land). Since the 1600s Dutch, French, and English colonizers had violently contended Abenaki homelands. After the Revolution, Americans illegally claimed these territories through farming and logging. Although Abenaki families were displaced from seasonal subsistence routes and gathering places, they adapted to the new, touristic economy.  Across the generations and still today, Abenaki people continue to call N’Dakinna their Homeland. 

Curated by Laura Minton, she/her, former Curator of Exhibitions and Matthew McLendon, he/him, former J. Sanford Miller Family Director

Pour, drip, splash, stain, spray, soak, splatter—these words are often used to describe abstract artists’ experimental application of paint. The creative process of many abstract painters is highly visible in their finished artworks. Vigorous brushstrokes, saturated canvases, and atmospheric surfaces all demonstrate the expansive use of the medium. For over 100 years, abstraction has reigned as a major expressive form in painting with continuously changing techniques and styles. Abstract paintings are frequently interpreted according to their visual components, but their socio-political contexts are also vital for understanding.

This exhibition features large-scale abstract paintings from the museum’s collection spanning the mid-1950s to the late 2000s by Gene Davis, Sam Francis, Sam Gilliam, Sheila Isham, Suzanne McClelland, Joan Mitchell, Larry Poons, and Hedda Sterne. While not unified through a particular artistic movement or chronology, each artwork demonstrates the vast potential of paint.

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).

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.”  

Please join us for a mid-year 4th year exhibition! Maddy Veloce is showing Dec 1-8 in Ruffin 103-B. Her opening reception is this Friday, Dec 1, 5-7pm.Come check it out!

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. 

"Video Games and the Pornography of Death* Amanda D. Phillips, Georgetown University Presented by Games Lab
11/16, Wilson 142, 4-6 pm.
Reception to follow.

Gamers have been troublemakers as long as games have existed. As our popular understanding of “gamer” shifts beyond its historical construction as a white, straight, adolescent, cisgender male, the troubles that emerge both confirm and challenge our understanding of identity politics. In Gamer Trouble, Amanda Phillips excavates the turbulent relationships between surface and depth in contemporary gaming culture, taking readers under the hood of the mechanisms of video games in order to understand the ways that difference gets baked into its technological, ludic, ideological, and social systems.

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.

Corey Sattes, Curator of Archaeological Collections, Monticello

“Colonoware” is a form of hand-built earthenware pottery made by enslaved Africans and Native Americans between the 17th and 19th centuries. This type of pottery served as daily cooking, storage, and serving vessels for most enslaved people living in colonial-period settlements and plantations in early America. The distinctively “plain” appearance of this pottery is intriguing, as it is quite unlike the vibrantly decorated pottery made by contemporaneous societies in Africa and Native American groups. Sattes will discuss the study of colonoware in Charleston, SC and how current research explores its production and relationship to emerging colonial identities.  

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.

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.

Please join us for an exhibition of ArtLab 2023 students showing work made at and inspired by their Mountain Lake Biological Station Summer ArtLab Residency!

Let's Go Back, Let's Go Back

Opening Friday Nov. 3, 5-7pm | Ruffin Hall, 1st Floor

Meg Kosefeski
Heeran Karim
Hadley Hoffman
Jolinna Li
Autumn Jefferson

Show runs Nov. 3 - Dec. 1

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.

BOOK TALK WITH AUTHOR LAURA J. MARTIN, MODERATED BY BRADLEY CANTRELL + ELIZABETH MEYER

FOLLOWED BY A BOOK-SIGNING + RECEPTION

Restorationists grapple with the deepest puzzles of human care for life on earth: How to intervene in nature for nature’s own sake? What are the natural baselines that humans should aim to restore? Is it possible to design nature without destroying wildness? Laura J. Martin shows how amateur and professional ecologists, interest groups, and government agencies coalesced around a mode of environmental management that sought to respect the world-making, and even the decision-making, of other species. At the same time, restoration science reshaped material environments in ways that transformed what we understand the wild to be. 

In Wild by Design, restoration’s past provides vital knowledge for climate change policy. But Martin also offers something more―a meditation on what it means to be wild and a call for ecological restoration that is socially just.

Wild by Design is the recipient of a 2023 John Brinckerhoff Jackson Book Prize, presented by the UVA Center for Cultural Landscapes' Landscape Studies Initiative for its significant contributions to landscape studies.

Yota Batsaki is the executive director of Dumbarton Oaks, a Harvard University research center, museum, and historic garden in Washington, DC, where she also directs the Plant Humanities Initiative. Her current research interests focus on the cultural histories of plants, and art in the Anthropocene.

This event is co-sponsored by the UVA Scholars’ Lab.

Lunch to follow

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. 

Yota Batsaki is the executive director of Dumbarton Oaks, a Harvard University research center, museum, and historic garden in Washington, DC, where she also directs the Plant Humanities Initiative. Her current research interests focus on the cultural histories of plants, and art in the Anthropocene.

This lecture is co-sponsored by the UVA Scholars’ Lab.

Reception to follow

Currents Program 4: Close Encounters (for If You Don’t Watch the Way You Move)

Q&A with Kevin Jerome Everson, Ross Meckfessel, and James Edmonds on Oct. 8 & 9

Featuring Richard Tuohy and Dianna Barrie’s Intersection, Maryam Tafakory’s Mast-Del, the U.S. premiere of James Edmonds’s Disappearances, the North American premiere of Kevin Jerome Everson’s If You Don’t Watch the Way You Move, the world premiere of Luke Fowler’s N’Importe Quoi (for Brunhild), and the world premiere of Ross Meckfessel’s Spark from a Falling Star.

Showtimes:

10/8, 12:00 PM Francesca Beale Theater
10/9, 3:00 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

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.

On Thursday, Professor Jennifer Biddle will be speaking to the fantastic exhibition PERFORMING COUNTRY which was curated by PhD students Emmy Monaghan and Brendan O’Donnell. 

This talk reflects on Kluge-Ruhe’s exhibition Performing Country with an emphasis on the vital work of embodied knowledge and survival in contemporary arts practices. Focusing on the Australian Central and Western Desert, this talk considers the importance of performance in the Lajamanu Warlpiri festival Milpirri, co-produced with Tracks Dance Company since 2005.

Jennifer L. Biddle is Gough Whitlam and Malcom Fraser Chair in Australian Studies (Harvard University) and Associate Dean Engagement and Impact, Faculty of Arts, Design & Architecture (University of New South Wales). She has worked with Warlpiri people in Lajamanu for three decades, and more recently, in transnational projects with First Nations and Indigenous artists, curators and designers on experimental new media research.

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

July 1, 2022 – June 23, 2023

Artist James Tylor highlights under-told and unseen histories of Aboriginal peoples. Knowing Australia has been known by many names to many peoples, Tylor takes an expansive approach to photographing the landscape by incorporating his Kaurna Miyurna knowledge into his practice using both old and new technologies. In Tylor’s hands, photography, once used to survey Aboriginal lands and peoples, becomes a way to indigenize landscapes.

From an Untouched Landscape is Tylor’s first solo exhibition in the United States and was curated by Marina Tyquiengco (Col ’11), the inaugural Ellyn McColgan Assistant Curator of Native American Art at the Museum of Fine Arts, Boston.

James Tylor is an Australian multi-disciplinary contemporary visual artist, whose practice explores Australian environment, culture and social history. He works in mixed media, including photography, video, painting, drawing, sculpture, installation, sound, scents and food. He was born in Victoria, spent his childhood in New South Wales, and then moved to the Kimberley region in his adolescent years. After training and working as a carpenter in Australia and Denmark, he completed a Bachelors of Visual Arts and a Masters in Visual Arts and Design, both in Photography, at the South Australian School of Art, as well as an Honors in Fine Arts in Photography at the Tasmanian School of Art. He has researched Indigenous and European colonial history with a focus on South Australia. He is an experienced writer, designer, curator, historian, researcher, art gallery installation and museum collection conservator. James currently works as a professional visual artist in Canberra.

"(Removed) From an Untouched Landscape 6," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

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 

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

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.

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

UVA Archaeology and UPC Present:

Raiders of the Lost Ark Movie Night

Dinner and refreshments will be served. Please come and BRING A FRIEND!!!!

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

"Trans Studies for Grim Times"

Toby Beauchamp, University of Illinois at Urbana-Champaign, author of Going Stealth: Transgender Politics and U.S. Surveillance Practice

6.30pm, DUE TO UNFORESEEN CIRCUMSTANCES, THIS LECTURE WILL ONLY BE PRESENTED VIA LIVESTREAM (with simultaneous Spanish interpretation)

Please follow the webinar registration link.

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

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

"Representing Ourselves into Existence: Tracing the History of Trans Filmmaking in the United States and Canada"

Laura Horak, Carleton University, author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema, 1908–1934

(hosted by the Department of Germanic Languages and Literatures)

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?

Trompe l’oeil, aporia, illusionism – art has many terms alluding to the ambiguities of representation. But paradox, the uncanny gesture self-consciously exploring contradictory propositions, is often less explicitly identified as a mode of intervention in the making, viewing, and research of material culture and architecture. The term paradox, combining the Greek prefix para (“contrary to”) and doxa (“opinion”) points to a statement, situation, or thing composed of opposing elements that appear incommensurate but are just as true or viable as accepted reality. The 2023 Graduate Symposium of the Department of Art at the University of Virginia seeks to explore paradox as praxis and a mode of critical intervention to consider its broader contribution within our fields.

Paradox entails a performative self-contradiction that simultaneously surprises and appeals to an audience’s understanding of its terms. Irrespective of tone, genre, or moment of intervention, paradox’s effectiveness hinges on the extent to which audiences are persuaded, surprised, or left speculating about meanings thought to be understood. Paradox plays with expectations and explores the limits of conventions, logic, and truth through subtle twists and turns of terms considered acceptable in isolation. Paradox, susceptible to the predictability and conventionality of any device, demands novel techniques and unexpected modes of enactment to sustain its tension between understanding and astonishment. For its turning on performance and skill, paradox is an apposite tool for interpreting the self-contradictory in making, interpreting, and experiencing art. 

Download the schedule HERE

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.

Metcalf Lecture

Frédérique Duyrat, Bibliothèque nationale de France

“Treasure troves. How to Study a Greek Coin Hoard”

Campbell 160, 5:30 PM

Coin hoards are deeply embedded in human imagination. They carry images of limitless wealth, gold and good fortune. For the historian, they bring important data on wealth but also on the communities that created these coins and used them. This lecture will focus on coin hoards in the Eastern part of the Greek world, from Greece to Iran, during the Classical and Hellenistic periods. The analysis of their spatial and temporal evolution, compared with written and archaeological sources tell a lot about centers of power, places and practices of commerce, historical occurrences, such as wars, which influence monetary production, and the habits of users.

Short bibliography and/or website on lecture topic (for lay reader):

Duyrat 2016 : Frédérique Duyrat, Wealth and Warfare. The Archaeology of Money in Ancient Syria, New York, 2016 (Numismatic studies no. 34).

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. 

Chris Motz, Visiting Assistant Professor of Classical Studies, University of Richmond 
"Connecting Ecology, Economy, and Craft in the Roman Fish-Salting Industry"

A migrant is perpetually unfinished.
Instead of a living embodiment of one’s place of origin,
a person is a work of art constantly in revision.[4]

Undocumented immigrants have the supernatural ability to live a life beyond linear time. For the individuals in the undoc+ spectrum, today is withstood with hope that tomorrow will be a return to yesterday. Leaving the comfort of home toward the unknown in the hope of a better future often means leaving our ancestors and children behind, forgetting our memories, constant policing by others, and invisibilizing fragments of self just to survive. As per Audre Lorde, in a society where good is defined in terms of profit rather than in terms of human need, there must always be some group of people who, through systematized oppression, can be made to feel surplus and occupy the place of the dehumanized inferior.[5] Across the globe the members of the undoc+ community are tasked to embody said surplus. In the words of Federico Cuatlacuatl, we need to build a future where we see ourselves thriving beyond surviving; this future must become blurred with the past and the present because we exist in multiple temporalities simultaneously.[6]

Exhibition curated by Erika Hirugami

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.

SAVE THE DATE: FRIDAY, OCT 7, 2022

Parade procession starts at 5PM, along the Charlottesville Downtown Mall beginning at Second Street Gallery

Parade rain date: Friday, Nov 4, 2022

Cheer or dance along as our lively parade-goers march along the Downtown Mall, extending joy and celebration!
This small parade is inspired by the concept of carnival and features costumed community members, performers, and musicians. The procession will return back to Second Street Gallery by 5:30PM for our First Friday opening of Megan Marlatt's solo exhibition in the Main Gallery.

Learn more about the Big Head Brigade at bigheadbrigade.com

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.