NYU FAS Event: Saturday 12/3
Join Fine Arts Society
Meet: in front of the information desk in the lobby of the Metropolitan Museum of Art at 1PM
The German Department, the Deutsches Haus NYU, and the Center for European and Mediterranean Studies invite you to an interdisciplinary conference dedicated to Johann Joachim Winckelmann, held at NYU on December 8 and 9, 2016, in advance of the 300th anniversary of the birth of this pioneering antiquarian and art historian in 2017. Winckelmann: The Transalpine Fantasy of Modern Paganism seeks to re-frame, reassess, and generally defamiliarize the antiquarian and historian who wrote the script of obsessive German philhellenism.
Winckelmann is a paradoxical figure. He held up classical Greek sculpture as the time-transcending paragon of artistic expression and yet has been credited with creating the template of modern art historical method, which supposedly explains every art form as a product of local circumstances. He met the exacting standards of the antiquarian scholarship of his day, compiling a descriptive catalogue of the engraved gems in a great private collection and, in his magnum opus the History of Ancient Art (1764), offering remarks on Greek costumes and footwear on the evidence of statuary. But the taste for fact did not interfere with his critical appreciations, even open expressions of erotic admiration, of the sculpted body.
Please join us and a dozen speakers as we reconsider this enigmatic pioneer and his legacy in scholarship and beyond.
Completed in January 1977, Richard Rogers’s and Renzo Piano’s Centre Georges Pompidou was initially received skeptically by critics, but the public soon embraced Beaubourg as an essential—and well loved—Paris institution. Francesco Dal Co’s lively intellectual biography, Centre Pompidou: Renzo Piano, Richard Rogers, and the Making of a Modern Monument (Nov. 29, Yale University Press) explores the Pompidou’s history and the reasons for its success, from its genesis as a politically calculated response to the turbulent 1968 student protests to the role played by architects in its construction, as well as the historical influences and the engineering solutions that inform its design. As Dal Co reveals, a key reason for the Centre Pompidou’s lasting significance lies in its ability to channel architectural memory, connecting it powerfully to Paris’s historic urban fabric.
In the weeks leading up to the Centre Pompidou’s fortieth anniversary, we invite you to join Francesco Dal Co, Robert M. Rubin, Martino Stierli, and Anthony Vidler as they consider the Pompidou’s contentious origins, its emergence as a key cultural landmark, and its future. This event is co-sponsored by NYU’s Department of Art History, Urban Design, and Architecture Studies and the New York Metropolitan Chapter of the Society of Architectural Historians, and a book signing will follow the panel discussion.
Francesco Dal Co is professor of history of architecture at the Instituto Universitario di Architettura Venezia (IUAV) and director of the architecture magazine Casabella.
Robert M. Rubin was the founding chair of the Centre Pompidou Foundation, and is an independent curator and cultural historian.
Martino Stierli is The Philip Johnson Chief Curator of Architecture and Design at The Museum of Modern Art.
Anthony Vidler is Professor of the Irwin S. Chanin School of Architecture at The Cooper Union and a fellow of the American Academy of Arts & Sciences.
Tuesday, December 6, 2016
300 Silver Center, 100 Washington Sq. East
New York University, New York 10003
Free and Open to the Public
Please RSVP to firstname.lastname@example.org
More information here!
The 60s was the decade when an incredible number of women gallerists played major roles at the center of 20th century (and especially postwar) avant-garde activities, bringing to fruition projects by Robert Smithson, Walter de Maria and Michael Heiser that are now landmarks. The challenges that Virginia Dwan faced as a woman and feminist in an art world that had not yet defined the feminist position should provide a fascinating discussion.
Known primarily for her visionary art collecting (250 works from her collection destined to be given to The National Gallery in Washington, DC are currently on display in the newly-reopened East Wing), Virginia Dwan (born 1931) showed a legendary list of artists that included Robert Rauschenberg, Yves Klein, Ad Reinhardt, Joan Mitchell, Philip Guston, Sol Lewitt, and Andy Warhol among countless famous names– first at her Los Angeles gallery in the 1960s and later at the gallery she opened in New York. Less well-known, Dwan has her own artistic practice, and has dedicated the last three and a half years to documenting military graves in cemeteries across the United States in her book, Virginia Dwan: Flowers.
The only text in the book is the late Pete Seeger’s question, “Where have all the flowers gone?” Dwan will sign copies of her book at the reception after the close of the program.
Thank you to Virginia Dwan and Julia Robinson for their participation and to ArtTable member Gracie Mansion for helping organize this program.
|Image: Virginia Dwan in her gallery during a Franz Kline exhibition, Westwood, c. 1962, 2009 Photo courtesy of artnet|
Here is Professor Ritter’s description of the talk:
This talk is inspired by the commitment to community service from NYU students in the the Dean’s Service Honors Corps (DSHC). I have given talks to this group in past years on the design and allocation of housing in the United States and on the history of Washington Square. This year the group leaders approached me to lead a tour of an exhibition that would relate to their interest in community service. We settled on the current exhibition at MOMA, Insecurities: Tracing Displacement and Shelter, which features works relating to current global refugee crises.. The DSHC encouraged honors students to go see the show at MOMA, and I will lead a discussion about it in my talk. My presentation will focus on how and why artists and designers engage with issues of migration and dislocation, focusing on several works from the exhibition. I look forward to hearing the students’ impression of the exhibition, and I hope the talk will generate interesting conversation with these thoughtful students. I will conclude with some thoughts about how students can help support refugees through volunteer community work with groups like the United Nations High Commission on Refugees, UNICEF, or the Sanctuary Movement.
Designs for temporary shelters by various architectsfo 2, dadaab refugee camp. brendan bannon. 2011
woven chronicle by reena saint kallatInstallation view
Charlotte Moorman performs Nam June Paik’s One for Violin Solo,
“DIAS/USA: A Preview,” New York City, March 22, 1968. © Julie Abeles.
Courtesy Charlotte Moorman Archive, Charles Deering McCormick Library of Special Collections,
Northwestern University Library
Grey Art Gallery, NYU
100 Washington Square East
With Pato Hebert, associate arts professor, and Shahrazad Preza, MA candidate, both in Art & Public Policy (TSOA), NYU, who will engage in dialogue with visitors and present a performance.
This program is free of charge, no reservations, capacity limited, and subject to change.
Photo ID required for entrance to NYU buildings.
Information: greyartgallery.nyu.edu, email@example.com, 212/998-6780.
Offered in conjunction with the exhibition A Feast of Astonishments:
Charlotte Moorman and the Avant-Garde, 1960s–1980s,on view at NYU’s Grey Art Gallery September 8–December 10, 2016.
For more information on the exhibition,
please visit greyartgallery.nyu.edu
Don’t Throw Anything Out: Charlotte Moorman’s Archive
The Fales Library, Tracey/Barry Gallery
Elmer Holmes Bobst Library, 70 Washington Square South, Third Floor
On view: September 8–December 9, 2016