Mimi Gross, Street Scene, 1958
Oil stick on paper, 11 x 13 7/8 in.
Courtesy the artist
Photo: Jeffrey Sturges
Wednesday, January 11, 6:30 pm
Grey Art Gallery, NYU
100 Washington Square East
With Melissa Rachleff, curator of Inventing Downtown and clinical associate professor, MA Program in Visual Arts Administration (Steinhardt), NYU.
This program is free of charge, no reservations, and subject to change.
Information: greyartgallery.nyu.edu, firstname.lastname@example.org, 212/998-6780.
Offered in conjunction with the exhibition Inventing Downtown: Artist-Run Galleries in
New York City, 1952–1965, on view at NYU’s Grey Art Gallery January 10–April 1, 2017.
For more information on the exhibition,
please visit greyartgallery.nyu.edu
The History of Art Students’ Association (HASA) at the University of Toronto invites students from all fields of study to participate in the Third Annual History of Art Undergraduate Conference on March 10th and 11th, 2017.
The theme of this year’s conference is Back to Basics: Material and Process. The purpose of the conference is to engage in a discussion on the use and manipulation of materials and processes throughout history to create works of art and objects of material culture.
Deadline for submissions is Friday January 27, 2017. For your convenience I have attached the Call for Papers .
Professor Edward Sullivan was involved in 101 year-old Carmen Herrera’s exhibit at the Whitney which you can read about in our November 9 post. It is not too late to visit as it remains open until January 9.
Here is an interview that appeared on CBS in December.
For the first time, the Department of Art History is offering Art Crime and the Law, a course that examines illegal activities in the art world. As one of the nation’s premiere institutions for the study of art history, NYU presents this course as it is valuable for professionals entering the art market to grasp the significance of legal issues regulating the creation and trade of art. Topics covered include heritage destruction during conflict; WWII era looting and Nazi appropriation of art; thefts from museums and private collectors; complex forgery schemes; tomb raiding and the illicit antiquities market; restitution and repatriation litigations; vandalism and street art; museum acquisition standards; collecting practices and provenance investigations; and the emerging strategies of accumulating art as an investment. “Whether it’s Nazi plunder, the still-unsolved Isabella Stewart Gardner Museum theft of 1990 in Boston, or, confronting us today, the destruction wrought at the ancient sites of Palmyra and Nineveh in present-day Syria and Iraq, respectively, crime against art is far-reaching in its ripple effects,” said Department of Art History chair Dennis Geronimus. “It is crime perpetrated not just against physical artifacts but against the people and cultures that value, protect, and preserve them. The preservation of cultural heritage cannot be more timely or urgent as a topic of serious inquiry, and I’m very encouraged to see it happen here at NYU.”
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.