Our last events of the semester are coming up in a few weeks, so here is a rundown of everything we have planned:
We Wanted a Revolution: Black Radical Women 1965-1985
at the Brooklyn Museum
Focusing on the work of black women artists, this exhibition examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism. It is the first exhibition to highlight the voices and experiences of women of color–distinct from the primarily white, middle-class mainstream feminist movement–in order to reorient conversations about race, feminism, political action, art production, and art history in this significant historical period.
The Fine Arts Society & Department of Art History
are holding a two-part symposium on May 2nd and May 3rd from 6:30-8pm inSilver Room 300
Intersectionality and Social Responsibility: Approaching a Globalized Art World
We feel that given the current political climate and the possibility of the elimination of the NEA and NEH, this symposium will serve as a constructive and community-building event for the Department of Art History. We also encourage any questions, comments or concerns regarding the sensitive topics and nature of the event.
Finally, tomorrow April 27th at 6:30pm in Silver Room 301
Nancy Turner, Conservator of Manuscripts,
from the J. Paul Getty Museum in Los Angeles
will be presenting a lecture
Mechanisms of Workshop Practice in Italian Trecento Illumination:
Communication, Emulation, Collaboration, Speed
Deadline of May 5!!
You are warmly invited to apply to be one of three editors of Ink & Image, our department’s scholarly journal of original art historical scholarship. They will be selecting articles for publication next spring. Editors should feel confident about their own writing skills because they will be helping authors to clarify their essays if any clarification is needed. Editors will take responsibility for shepherding the material through the press, clearing the rights to print photographs, and dealing with the student council and the publication’s budget. Editing a serious academic journal is likely to be an excellent credential for various future jobs. Send a letter of application including courses taken in art history, classics, and history, your GPA in art history, a paragraph explaining your interest in being an editor, and any previous experience of editing that you have had, e.g. on a high school yearbook or newspaper, or on a publication here at NYU or at another college. Send your message to Prof. Krinsky, the faculty supervisor, at firstname.lastname@example.org, who will confer with the present editors.
DEVO, DEVO: The Complete Truth About De-Evolution, 1993. Laserdisc with cover.
Courtesy the Museum of Contemporary Art Denver. © DEVO, Inc.
Monday, May 1, 6:30 pm
Einstein Auditorium, Barney Building
34 Stuyvesant Street (at 3rd Ave. and 9th St.)
From In the Beginning Was the End: The Truth About De-Evolution (1976) to Whip It(1980) and beyond, Jesse Bransford, Chair of Art & Art Professions, NYU, will screen and provide commentary on selections from DEVO’s groundbreaking music videos, the earliest of which predate not only MTV, but also the band’s studio recordings.
Organized by NYU’s Department of Art & Art Professions (Steinhardt), and co-sponsored by the Department of Cinema Studies (TSOA) and Grey Art Gallery.
Free of charge, no reservations, capacity limited. Photo ID required for entrance to NYU buildings. All programs subject to change.
Offered in conjunction with the exhibition Mark Mothersbaugh: Myopia, on view at NYU’s Grey Art Gallery April 26–July 15, 2017. For more information on the exhibition, please visitgreyartgallery.nyu.edu.
A Challenge or a Gift? Conserving the Original Building Materials of Louis Kahn’s Salk Institute for Biological Studies24 Apr
Kenneth Itle, Associate Principal and Kyle Normandin, Associate Principal, Wiss, Janney, Elstner Associates, Inc.
Tuesday, April 25, 6:30 pm
New York University Department of Art History
Silver Center, Room 301
100 Washington Square East (entrance on Waverly Place)
Situated on a Southern California bluff overlooking the Pacific Ocean, the Salk Institute for Biological Studies (1965) is one of architect Louis Kahn’s most recognized works. The prefabricated, teak window assemblies and concrete walls of the studies and offices flanking the Institute’s plaza define this distinctive complex. After fifty years in an exposed marine environment, however, the building complex has shown signs of deterioration and weathering to a non-uniform appearance. Rather than continuing short-term repairs and treatments to address the condition of the complex, the Salk Institute decided to develop a conservation-based plan for repairs, to manage these issues on a long-term basis.
In 2014, the Salk Institute engaged Wiss, Janney, Elstner, Associates, Inc. (WJE), to lead the preparation of a Conservation Management Plan (CMP) for the Salk Institute. In conjunction with development of the CMP, WJE designed a preservation program for the teak window wall assemblies, to improve their structural and weatherproofing performance. In 2015, WJE evaluated the assemblies to understand their structure, materials, and performance, and to assess appropriate levels of intervention. Building upon initial research and studies conducted by the Getty Conservation Institute, WJE customized and designed detailed repair approaches and developed construction documents to implement a preservation program aligned with the CMP. This program permitted WJE to retain the original window assemblies, which are critical to the site’s cultural significance. Construction of this work is scheduled to be completed in April 2017. As part of this preservation program, WJE has also assisted the Salk Institute to develop protocols for repair of localized concrete deterioration.
This lecture examines the decision-making processes that led to the selection of appropriate intervention for various types of repair and conservation work at the Salk Institute, focusing on the teak window wall assemblies and the concrete, as well as how the CMP informed these decisions.
Event flyer available here: https://nyu.box.com/s/28zi7c6h0j47zpgptocm51yfyy0gt5qg
Sponsored by the Society of Architectural Historians, New York Metropolitan Chapter, and the NYU Department of Art History, Urban Design and Architecture Studies.
–Free and Open to the Public–
LIZZIE WRIGHT: LOG CABIN LIGHT
APRIL 21–JUNE 4, 2017
OPENING TONIGHT FROM 6–8 PM
For immediate release
Rawson Projects is very excited to announce its first solo show with Lizzie Wright. The gallery has previously shown the artist’s work in the group exhibition Purified Thoughts curated by Jon Lutz and at NADA New York in a two-person presentation with Ben Berlow.
Lizzie Wright is a co-founder of the performance duo Clean Penny Service and was a founding member of Essex Flowers.
A statement by the artist about her current show at the gallery follows:
“One summer during college, I was hiking with a friend in parts unknown and we got lost and came down on the wrong side of a mountain. Night fell. We had no maps or cell phones. Eventually, we came upon a view below us of a lonely country road beside which sat a log cabin in a small clearing. We stared down at the cabin contemplating approaching for help, but hung back watching, because the cabin seemed to emit a soft yellow-green glow, ever so faintly, but definitely eerily.
Log Cabin Light re-imagines an architectural layout of a simple home within the space of the gallery. As though the viewer has stumbled upon the ruins of a cabin while out for a hike, the sculptures are both what might remain and what is imagined if the objects have lived on, evolved on their own, shifted into the future. Waiting to be sensed are a waft of smoke, animals, and a female presence. The works in the show are concerned with glowing and reflective light, and its ability to transmit mood and tone. Bone-like frameworks of wood with bits of fur held together by threaded rod softly emit color. Shimmery stacks of ceramic pancakes reflect like a gazing ball, an illuminated etched ostrich egg suggests a sort of head/moon, a chimney turned monument narrowly sandwiches the colors of a flame. Borrowing its title from the low calorie syrup, Log Cabin Light playfully explores the tension between being light-filled and light-weight and the relationship between comfort and anxiety.”
Lizzie Wright was born in Louisiana, and lives and works in New York. She has exhibited with Essex Flowers, NY; Nicelle Beauchene Gallery, NY; Brooklyn Museum, Brooklyn; Rawson Projects, NY; Regina Rex, NY; Brooklyn; Museum 52, NY; Artist Curated Projects and Three Days Awake, Los Angeles; Adds Donna, Chicago; Katzen American University, Washington, D.C. She received an MFA in Sculpture from Yale University.