Join us at Sloane Art Library on Monday, March 4 from 2 to 5pm for a communal updating of Wikipedia entries on subjects related to gender, art, and feminism. We will provide tutorials for the beginner Wikipedian, reference materials, and light refreshments.
By internationalizing the debate concerning Indigeneity and decolonial thought, as well as examining the basis of North American multiculturalism in the art world, Shanna Ketchum-Heap of Birds' research foregrounds a complex understanding of gender, sexualities, and race in line with moving away from a heteropatriarchal understanding imposed by colonialist and anthropological thinking.
Dr. Rebecca VanDiver is an associate professor of African American art and a current Chancellor's Faculty Fellow at Vanderbilt University. In this lecture, Prof. VanDiver queries what role ephemerality, the transient or fugitive, plays in African American fine art during periods of intense racial unrest.
Please join us in celebrating the achievements of our outstanding students in the Department of Art and Art History! Each student will be giving a brief presentation of their Honors and Allcott Travel awards work in the past year.
Amy is currently working on a visual history of the Ho-Chunk Nation. This research explores family history, tourism, settler colonialism, and Ho-Chunk survivance through an examination of two exceptional collections of studio portraits and tourist images of Ho-Chunk people taken between 1879-1960.
Over two days, invited scholars will celebrate the 150th anniversary of Impressionism, which takes its origin from the exhibition of the Société anonyme des artistes peintres, sculpteurs, graveurs, etc. at the studio of the famous photographer Nadar in April of 1874.
Over two days, invited scholars will celebrate the 150th anniversary of Impressionism, which takes its origin from the exhibition of the Société anonyme des artistes peintres, sculpteurs, graveurs, etc. at the studio of the famous photographer Nadar in April of 1874.
In this talk, Emmanuel Ortega analyzes the genealogy of the nomenclature involved in art history’s considerations of indigenized forms of art and the erasure of over five hundred years of influence to better articulate the processes that minoritized Native peoples suffered throughout the colonial period.
