Department of Art History
In 2019, the artist Christine Howard Sandoval (Chalon Indian Nation) began making large-scale drawings and sculptures from adobe mud. These works study how California Native arts, such as basketry and earthworks, inflect mission architectures.
This lecture focuses on ancient and especially early medieval writings obsessed with the idea of being the first and especially on the emergence of the medieval Arabic genre of writing in the early days of Islam called al-awa‘il (the plural of al-awwal, namely the first).
Subashini Kaligotla, Barbara Stoler Miller Associate Professor of Indian and South Asian Art at Columbia University, will be presenting a paper entitled: "Off With Their Heads: Medieval Andhra Women, Memorial Stones, and the Aesthetics of Self-Sacrifice."
Featuring over 150 images, Print Matters traces how illustrated magazines evolved across countries and continents, offering new insights into their history and enduring impact on culture and society.
On occasion of her recently published book, Dr. Brier will discuss the history and meaning of Typofoto, an avant-garde fusion of photography and modern graphic design largely developed in interwar Germany.
Join us to explore common CV challenges and learn how to effectively showcase your skills.
Reception to follow
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Professor Kaufmann will lead a discussion exploring various approaches that have been or might be applied to the global history/geohistory of art. He will draw on insights that have arisen in penning individual essays and a global history of art textbook, with Professor Elizabeth Pilliod (Rutgers University, Camden) to comment.
Artivism: Art History and Heritage in Global Conflict
This talk will investigate the verisimilitude of books in the art of Jan van Eyck and his contemporaries, relying on the newly launched Books as Symbols in Renaissance Art (BASIRA) database to compare and contrast.
Drawing from the Zimmerli’s rarely shown large scale artworks from the Norton and Nancy Dodge Collection, Painting to Scale explores the constraints on access to materials that underpin narratives of “nonconformism” in the USSR.
