The US - Mexico Border - October 31, 2016
October 31, 2016
The Graduate Center, CUNY
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Nadiah Rivera Fellah is a Ph.D. Candidate in Art History at the Graduate Center, CUNY. Her research focuses on Latin American art, and her dissertation examines photography of the US-Mexico border in the 1970s and 80s. Nadiah was formerly a Mellon Curatorial Fellow at the Newark Museum and the James Gallery, and before her doctoral studies she worked as a curatorial assistant at the San Francisco Museum of Modern Art and the Allen Memorial Art Museum in Oberlin, Ohio. She holds a BA from Oberlin College, and has written frequently for New American Paintings and The Seen Journal.
David Lida has lived in Mexico City since 1990. He is the author of several books about Mexico, including Travel Advisory, a collection of short stories, and First Stop in the New World, a street-level panorama of contemporary Mexico City. In 2008, he began to work as a mitigation specialist, conducting investigations for lawyers in the U.S. who defend Mexicans, and other Latin Americans, who are charged with capital murder and as such face the death penalty. Through interviews with the clients, their families, friends, classmates, colleagues, teachers and doctors, Lida reconstructs the stories of their lives, looking for the mitigating circumstances — a tool for the defense lawyer to negotiate something better than death with the prosecutor. This work is the point of departure for his new novel, One Life.
Juan Decastro (Ph.D., University of Southern California) is Associate Professor of Literary Studies at Eugene Lang College, The New School. Dr. de Castro is the author of Mestizo Nations: Culture, Race and Conformity in Latin American Literature (2002), The Spaces of Latin American Literature (2008), and Mario Vargas Llosa: Public Intellectual in Neoliberal Latin America (2011).
The Future Museum | October 18, 2016 | Appel Salon
The new heads of AGO and ROM bring fresh perspectives on the future of museums in the digital age.
Words and Images: Readings on Art 2018: German Expressionism and Degenerate Art
David Gariff, senior lecturer, National Gallery of Art. Germany around 1900 was a volatile contradiction—modernizing rapidly, yet deeply conservative in values. This was fertile ground for the birth of German expressionism represented by the paintings and sculptures of Ernst Barlach, Max Beckmann, Ernst Ludwig Kirchner, Franz Marc, Otto Müller, Emil Nolde, and others. With the rise of national socialism in the 1930s in Germany, many of these avant-garde artists and the movements of which they were a part came to be labeled “degenerate.” The recent gift of the Arnold and Joan Saltzman collection of German expressionist art has transformed the Gallery’s holdings of modern art in this area. In this lecture presented on May 4, 2018, at the National Gallery of Art, senior lecturer David Gariff explores the nature of German expressionist art against the backdrop of two important exhibitions mounted by the Nazis in 1937: The Great German Art Exhibition, on July 18, and the Entartete Kunst (Degenerate Art) exhibition, on July 19. Through these two exhibitions and their related documents and propaganda, the Nazis sought to establish and support the reputation of the approved art of the Third Reich, while at the same time to unleash a destructive “tornado” (as Hitler referred to it) against modern art.
The Art and Literature of the Great War
David Gariff, senior lecturer, National Gallery of Art.
The First World War, known as the Great War, was also the first modern war, claiming millions of lives, in part, by newly invented weapons such as the machine gun, tank, aircraft, and poison gas. The arts of the period present a portrait of the terrible price paid by humanity—the carnage and suffering caused by the war were documented in paintings, sculptures, novels, memoirs, and poems produced both during, and immediately after, the struggle. In this presentation on March 27, 2019, senior lecturer David Gariff explores the responses of artists and writers to the trauma of the First World War, which transcended national boundaries. Paintings, sculptures, and prints by Otto Dix, Wilhelm Lehmbruck, Käthe Kollwitz, Fernand Léger, John Singer Sargent, and Natalija Goncharova; poems by Siegfried Sassoon, Wilfred Owen, and Anna Akhmatova; and memoirs and novels by Ernest Hemingway, Erich Maria Remarque, and Robert Graves are discussed against the backdrop of “the war to end all wars.”
Celebration and Song at UVA's 2015 Valediction
The University of Virginia's Class of 2015 gathers to recognize outstanding achievement, to reminisce and to celebrate surrounded by family and friends. Actor, comedian and musician Ed Helms also sends them off with inspiring words and a song. He shares the stage with members of the Hullabahoos, a UVA a cappella group. Class President William Laverack gets the last words, highlighting experiences he's shared with classmates during days at UVA.
C2C Care: Whose Heritage? Objects, Politics and Collections Care
Have you read about or had protesters demanding that parts of cultural collections are offensive or need to be removed? Have you thought about what you would do in response to such demands? Cultural heritage objects, monuments and artworks have long had the capacity to incite protest. Calls from communities for the removal of monuments and art works are coming with greater frequency in the wake of rising social activism. When such an object falls under your professional care it can be hard not to feel under attack. Taken at face value, preservation can seem to be at odds with the removal of objects on display. Difficult conversations about the place of monuments and other cultural heritage objects in our midst have been playing out in many communities.
This webinar will review some approaches that organizations have used in handling problematic collection objects with an eye towards balancing collection care and public critique. While the topics can be difficult and highly emotional, we will look at ways to provide a constructive and empathetic listening environment where both audiences and collections can come together to create productive learning arenas. Case studies include the removal of confederate monuments, WPA murals in a university setting that include insensitive racial stereotypes, and historic figures glorified in the past for behavior that is now considered predatory.
Presenter
Heather Galloway is the conservator and owner of Galloway Art Conservation. She has over 25 years of experience in conservation and is a Fellow of the American Institute for Conservation. She completed her graduate studies in conservation at New York University’s Institute for Fine Arts, holds an MA in Art History from Williams College and a BA in fine arts from Middlebury College. She has worked at the National Gallery of Art in Washington, DC, the Museum of Modern Art in New York and the Cleveland Museum of Art. She opened her private practice in 2015 after working at the ICA Art Conservation of Cleveland for 16 years. She has taught conservation related courses at Oberlin College, Case Western Reserve University and the University of Oslo in Norway. Her teaching focuses on treatment, ethics, the integration of science in conservation, and the materials and techniques of cultural heritage production.
John Brown (abolitionist) | Wikipedia audio article
This is an audio version of the Wikipedia Article:
John Brown (abolitionist)
00:02:24 1 Early life
00:07:20 2 Transformative years in Springfield, Massachusetts
00:13:07 3 Homestead in New York
00:13:47 4 Actions in Kansas
00:14:48 4.1 Pottawatomie
00:17:23 4.2 Palmyra and Osawatomie
00:19:53 5 Later years
00:20:02 5.1 Gathering forces
00:27:37 5.2 Raid
00:33:37 5.3 Imprisonment, trial, and six weeks in jail
00:37:29 5.4 Victor Hugo's reaction
00:39:17 6 Death and aftermath
00:40:40 6.1 Transportation of his body
00:41:56 6.2 Senate investigation
00:43:54 6.3 Aftermath of the raid
00:46:04 7 Legacy
00:46:13 7.1 Monuments
00:48:30 7.1.1 Historical markers
00:54:36 7.2 Views of contemporaries
00:55:26 7.3 Views of historians and other writers
00:57:52 7.4 Historiography
01:02:37 7.5 In the arts
01:05:50 8 Influences
01:11:09 9 See also
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The only true wisdom is in knowing you know nothing.
- Socrates
SUMMARY
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John Brown (May 9, 1800 – December 2, 1859) was an American abolitionist who believed in and advocated armed insurrection as the only way to overthrow the institution of slavery in the United States. He first gained attention when he led small groups of volunteers during the Bleeding Kansas crisis of 1856. He was dissatisfied with the pacifism of the organized abolitionist movement: These men are all talk. What we need is action—action! In May 1856, Brown and his supporters killed five supporters of slavery in the Pottawatomie massacre, which responded to the sacking of Lawrence by pro-slavery forces. Brown then commanded anti-slavery forces at the Battle of Black Jack (June 2) and the Battle of Osawatomie (August 30, 1856).
In October 1859, Brown led a raid on the federal armory at Harpers Ferry, Virginia (today West Virginia) to start a liberation movement among the slaves there. He seized the armory, but seven people were killed, and ten or more were injured. He intended to arm slaves with weapons from the arsenal, but the attack failed. Within 36 hours, Brown's men had fled or been killed or captured by local farmers, militiamen, and US Marines led by Robert E. Lee. He was tried for treason against the Commonwealth of Virginia, the murder of five men (including 3 blacks), and inciting a slave insurrection, was found guilty on all counts, and was hanged.
Historians agree that the Harpers Ferry raid escalated tensions that led to the South's secession a year later and the American Civil War. Brown's raid captured the nation's attention; Southerners feared that it was just the first of many Northern plots to cause a slave rebellion that might endanger their lives, while Republicans dismissed the notion and claimed that they would not interfere with slavery in the South. John Brown's Body was a popular Union marching song that portrayed him as a martyr.
Brown's actions as an abolitionist and the tactics he used still make him a controversial figure today. He is both memorialized as a heroic martyr and visionary, and vilified as a madman and a terrorist. Historian James Loewen surveyed American history textbooks and noted that historians considered Brown perfectly sane until about 1890, but generally portrayed him as insane from about 1890 until 1970 when new interpretations began to gain ground.