Posing Modernity: A Retrospective View and Implications for Art History - a lecture by Denise Murrell

Please join us for the 2021 Sandra Garrard Memorial Lecture, Posing Modernity: A Retrospective View and Implications for Art History, a lecture by Denise Murrell, Associate Curator of Nineteenth- and Twentieth-Century Art at the Metropolitan Museum of Art, New York.

Denise Murrell will present an overview of her 2018 exhibition, Posing Modernity: The Black Model from Manet and Matisse to Today, and its iterations at the Musée d’Orsay Paris and at the Mémorial ACTe, Guadeloupe. She will discuss the project’s representation of the Black presence in the artistic milieu of late nineteenth-century Paris as central to the development of modern art. She will explore the legacy of this iconographic lineage for successive generations of artists from the early twentieth-century modernists of the Harlem Renaissance and the School of Paris to the global contemporary art of today. She will conclude with observations on the project’s relevance for art history in the current moment of renewed focus on issues of diversity, equity and inclusion in art history.

Posing Modernity: A Retrospective View and Implications for Art History 

Thursday, March 18, 6:00 pm Central Time, Online

Zoom link https://tulane.zoom.us/j/92592796500?pwd=NjVEcjZxZDVzVWFEUXNuTEJGaCtEQT09
Passcode: 530332

This lecture is part of a year-long series Representation and Resistance: Scholarship Centering Race in Western Art organized by Mia L. Bagneris and Michelle Foa of the Newcomb Art Department and co-sponsored by the Africana Studies Program.

Study art history and more this summer in Rome!

 

Summer Abroad in Rome, Italy
May 31 - June 25, 2021

Yes, this is happening in 2021!

Price: $6,800
APPLICATION DEADLINE: March 15, 2021

Students will have the option to choose two (3-credit hour) courses in Education, Art History, and Psychology. Students from any major or classification (i.e., freshmen, seniors or graduates) are welcome to join this rewarding and inspiring abroad experience. All courses are taught in English.

About the Program: Students will spend one month in Rome, the capital city of Italy, home to the Colosseum, the Pantheon, and the Trevi Fountain, whose history spans 28 centuries. Students will have the option to choose two (3-credit hour) courses in Education, Art History, and/or Psychology. All courses are taught in English. This is Tulane’s ONLY approved summer Study Abroad for 2021. 
 

List of courses:
ARHS 3910: Art of Renaissance Italy


ARHS 3911: Special Topics (OR alternatively ARHS 6900 Special
Topics in Museum Studies): Museum Education: An International Perspective 

EDLA 3160: Children’s & Adolescent Literature


EDUC 6860: Special Topics - A look at Reggio Emilia’s Approach
to Education \

PSYCH 3210: Child Psychology 

PSYCH 3200: Educational Psychology
 

Included: Tuition, University & transcript fees, Accommodation, Opening & closing dinner, Class field trips, Field trip and some group meals, Pick up at airport and comprehensive medical & emergency insurance.

Program changes/alterations may occur due to COVID-19. Contact osa@tulane.edu with COVID-related questions or concerns.  Please direct any inquiries about Study in Rome to program director Dr. Shannon Blady at sblady@tulane.edu. 

For a full list of courses and to apply, please see global.tulane.edu. 

Garrard Lecture: Curator Talk by Thomas J. Lax

Please join the Newcomb Art Department for a Curator Talk by Thomas J. Lax, Curator of Media and Performance at the Museum of Modern Art. 

Thomas J. Lax is Curator of Media and Performance at MoMA (NY) where he is currently preparing the exhibition Just Above Midtown: 1974 to the Present with Linda Goode Bryant. He was the inaugural recipient of the Cisneros Research Grant, traveling to Brazil to meet artists and curators engaged in creating semi-autonomous spaces devoted to contemporary Black art. He also worked with colleagues across MoMA on a major rehang of the museum’s collection and organized Unfinished Conversations centered around John Akomfrah’s video portrait of the cultural theorist Stuart Hall. Previously, he worked at the Studio Museum in Harlem for seven years.

Thomas is on the boards of Danspace Project and the Jerome Foundation and teaches at Wesleyan University’s Institute for Curatorial Practice in Performance. A native New Yorker, he is on the advisory committees of local and diasporic organizations including Contemporary And, The Laundromat Project, Participant Inc., and Recess Assembly.  

Garrard Lecture: Curator Talk by Thomas J. Lax, Museum of Modern Art
Thursday, February 5, 6pm CST, Online
Zoom link: bit.ly/thomaslax

This event is supported by the Sandra Garrard Memorial Fund. 

Simmons Lecture in Art History - Acts of Translation: Black Artists and "The Song of Hiawatha"

 

2021 Terry K. Simmons Lecture in Art History

Acts of Translation: Black Artists and "The Song of Hiawatha"
Anna Arabindan-Kesson
Assistant Professor of Art and Archaeology & African American Studies, Princeton University

Tuesday, February 2, 7:30 pm via Zoom

An epic in its time, “The Song of Hiawatha” by Henry W. Longfellow had a long afterlife in visual art. This paper focuses on the work of Robert S. Duncanson, Robert Douglass, Jr., and Edmonia Lewis, three artists who included representations of Native Americans in their artistic production. Thinking of these works as sites of convergence, Dr. Arabindan-Kesson examines their intermediality - the ways these artists translated poetry into paint and marble - in their depiction of colonial encounters. In working through their acts of translation, she wants to ask how these artists negotiate acts of reading and looking and what their representations – troubling as they might appear to us now – reveal about constructions of freedom in the United States, not in relation to the state, but as it could be envisaged in cross-cultural encounters between African Americans and Native Americans in the pre- and post-Civil War years.

Zoom Link: https://tulane.zoom.us/j/95500128526?pwd=cC9BWGhFZ0NLczB6TUMxM3pzOEdZUT09
Password: ART

This lecture is part of a year-long series Representation and Resistance: Scholarship Centering Race in Western Art organized by Mia L. Bagneris and Michelle Foa of the Newcomb Art Department and co-sponsored by the Africana Studies Program.

Undergraduate Juried Exhibition is Online!

 

The 2020-2021 Newcomb Art Department Undergraduate Juried Exhibition, juried by Jennifer M. Williams is online! We had over 150 entries by 44 student artists. We are most grateful to Ms. Williams for her thoughtful jurying, and look forward to her virtual walkthrough this Thursday (details below).

This is the first time that our Undergraduate Juried Exhibition has been available online, so please look it over, invite friends, and join us in congratulating the artists on their work and thanking them for being a part of this experience.
 
Here is the link, and please note that the video/digital works are accessible by a link at the bottom of that page as well:
http://carrollgallery.tulane.edu/_2020Juried.htm

Also, please join us for a virtual Walkthrough with the Juror this Thursday at 6:00 pm, in lieu of our usual opening reception.  Award winners will be announced at that time! Here is the link to Thursday’s walkthrough on Zoom:
https://tulane.zoom.us/j/96071183947?pwd=QjRiK3hsU1RvVWd1ck1GYkZBNXkrQT09
Passcode: 923242

Undergraduate Juried Exhibition virtual walkthrough with the juror, Jennifer M. Williams

Please join us on January 21, 2021 at 6:00pm on Zoom for a virtual walkthrough of the Undergraduate Juried Exhibition with this year's juror, Jennifer M. Williams. Juried Exhibition award winners will be announced at that time.

Jennifer M. Williams is the Communications Coordinator and Wordsmith at the arts service organization, Alternate ROOTS.  She is passionate about collaborating with artists, and recently served as the Public Programs Manager at the New Orleans Museum of Art.  Before taking on her role at NOMA, Williams served as the Deputy Director for the Public Experience for Prospect.4.  For six years, Williams served as the Director and Curator of the George and Leah McKenna Museum of African American Art.
As a visual art curator organizing exhibitions and performances, Ms. Williams is committed to contributing to the cultural and artistic landscape in the city and across the region.  As a part of a vibrant art community, she supports and serves on a variety of committees and boards including Junebug Productions and the New Orleans Photo Alliance.  She has participated in and led a variety of experiences around the world, including the Lagos Biennial Curatorial Intensive and the Urban Bush Women Leadership Institute in Brooklyn, NY.  She received her B.A. in History with a concentration in Art History from Georgia State University.

 Zoom Meeting ID: 960 7118 3947
Passcode: 923242

"The Greek Slave on the Eve of Abolition"

Please join us on Thursday, November 12 at 6pm for the last of the lectures in the Representation & Resistance  series for this term, "The Greek Slave on the Eve of Abolition" by Caitlin Beach, Associate Professor of Art History, Fordham University. The lecture will take place online.  https://tulane.zoom.us/j/91351100042 

What kind of image can enact change? 

Many nineteenth-century viewers posed this question when seeing Hiram Powers’ Greek Slave (first version, 1844), anticipating that its depiction of a Greek woman in chains might raise metaphorical connections to the urgent matter of slavery’s abolition in the antebellum United States. But as scholars have pointed out, the white marble statue was fraught with complexity in terms of its materiality and subject matter, deflecting as many associations to the enslavement of African Americans as it evoked. 

This talk draws on new archival material to rethink the Greek Slave’s relationship to antislavery discourse. Its exhibition intersected the machinations of racial capitalism in the Black Atlantic, concerns that emerged in sharp relief during the sculpture’s American tour and in the city of New Orleans in particular. There, the sculpture’s display was inextricable from the acts of seeing and surveillance central to the institution of slavery and human trafficking. Yet in these same years, the Greek Slave’s closeness to slavery in the U.S. South would become a flashpoint of Black activism and antislavery critique on the global stage. In an age of slavery and abolition, Powers’ sculpture stood on shifting ground. 

This lecture is supported by the New Orleans Center for the Gulf South and part of the lecture series Representation and Resistance: Scholarship Centering Race in Western Art, organized by Mia L. Bagneris and Michelle Foa of the Newcomb Art Department and co-sponsored by the Africana Studies Program.

Image caption: Photographer unknown (American), [Hiram Powers' Sculpture of the Greek Slave], ca. 1850, Metropolitan Museum of Art