Graduate Work

    Visitas guiadas en español en la UAG

     

    Cruzando las fronteras del lenguaje en la Galería de Arte de la Universidad

    *You can read this text in English below the Spanish version 

    Autora: Adriana Miramontes, estudiante de doctorado en HAA

    ¿Cómo puede la Galería de Arte de la Universidad (UAG) relacionarse con más audiencias e incrementar su presencia y visibilidad en la universidad y en la comunidad? Este semestre de otoño y como parte de una iniciativa de alcance y de programas educativos, más de 110 estudiantes del Departamento de Lingüísticas y Literaturas Hispanas de Pitt visitaron la Galería de Arte de la universidad. De estos estudiantes, el noventa y dos por ciento declaró en encuestas que esta había sido su primera visita. Uno de estos estudiantes escribió: “fue una experiencia que probablemente yo no hubiera recibido si no estuviera en esta clase. Fui sacado de mi zona de confort.”

    Los estudiantes registrados en Español Intermedio 3, Español Intermedio 4 y Conversación participaron en visitas guiadas en la galería de arte y las exhibiciones Desempacado: exposición de ex-alumnos del 50 aniversario Esto no es lo ideal: mitos de género y su transformación. Todas las visitas guiadas fueron llevadas a cabo en español e incluyeron un breve recorrido del claustro y un análisis más profundo del arte contemporáneo y de las exposiciones temporales. Además de incluir la discusión de temas vigentes relacionados con el cuerpo, la cultura popular, el tiempo, la identidad de género y violencia de género, el objetivo de estos recorridos es crear espacios alternativos en donde se pueda practicar la diferencia y donde la diversidad pueda ser celebrada. Como mujer mexicana que aspira a ser profesora en los Estados Unidos, afirmar el valor de la diferencia cultural en las aulas en un asunto de gran importancia para mí.    

    En los trece años que llevo estudiando y trabajando en los Estados Unidos esta es la primera vez que interactúo con estudiantes con conversaciones en español dentro de un espacio académico. Antes de mudarme a Pittsburgh yo vivía en Texas en donde el español es comúnmente hablado y es un factor importante de la vida local cultural; sin embargo, aquí en Pensilvania, en donde la población Hispana o Latina es mucho menor, el comunicarse en español ya no es parte de mi vida diaria. [1] Regularmente mis conversaciones en español ocurren únicamente con mis colegas del Departamento de Historia del Arte y Arquitectura. Esto es especialmente cierto ahora, en esta época en la que los mexicanos somos frecuentemente difamados por el presidente Trump. En el clima político presente, debo admitir que ha sido tanto desafiante como intimidante el expresar mi lengua y cultura. En este contexto, la galería y las visitas guiadas me han provisto del valor y el espacio necesarios para interactuar en mi idioma natal con gente que proviene de una gran variedad de ambientes y de diferentes disciplinas académicas dentro de la universidad. La UAG me ha proporcionado un “espacio seguro” en donde puedo interactuar con otros y orgullosamente presentar mi idioma. Por consiguiente, mis interacciones con estudiantes del Departamento de Lingüísticas y Literaturas Hispanas han sido no solamente revitalizantes e instructivas, sino también personalmente gratificantes.   

    En estas visitas guiadas de 50 minutos los estudiantes participan en conversaciones, contestan preguntas y completan una hoja de trabajo sobre las obras en exposición. Asimismo, al hablar, leer, y escribir en español practican sus habilidades y conocimientos. Mientras que las dinámicas de aprendizaje se vuelven más interactivas con el estudio basado en objetos y fuera del salón de clase tradicional, los estudiantes han manifestado su entusiasmo acerca de sus visitas a la galería. Así se expresó un estudiante al respecto: “aprendí mucho sobre el arte y algunas ideas artísticas. Mejoró mi habilidad de interpretar el arte. [La visita guiada] mejoró mi habilidad de escuchar, [era] más complicado escuchar a alguien que nunca antes había conocido. [Yo] tenía que pensar en español ideas complicadas sobre el arte.”

    Con la variedad de temas desafiantes presentados en la Galería de Arte de la Universidad, las visitas guiadas en español, y las estrategias de aprendizaje basadas en objetos, la diversidad y el entendimiento están siendo promovidos y practicados. Debido al continuo llamamiento al cierre de fronteras entre Estados Unidos y México por parte de la administración, creop que ahora más que nunca la necesidad de que otras culturas y lenguajes permanezcan activos y presentes en nuestras comunidades es crucial. La oportunidad de poderse comunicar en un idioma extranjero no es solamente una habilidad necesaria en el contexto de un mundo globalizado, sino una habilidad que creo es esencial para combatir el racismo. Estas visitas son un importante primer paso, pero es necesario hacer mucho más aquí en el campus. En nuestros esfuerzos por alcanzar una audiencia más grande y crear una universidad y una comunidad más diversa y compasiva, nos seguimos preguntando, ¿qué más se puede hacer para promover un campus inclusivo y una mayor pluralidad de voces, culturas, e idiomas en nuestra sociedad?

    [1] “Fast Facts: Pittsburgh Campus,” Office of Institutional Research, University of Pittsburgh, consultado 28 de November 2018, https://ir.pitt.edu/facts-publications/fast-facts/

     

    Crossing the borders of language at the UAG

    Author: Adriana Miramontes, HAA graduate student

    How can the University Art Gallery (UAG) reach different audiences and increase its presence and visibility on campus and in the community? As part of an outreach initiative and education programming this Fall semester more than 110 students from the Department of Linguistics and Literatures at Pitt visited the University Art Gallery. Of these students, ninety-two per cent declared in survey forms that it was their first visit. As one student wrote: “It was a new experience that I probably wouldn’t have received if I wasn’t in the class. I was taken out of my comfort zone.”

    The students enrolled in Intermediate Spanish 3, Intermediate Spanish 4, and Conversation were introduced to the art gallery and to the exhibits Unboxed: 50thAnniversary Alumni Exhibition and This is Not Ideal: Gender Myths and their Transformation. All the different tours were conducted in Spanish and they included a brief tour of the cloister and a more in-depth discussion of contemporary art and the temporary exhibits on view. The tours have been highly interactive, prompting questions, discussion, and close looking. In addition to discussing relevant topics related to the body, popular culture, time, gender identity, and gender violence, the goal of these tours is to create additional spaces where difference can be experienced and diversity is celebrated. As a Mexican woman who aspires to be a professor in the United States, asserting the value of cultural difference in our classrooms is a matter of great personal significance for me.

    In the thirteen years I have been studying and working in the United States this is the first time that I engage with students in Spanish conversations within an academic space. Before moving to Pittsburgh I lived in Texas where Spanish is often spoken and is an important part of local culture; but here in Pennsylvania, where the Hispanic or Latino population is much smaller, speaking Spanish is no longer a part of my daily life. [1] Regularly my conversations in Spanish occur only with my colleagues in the Department of History of Art and Architecture. This is especially true now when Mexicans are frequently maligned by President Trump. In this political climate, I must admit, it has been both challenging and frightening to embrace my language and culture. Against this backdrop, the gallery tours have given me the necessary courage and space to interact with people from a variety of backgrounds and academic disciplines across the university in my first language. The UAG itself has provided me with a “safe space” where I can interact with others and proudly embrace my language. Thus, my interactions with the Department of Hispanic Languages and Literatures have been not only refreshing and instructive but also personally rewarding.

    In these 50-minute tours the students engage in conversation, answer questions, and complete a worksheet on the artworks exhibited. Their speaking, reading, and writing abilities are all practiced in these sessions. The tour dynamics are more interactive than the traditional classroom, offering object-based study and as a result the students often express their enthusiasm for visiting the gallery. As one student commented, “I learned a lot about art and some artistic ideas. It improved my ability to interpret art. [The tour] improved my listening ability, [it was] more difficult to listen to someone I’ve never met before. [I] had to think about complicated art ideas in Spanish.”

    Through the challenging topics presented by the University Art Gallery, the Spanish tours, and object-based learning strategies, diversity and understanding are being encouraged and practiced. Due to the the current administration’s continued call for the closure of the US-Mexican borders, now more than ever, it seems, the need for other cultures and languages to remain active and present in our communities cannot be overemphasized. The opportunity to communicate in a foreign language is not only a necessary skill in the context of a globalizing world, but one I believe is increasingly crucial for combating racism. These tours represent an important first step, but there is still more that can be done here on campus. In our efforts to reach larger audiences and continue creating a more diverse and compassionate university and community, we continue to ask ourselves how we can foster a more inclusive campus that promotes a plurality of voices, cultures, and languages in our society?

    [1] “Fast Facts: Pittsburgh Campus,” Office of Institutional Research, University of Pittsburgh, accessed November 28, 2018, https://ir.pitt.edu/facts-publications/fast-facts/

    Learn more about the Collecting Knowledge Pittsburgh initiative here

    Categories: 
    • Graduate Work
    • UAG
    • Collecting Knowledge Pittsburgh
  • Gallery discussion: Art History in the #MeToo Era

     

    From #MeToo to What Now?: Coping with Sexualized Violence in Art History

    Author: Nicole Scalissi, HAA graduate student

    In mounting This is Not Ideal: Gender Myths and Their Transformation the curatorial team wisely produced a slate of public programming to create space for community processing, discussion, dissent, and response to the challenging and often difficult content in the exhibition. The first of these events was an open discussion for us—students, instructors, curators, artists, and members of the public—to talk about what it means to engage with artworks that show gender-based and sexualized violence in the era of #MeToo.

    In 2017, #MeToo became a viral hash-tag following high-profile and celebrity disclosures of sexual abuse, and spawned a public referendum on sexualized violence. Me Too was originally founded by Tarana Burke and had been helping survivors, especially women and girls of color, find pathways to healing since 2006. Our open discussion was intended to be a space for offering up questions and sharing knowledge about how can we rethink how we (or do we) include—in our galleries, research, and classrooms—artworks that directly engage with gender-based and/or sexualized violence in the Me Too moment? With contributions from Sylvia Rhor, Curator and University Art Gallery Director, and artist Sarika Goulatia, the discussion was provoked by the sophisticated curation process of the Museum Studies students who produced This is Not Ideal, and it’s a big question that some museums, artists, and universities are only starting to grapple with publically. 

    On the one hand, that seems like an over-due question: isn’t it about time? On the other hand, this is a profoundly difficult question to take on for people who curate, teach, or learn about art history: throughout time, and especially in the Western tradition, the history of art is full of images of naked women and scenes of their victimization—sexual and/or otherwise. Women’s bodies have been pressed into service not just in but asnational histories and identities, myths and cautionary tales. Thinly veiled as “allegory,” women’s bodies have been made vulnerable, exposed, restrained, and consumed as art history. So, how then, are we as students and instructors, curators and artists, to deal with a culture of images that so often takes the female body not as subject but as object—i.e. not as people but as things—as a material, form, or concept to be mined and manhandled, gazed upon and fetishized? If we understand #MeToo or #TimesUp to be a reckoning, a cultural point-of-no-return where survivors, especially women—anatomically and not, cis-gendered and otherwise—can speak up and be believed, then what do we do with works of art that illustrate or are the real world product of actual gender-based violence or oppression?

    We panelists got the conversation started with our own research and concerns. As the historian on the panel, I wanted to get a few things to the surface and sketch out the recent national dialogue surrounding sexualized violence, especially as it has intersected with the universities and art world since over the past 5 years: 

    • controversial changes to Title IX under Secretary of Education Betsy DeVos (more ‘protections’ for those accused of sexual assault, closeddoor adjudication processes) [1]
    • remember Emma Sulkowicz, who carried a 50lb mattress around Columbia University campus for their 2014 senior year in artistic dissent of how CU (mis)handled their rape case? [2]
    • a listing of men’s names, including artist Chuck Close, who have been publically shamed and/or fired—or should be—for sexual misconduct [3]
    • and on the day after the portentous midterm elections and just days after Dr. Christine Blasey Ford’s testimony in the US Senate (that the nominee to the Supreme Court Brett Kavanaugh had sexually assaulted her), it was right to note the ways in which we have recently witnessed what are perhaps the highest stakes for this nation’s understanding of sexualized violence and its ability, or inability, to believe its bravest survivors. [4]

    Sylvia and Sarika shared with us how presenting Prosecuterix, an interactive exhibition based on real disclosures of sexualized violence, in a university setting impacted upon their work as curator, artist, and as citizens. Sylvia showed us how wading into the difficult territory of public display and sexualized violence produced new questions, ethical considerations, and the building of empathy and support networks, and how that experience shaped how she imagines an audience and her work most broadly as both a educator and curator. For example, how to envision and install an exhibition that allows for varying levels of engagement with problematic content, or how to loop in the Title IX office to support viewers and student curators at different levels in the exhibition process. Even still, the question arose again of how to handle problematic or potentially triggering images in the classroom.

    The discussion was built and shaped by members of HAA at all levels, undergraduate students in HAA and/or Museum Studies, graduate students, and faculty—including the Chair of the department. Undergraduate students who co-curated This is Not Ideal shared the debates they had in selecting objects and writing wall captions, and making decisions about which images would represent the exhibition to the public—issues that emerged from close—and sustained looking in this current social context. Most important, they provided feedback to the instructors in the room about what they felt would help them grapple with such images in the classroom, including what has worked and how they felt they could be better supported. (For this, we are grateful.)

    As new ideas emerged, so too did new questions: if content warnings are utilized on the walls of the UAG to support a diverse audience in navigating the difficulty in This is Not Ideal, might we also use these at the start of lectures, on a syllabus? How specific a warning? How to do we prepare as a learning community to handle unforeseen, unwarned triggers that emerge in a class? How can we help our students beyond the “warning,” how can we direct them toward survivor resources, and build a community of support that outlasts the class? How can we as a university community embed this in our culture, not just in specific lectures that engage with this content? 

    Maybe it is not just warnings and support, but enriching our content. For example, if we teach Alexandre Cabanel’s Birth of Venus (1875), or any of the thousands of female nudes in the collection of the Metropolitan Museum, then perhaps we must also teach The Guerrilla Girls Do Women Have To Be Naked To Get Into the Met Museum? (1989)—and also that the Met does not own it or any work by the Guerrilla Girls.[5] If we teach the paintings of Chuck Close or Pablo Picasso, ought we also teach about the multiple allegations of sexual misconduct made against them, and the art made in response such as Emma Sulkowicz’s nude performances in front of their paintings at the Met and MoMA? 

    Sylvia and Ellen Larson, Curatorial Assistant at the UAG, convened a panel surrounding a knotty and difficult question, one that is perhaps not answerable in one, final way. A way to begin answering it, however, and to continue the reckoning #MeToo set into motion is something like this discussion: it is navigating this terrain together, responding to the question with more questions, drawing on ideas from other fields, and dialoguing as a community across and through different roles at the university. 

     

    [1] See Megan Cerullo, “Betsy DeVos Proposes Sexual Misconduct Rules that Would Protect Alleged Offenders,” Los Angeles Times (August 29, 2018), https://www.latimes.com/ny-news-betsy-devos-sexual-misconduct-rules-20180829-story.html

    [2] Note: Sulkowicz has used gender-neutral pronouns publically since 2017. See Soraya Nadia McDonald, “It’s Hard to Ignore a Woman Toting A Mattress Everywhere She Goes, Which is Why Emma Sulkowicz ss Still Doing it,” The Washington Post (October 29, 2014)https://www.washingtonpost.com/news/morning-mix/wp/2014/10/29/its-hard-to-ignore-a-woman-toting-a-mattress-everywhere-she-goes-which-is-why-emma-sulkowicz-is-still-doing-it/?utm_term=.3b684c7e19fb

    [3] Claire Voon and Jillian Steinhauer, “For More Women Allege Sexual Misconduct by Chuck Close,” Hyperallergic (January 16, 2018), https://hyperallergic.com/420538/four-more-women-allege-sexual-misconduct-by-chuck-close/

    [4] See published transcript, “Christine Blasey Ford’s Opening Statement for Senate Hearing,” npr.org [National Public Radio] (September 26, 2018), https://www.npr.org/2018/09/26/651941113/read-christine-blasey-fords-opening-statement-for-senate-hearing

    [5] As the Guerrilla Girls pointed out in the artwork—which surely seemed overdue in 1989, too—“Less than 5% of the artists in the Modern Art Sections [of the Metropolitan Museum] are women, but 85% of the nudes are female.”

    _______________________________________________________________________________________________________________________________

    If you feel you are a survivor of sexual harassment or assault, the University of Pittsburgh has support resources, some of which can be obtained anonymously. For more information and to report, see the Office of Sexual Harassment and Assault Response and Education (SHARE) https://www.studentaffairs.pitt.edu/share/

     

     

    Categories: 
    • Graduate Work
    • UAG
    • Collecting Knowledge Pittsburgh
  •  

    Touching Correspondence: Archive Visit during Making Advances Mellon Workshop

    Author: Paula Kupfer, PhD student in History of Art and Architecture and Making Advances Workshop participant

    One of the postcards shows a hunky man with dark eyebrows and long black hair, dressed in a vibrant red sweater. His left hand grasps his belt, the intensity of his gesture matched only by the fiery look in his eyes. The backdrop—a pink wall with three small pictures in kitschy frames—crowns the humorous earnestness of his pose. The other postcard depicts a hand-colored black-and-white reproduction of Jesus: his hair, highlighter orange; his sleeves, highlighter blue; his torso, highlighter pink. A caption reads: Sagrado Corazon de Jesus (Sacred Heart of Jesus). 

    These postcards were sent by artist and photographer Nan Goldin (b. 1953) to her friend, the artist Greer Lankton (1958–96), and are part of the Greer Lankton archive at the Mattress Factory, which we visited during the Making Advances Mellon Workshop in early May. Lankton is remembered for her hand-sewn dolls, installations, and autobiographical work reflecting her life experiences as an artist and a transgender person who also struggled with drug addiction. Goldin is best known for her Ballad of Sexual Dependency, a series of personal photographs mostly from the 1970s and 1980s, of her life and friends in Boston, New York, Berlin, and elsewhere. The pictures reflect moments of ecstasy and pain, in particular highlighting the ravages that the AIDS crisis inflicted on her community. Ballad offers an intimate, diaristic view of Goldin’s life; she would present it as a slideshow, often in nightclubs, accompanied by a soundtrack created by her and her friends.

    On the back of Jesus, Goldin wrote, from Mexico, in 1982: 

    Dear Greer, a belated valentines card for you, my sweet. . . . Still living a lazy existence, reading a lot, swimming, cooking + cleaning, eating only fruit + veggies for a while. It must be a modern Mexican miracle—this sudden domesticity I’ve fallen into. Still, it’s difficult to be a woman down here. It’s like walking past one enormous construction site all the time. It’s very repressed sexually especially this area. . . . Women can’t drink in the cantinas or play pool in the halls or do much alone. But actually there seems to be a new breed of woman coming up seems more independent. Mardi gras carnival is starting so we’ve been going to all these town events—the crowning of the child queen, the crowning of the lady queen. Marceled hairdos à la colonial Spain, banana curls with tiaras or else Carmen Miranda drags. . . . We’re still planning to come back March 10. Will write if changes. Love to Michele. Miss you! Want word from NYC.” 

    On the back of the handsome man in red, sent from Germany in 1984, Goldin wrote: 

    Dear Greer, this is one of the sex symbols of Turkey. We stayed in Little Turkey in Berlin—like the Lower East Side. Lived in a house with 40 people, a printing press, carpentry factory, dinners for 40 every night. A real little socialist state. Spent all the $ I brought on sekt—the link between wine and champagne—so I have not much to show for it and not even sure how many memories. Did make some good connections workwise. . . . Did 2 slideshows at cinemas, one in Berlin, one here in Wuppertal—sort of like Pittsburg [sic] except w. Pina Bausch company here. No amour this trip. Coming back in time to do the Diane B shot so get ready! Can’t wait to see Art Forum and yr new work. Love xxx Nan” 

    Although I knew of links between the two artists—Lankton appears in many of Goldin’s photographs from the 1970s and ’80s, perhaps most famously in Greer and Robert on the bed, NYC, from 1982—the discovery of these two postcards was particularly affecting. Doubtless it was the sweetness of the tone in both, but also the surprise of reading first-hand words by an artist who so often speaks through images. Reflecting the sort of intense personal character of both Goldin and Lankton’s work, these postcards embody a material link between the two women, a form of tenderness relayed through handwriting, a traveling piece of cardboard that speaks of their connection, trust, and a form of care that spanned geographic distance.  

    Goldin is credited with inaugurating a new aesthetic in photography—her off-the-cuff, bright-flash, richly colored representations of her own life represented a new possibility within the realm of fine art photography. Her life was her art—raw, joyous, painful, sexual, tender. She had this in common with Lankton, whose work and archive—a deeply moving, deeply human collection of photographs, photo albums, diaries, and letters—bears testament to the troubles and joys of her unusual life and its translation into artworks. These postcards fall into the same spirit: they are sincere, disarming, and funny. 

    Thinking of Greer Lankton and Nan Goldin feels urgent today. Not only because of new threats against the lives and rights of transgender people. Or because of Goldin’s admirable and ongoing activism in response to the opioid crisis in the United States—of which she herself has been a victim—and the complicity of art institutions. But also because the radical vulnerability they offer the world through their art and archive is deeply political and necessary today. The more stories of pain and alterity—but also joy and euphoria—are shared with others, the more art may serve a form of much-needed empathy. Sometimes such reminders come in inconspicuous forms, such as that of postcards. 

    Learn more about the Making Advances Workshop here

    Learn more about the Collecting Knowledge Pittsburgh initiative here

    Categories: 
    • Graduate Work
    • Collecting Knowledge Pittsburgh

    Kim Fox's installation

     

    Gendered spaces, materials, forms ... and their transformation

    Author: Brooke Wyatt, HAA graduate student and HAA1030 Museum Studies Exhibition Seminar student – Fall 2018 

    Handwork is an exhibition of new work by Pittsburgh artist Kim Fox, currently on view in Contemporary Craft's BNY Mellon Satellite Gallery in the lobby of the Steel Plaza T-Station downtown. Six works are presented, ranging in size from the large-scale Eight-Pointed Star Quilt II (2018), a work that employs two salvaged wooden barn doors for its support, to the more intimate Log Cabin Quilt Block (2018), scaled to the size of the reclaimed wood lath that frames the composition. Fox engages a range of found materials, including vintage tin, paper dress patterns, and a tabletop that was used to cut glass in a hardware store, as seen in Blue Honeycomb (2018). In some cases, Fox links these materials to their previous location and function in manufacturing towns around Pittsburgh. Through wall-text information, we learn that the tabletop came from Clairton, PA, home of U.S. Steel's Clairton Works, the largest coke-producing facility in the United States. The salvaged wood used in another work, Honeycomb (2018), was found at the Jeannette Glass Works, defunct since 1983, but once one of Pennsylvania's premier consumer glass manufacturers. 

    In conjunction with these echoes of the region's industrial history, Fox's use of forms and patterns drawn from the world of quiltmaking reflects parallel traditions in the area's production of housewares and crafts. In Handwork, references to mechanized industry and factory production interface with the aesthetics of homemade, hand-stitched textile work to evoke a complicated reading of gender. Materials and techniques associated with masculinized spaces such as the factory floor and the realm of hard labor intersect with interior, domestic spaces often coded as feminine. The works allow layers of meaning to accumulate as found objects join together with the mark-making, collaging, and repetitive ordering that reveals the artist's working process. Fox combines materials and techniques from craft practice with more conventional fine art approaches, effectively playing with embedded hierarchies about which forms are most valuable or visually provocative. Through her material exploration of these binary constructions —masculine/feminine, public/private, fine art/craft, work/hobby — Fox's work unravels dichotomies to present a composite, layered meditation on labor, place, and the convergence of past and present.

    Bringing new interpretations to traditional paradigms of gendered space, material, and form is central to Fox's visual language, and reverberates with the work of Katie Ott, another Pittsburgh-based artist whose work is currently on view in the University Art Gallery (UAG) at the University of Pittsburgh. Part of the student-curated exhibition This is Not Ideal: Gender myths and their transformation, Ott's work makes a queer and intersectional feminist intervention into the historically masculine domains of woodworking and furniture-making, literally turning the tables on established gender norms around art and craft practice. 

    Handwork is presented in conjunction with Contemporary Craft's biennial show Transformation 10: Contemporary Works in Found Materials, the Elizabeth R. Rafael Founders Prize Exhibition and is on view from September 14, 2018 to January 5, 2019

    Learn more about the Collecting Knowledge Pittsburgh initiative here

    Categories: 
    • Graduate Work
    • Collecting Knowledge Pittsburgh
  •  

    Introducing "Sustaining DH"

    Approximately a year following the conclusion of our first NEH Research and Development Grant, the Visual Media Workshop team (with Dr. Alison Langmead at the helm) is embarking on its second NEH-funded project.

    As some of you may recall, the first grant was dedicated to running an extensive case study of Images of Medieval Art and Architecture (http://www.medart.pitt.edu/), an early manifestation of a digital humanities project. The grant culminated in the creation of a website entitled The Socio-Technical Sustainability Roadmap (STSR) (www.sustainingdh.net), a resource for project managers interested in assessing the status and potential sustainability solutions for their digital projects. 

    With the second NEH grant, we (Dr. Langmead, Chelsea Gunn, and Aisling Quigley) will take the STSR "on the road," running facilitated workshops at carefully-selected universities across the United States (Georgia, Pennsylvania, Oklahoma, Rhode Island, and Utah). These two-day workshops will incorporate three major sections: 

    1. A Project Survey (considering the scope, longevity, and sustainability priorities of the project at hand)
    2. An assessment of Staffing and Technologies (considering the socio-technical infrastructure of the project)
    3. An exploration of potential Digital Sustainability Plans (incorporating the NDSA levels of Preservation, file formats and metadata, permissions and data integrity, etc.) 

    As part of this grant, we have also proposed specific mechanisms for engaging with workshop participants and other interested individuals beyond the in-person workshops, offering virtual "office hours," for example, and other resources throughout the granting period. 

    More details on all of these activities will follow in the coming months!

    Categories: 
    • Sustaining DH
    • Sustaining MedArt
    • Graduate Work
    • Faculty Work
    • VMW
  •  

    Launching Botany Hall

    On Thursday, March 29th, Colleen O'Reilly and I launched our collaborative project Botany Hall: Dioramas on Context in the Hall of Botany at the Carnegie Museum of Natural History. The event marked the launch of our online exhibition at www.botanyhall.com and provided an ideal opportunity for facilitating a cross-institutional, interdisciplinary discussion about art and science. This latter component was always an essential part of our project vision. Indeed, in our initial mock grant proposal (drafted in Spring 2016), we posited that our project would contribute to academic discussion on the politics of display, representation as a pathway to knowledge, and the lives and agencies of objects. 

    We were delighted to assemble a panel of individuals who contributed to our research process between 2016 and 2018. Lugene Bruno, Curator of Art & Senior Research Scholar at the Hunt Institute for Botanical Documentation, provided expert knowledge on the history of botanical illustration and helpfully contrasted 2D and 3D representations of scientific phenomena. Bonnie Isaac, meanwhile, is an in-house expert on the space we have been studying for two years. As Collection Manager of Botany at CMNH, Isaac manages the herbarium and has witnessed the evolution of the museum since 1989. Erin Peters, joint lecturer of curatorial studies in the Department of History of Art and Architecture and Assistant Curator of Science and Research at the CMNH, straddles the line between art history and historical, scientific display, so has provided invaluable advice on this project since its inception. These individuals helped to generate a lively discussion about dioramas, display techniques, and collaborative work. 

    We were also pleasantly suprised by the number of attendees. Participants arrived from a range of institutions and disciplines: ranging from faculty and students from the School of Education and the Department of Art and Architecture at Pitt as well as staff from the Carnegie Museum of Art, Carnegie Museum of Natural History, the Andy Warhol Museum, Hunt Institute, City of Asylum, and the Botanical Society of Western Pennsylvania. 

    Having launched the website and hosted an opening event, we are taking some time away from Botany Hall. We may do more with this project, but are allowing ourselves some time to write our own dissertations and reflect on the work we've done thus far. Feel free to send us feedback after perusing the website! 

    Categories: 
    • Dioramas in Context
    • Graduate Work
    • Collecting Knowledge Pittsburgh
  •  

    CFP, Contemporaneity Edition 8: “Yesterday’s Contemporaneity: Finding Temporality In The Past”

    Contemporaneity: Historical Presence in Visual Culture

    CFP, Edition 8: “Yesterday’s Contemporaneity: Finding Temporality In The Past” 

    In recent decades art historians across the discipline have offered new insights into how communities in the global past understood their own positions in time. For example, Marvin Trachtenberg has made the case that twelfth- and thirteenth-century European architecture articulated a form of medieval modernism. Conversely Paul Binski has argued for how the same material could be understood as not only innovative, but also firmly historicist in nature. Studies of eschatology in artworks ranging from Renaissance wall paintings in Italy to Pure Land Buddhist Mandalas in Japan have highlighted how people in the past used theology to conceptualize their own place in time in the face of an uncertain but infinite future beyond their death. Meanwhile, studies of the visual cultures that emerged under different eras of imperialism and colonialism have illuminated how local and foreign definitions of time, history, and contemporaneity could directly shape the identities of both conquered and conquering peoples.  

    Contemporaneity asks what it means to be contemporary. The term is often invoked in reference to the current lives of citizens of today’s world, but this edition seeks to highlight contemporaneity across a wider variety of historical contexts. The aim is to uncover how cultures throughout the global past have negotiated temporalities, modernities, and historicisms, to come to terms with what it means to be present in their own moment. How can both history and modernity be visualized, contextualized, or conceptualized to create a sense of contemporaneity? How have institutions created temporalities for the cultures they study, and how can a historical object or space shape a person’s perception of an entire culture’s identity or agency? What is at stake in defining a work of art’s place in time? 

    Submissions on all topics will be considered. Potential topics may include, but are not limited to: 

    -modernism, medievalism, and historicism 

    -modernity and history in a global context 

    -anachronisms, futurisms, and revisionist histories  

    -Orientalism and other uses of the temporal in cross-cultural exchange 

    -spoliation, re-use, and/or appropriation 

    -museums, the ethics of collecting and “Grand narratives” 

    -traditional or historical art and crafts and the preservation of style 

    -contemporary interventions on historical objects or sites  

    -creation myths, apocalypses, beginnings and end times 

    The deadline for submissions is October 15, 2018. Manuscripts (circa 6,000 words) should include an abstract, 3-5 keywords, and adhere to the Chicago Manual of Style. To make a submission, visit http://contemporaneity.pitt.edu, click Register and create an author profile to get started. Proposals for book and exhibition reviews, interviews, or other scholarly contributions will also be considered, and we recognize that these submissions may take many forms.

    Proposals and questions can be directed to the editors at contemporaneityjournal@gmail.com

    Contemporaneity is a peer-reviewed online journal organized by the History of Art and Architecture Department at the University of Pittsburgh. Visit http://contemporaneity.pitt.edu for more information.

    Categories: 
    • Research Groups
    • Temporalities
    • Current Projects
    • Graduate Work
    • Faculty Work
  •  

    Tracing the Influence of William Henry Fox Talbot: Thoughts on a Guided Tour at the Carnegie Museum of Art

    Author: Krystle Stricklin

    PhD Student in History of Art and Architecture

    In early February 2018, a group of Pitt graduate students and faculty spent the afternoon talking all things Talbot with curator Dan Leers, during a special tour of the Carnegie Museum of Art exhibition, William Henry Fox Talbot and the Promise of Photography. Organized by Leers, the show brought together more than 30 works by British photographer William Henry Fox Talbot (1800 – 1877), making this the largest collection of Talbot photographs displayed in the US in the last 15 years. During the tour, Leers discussed his vision for the show, highlighting key moments from Talbot’s long career, as well as the difficulties in displaying such fragile objects. 

    Talbot’s influence on the development of paper-based photography is undeniable, with his patented “calotype” process serving as a forerunner to the darkroom techniques that many photographers still use today. At the time, daguerreotypes reigned supreme, but required photographers to spend hours laboriously treating and polishing copper plates, and allowed for only a single image per plate.

    However, Talbot’s calotype process allowed for multiple prints and shorter exposure times, which in turn expanded the potential subject matter. One point that Leers highlighted in his talk, was the incredible range of subjects that Talbot tackled in the early years of his photographic practice. After reducing his exposure times from a few hours to just a few minutes or even seconds, Talbot set out to photograph the world around him, in an almost encyclopedic fashion.

    The photographs on display offer a broad sampling of Talbot’s interests, from landscape scenes, street views, and family portraits to pictures of ceramic bowls and glass vases, classical busts, botanical specimens, and even his mother’s treasured lace collection. He photographed the things and places that had captured his fascination early on as a young Oxford student, where he cultivated a passion for the arts, sciences, and the classics. As Leers reminded us, it was Talbot’s unceasing pursuit of knowledge and his role as a “gentleman scientist” that led to his innovations in photography – innovations that can be traced from this early moment in photography’s history through to today.

    For those who missed the show, which closed in February, do not fret. The exhibition was accompanied by a wonderful catalogue available online or through the Carnegie Museum of Art gift store, with brilliant reproductions of Talbot’s works, an introductory essay by Leers, and detailed captions by noted photo-historian and Talbot expert, Larry Schaaf. With Leers at the helm of the Carnegie Museum of Art’s Department of Photography, I have no doubt that we can expect more exciting exhibits to come, rousing more dialogues about the varied and far-reaching promises of photography.

    Learn more about the Collecting Knowledge Pittsburgh initiative here

    Categories: 
    • Graduate Work
    • Collecting Knowledge Pittsburgh

    Paul Glabicki, Work in Computer Animation, Drawing, and Installation. Pittsburgh, Pennsylvania. Forum Gallery/Carnegie Museum of Art. Courtesy of the artist

     

    Anxious Optics: Microcinema Series Celebrates Local Animator Paul Glabicki

    Author: Ben Ogrodnik

    PhD Student in History of Art and Architecture and 2017-2018 Mellon Fellow in Curation and Education

    Paul Glabicki, Professor Emeritus of Studio Art at the University of Pittsburgh, has spent most of his career quietly but profoundly changing the world of animated film.

    From his earliest psychedelic experimentations with a Super 8mm camera, to his found-footage plunderings of TV commercials, to current interest in computer graphics, Glabicki has been concerned with animation as a vehicle for generating ideas, concepts and new modes of perception, rather than the Disney-ified usage of animation-as-entertainment that many of us may be used to. When you ask him to discuss his work, he frequently draws analogies with computers – his visuals “encode” new kinds of data directly to the viewer’s brain. He brings to the world of animation his deep interests in such fields as information theory, linguistics, continental philosophy, and classical music. His work has garnered numerous accolades in festivals around the world; and today, the prestigious Kim Foster Gallery in New York City represents him.

    Glabicki completed not one, but two MFA degrees at Ohio University, in Painting (1974) and Film (1979), respectively. He moved to Pittsburgh in the 1980s at the offer of a full-time professorship at Pitt. The city in this decade was a major hub for experimental animation. Local Pittsburgh animators such as Brady Lewis and Victor Grauer opened up new ways of seeing, through the cinematic manipulation of motion/movement. At the same time, the local film scene enjoyed a constant stream of visiting artists. Thanks to the presence of the Carnegie Museum of Art’s pioneering Film Section, founded by Sally Dixon in 1970, and led by Bill Judson from 1975 on, Glabicki recalls seeing leading animators present new work in person at the Museum, such as Robert Breer, George Griffin, and Suzan Pitt. Glabicki quickly made his presence felt in the community by serving as the Board Director of Pittsburgh Filmmakers; teaching courses on art and animation; and exhibiting his work at the Mattress Factory and Pittsburgh Center for the Arts.

    Perhaps the most distinctive aspect of Glabicki’s work is that, as an artist, he has enjoyed critical success in both the film-world and the art-world – two disciplinary spheres which do not always intersect or tend to recognize the other’s interests as valuable. Indeed, many filmmakers complain they are neglected in the art-world, which prioritizes auratic, priceless objects, like sculpture or painting. Meanwhile visual artists oftentimes struggle to create films that “succeed” with audiences in a more theatrical setting. Neither one is the case for Glabicki. His dual affinity for film and fine art is most evident in his one-of-a-kind animation technique: each film is carefully crafted by means of thousands of hand-drawn images on paper – “each drawing representing both a frame of film and a unique, complete work.” In short, his films are, by their very ontology, multidisciplinary: they exist both as fine-art objects (drawings) and reproducible copies (films/videos).

    Indeed, Glabicki has been able to subsidize his time- and labor-intensive animated work (sometimes taking up to 4 years to complete a twenty-minute short!) by selling individual frames to collectors as stand-alone works.

    In the 1980s, Bill Judson would visit Glabicki working tirelessly in his studio on Pitt campus, just a stone’s throw from the curator’s Museum office. There, he witnessed the slow evolution of Glabicki’s films, which were later displayed as serial drawings in art spaces, as in the 1981 University Art Gallery exhibition, Drawings and Studies for Animated Film.

    The close fit between fine art and film resulted in many innovative exhibitions that broke down the barriers dividing these disciplines. For instance, Judson organized a solo exhibition of Glabicki’s computer-based work, Computer Animation Studies, in 1991, in the Forum Gallery. The installation work on display blended computer animation, drawing, and sculpture. In turn, the animated image fluidly moved across distinct formats and institutional spaces, from the traditional movie theater, to the Amiga computer screen, to the white-cube gallery walls of the Carnegie Museum of Art.

    On April 11, at the Melwood Screening Room, local audiences will once more have an opportunity to survey the boundary-crossing animated work of Glabicki, across three decades of his practice.

    In my role as Mellon Fellow in Curation and Education in History of Art at Pitt, I have been able to curate a retrospective of Glabicki’s animations to cap off the third and final installment of Pittsburgh’s Avant-Garde, a free microcinema series at the Pittsburgh Filmmakers media arts center. On April 11’s screening – “Anxious Optics: The Experimental Animations of Paul Glabicki” – the artist will be in conversation with Judson, discussing his hand-drawn animations from the 1970s and 1980s, and more recent computer-based works, such as Red Fence, 1999, which exist and circulate in multiple formats as video loop, installation, and feature-length films shown at festivals.

    The Pittsburgh Avant-Garde film series aims to “explore rarely seen works, and honor Pittsburgh Filmmakers’ legacy as a hub for artistic experimentation and innovation.” After our inaugural screening on visiting artist Stan Brakhage, and a subsequent event on important work by gay and feminist local artists, we are thrilled for an animation-centric event that celebrates a local filmmaker’s contribution to this important cinematic tradition. Much like his artistic predecessors Oskar Fischinger, Viking Eggeling, and Walter Ruttmann, Glabicki has transformed animation into a powerful bridge, opening up new connections across painting, drawing, and the moving image.

    For a complete list of works being shown, and other information about the event, please click here, or feel free to contact me directly. We hope to see you there!

    Categories: 
    • Graduate Work
    • Collecting Knowledge Pittsburgh
  •  

    Update on Botany Hall

     

    This post was written by Colleen O'Reilly, PhD Candidate, Department of the History of Art and Architecture

    This past year has been filled with many productive developments and collaborations in relation to Botany Hall: Dioramas in Context. Aisling and I were very honored to receive support from the School of Computing and Information, the Department of History of Art and Architecture, and the Cultural Studies program at the University of Pittsburgh, and from the Carnegie Museum of Natural History, which allowed us to apply for an Interdisciplinary Humanities Grant from Pitt’s Humanities Center. These funds enabled us to present our project at two conferences in the fall of 2017. The first was the International Council of Museums Natural History conference, which took place at the Carnegie Museum of Natural History in October, and was focused on the theme of the Anthropocene. We presented some of our research on Botany Hall to an audience made up of museum professionals and natural history curators, many of whom are working with dioramas and displays, both new and old, at their institutions. We were able to share our viewpoints as researchers, working from outside the museum to produce work that helps to put natural history dioramas in historical context, and contribute to a broader discussion about the responsibility of the natural history museum in relation to our contemporary environment. 

    In November 2017, we presented at the Museum Computing Network annual conference in downtown Pittsburgh. This was a completely different setting in which we had the chance to talk about diorama history to an audience of museum professionals who are specifically focused on how to use technology in their institutions. It was enriching to share our work on the potential of a digital exhibition for contextualizing natural history museum content, and to bring questions about the role of visual technologies in museums to bear on the dioramas themselves, thinking through their status as objects that mediate knowledge. You can hear our talk here

    With the support of the grant, we are now completing the first iteration of our online exhibition, and will be launching it with special panel discussion event at the Carnegie Museum of Natural History in front of the dioramas themselves. This will take place on Thursday, March 29th from 4:30-6:00pm (write to me at cwo8@pitt.edu for more info and to register). We will be talking about the role that the dioramas play in the museum and the community, incorporating the perspectives of Pittsburgh experts in botany, botanical art, and environmental justice. We are looking forward to hearing reactions to our digital exhibition, and we anticipate that we will continue to develop it as Aisling and I move towards the ends of our PhDs and our next projects. 

    Categories: 
    • Dioramas in Context
    • Graduate Work
    • Collecting Knowledge Pittsburgh

Pages