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Lectures Archive, Spring 2013

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Lunchtime Talks | Mad Tom Society | Saturday Special Tours
Related & Special Lectures | Weedon Lectures | Archive

Lunchtime Talks

Join us for these informal presentations on aspects of the Museum's collections and special exhibitions. Lunchtime Talks are usually held on Tuesdays at 12 pm in the Museum.

Tuesday, February 12
Becoming the Butterfly
Landscapes of Whistler
by Emilie Johnson

Tuesday, March 5
Corot to Cézanne
by Corey Piper

Tuesday, April 9
Traces of the Hand
by Lawrence O. Goedde

Spring 2013 calendar

Mad Tom Society

These events are for members. Join Mad Tom Society >

Mad Tom Society

Saturday Special Tours

These informal presentations on aspects of the Museum's collections and special exhibitions are usually held on the last Saturday of each month from 2-3 pm in the Museum.

Corot to Cézanne
by Mitchell Merling

February 23
Traces of the Hand
by Lawrence O. Goedde

March 23
STrAY
by Jennifer Farrell

May 4
Becoming the Butterfly
Portraits of Whistler
by Emilie Johnson

May 18
Corot to Cézanne
by Bruce Boucher

Saturday Special Tours

Special & Related Lectures

Thursday, February 21
McIntire Department of Art Lecture
The Painter in Limbo: Agnolo Bronzino and the Renaissance Body
by Stuart Lingo
6:30 pm
Campbell 160

Gladys S. Blizzard Lecture
Thursday, March 21
The Genius of the System
by Luc Sante
Visiting Professor of Writing and Art History, Bard College
6 pm
Campbell 153
Reception to follow, in the Museum

Photography is unlike other arts in at least one respect: it is seldom entirely within the control of the artist, and almost always represents a collaboration with chance. This keeps the meaning of the photograph in flux; it is changed by successive generations of viewers. Photography is a broad continuum of which self-consciously artistic expression occupies only a small portion, but across which artistic realization can potentially be found at any point at any time.

Ellen Bayard Weedon Lectures in the Arts of Asia

With the generous support of the Ellen Bayard Weedon Foundation, the Museum presents four lectures on South and East Asian art each year.

Please join us for this year's series, all of which are held at 6:30 pm in Campbell 158.

Thursday, March 7
PLEASE NOTE: This lecture has been cancelled due to inclement weather and rescheduled for April 18, 6:30 pm, Campbell 158.

Moving Buddha: The Discovery of Chinese Sculpture
by Stanley Abe
Associate Professor, Department of Art, Art History, and Visual Studies, Duke University

Chinese sculpture as we know it today was not considered Fine Art in China or elsewhere until the beginning of the twentieth century. The lecture will discuss how certain kinds of figural objects became valuable antiquities in China as well as Fine Art in Europe, the United States, and Japan. Sculpture was "discovered" through the activities of many institutions and individuals, shaped by modern ideas of the nation-state and the past, history and culture, antiquity, and Fine Art.

Thursday, April 4
Trajectories of Tradition: A Rajput Intervention
by Molly Aitken
Assistant Professor of Art History, The City College of New York

In the early twentieth century, the Bengal School undertook to rejuvenate India's painting traditions in order to create a national alternative to European-style oil painting. Histories of India's modern art inevitably recount this episode, following a now established trajectory that starts with British art institutions in India and the demise of the Subcontinent's artistic traditions. This talk questions the episode of demise by taking a closer look at how India's court artists answered colonial-era challenges to their traditions.

It focuses on the project of a father and son, Rahim and Chotu, to reformulate royal portraiture at the Rajput court of Bikaner in the 1860s and 70s. Strategically traditional and not-traditional, the prototype they devised was realized in several versions, including a superb portrayal of Bikaner's Maharaja Sardar Singh at the Metropolitan Museum of Art, New York. This examination of their project highlights the kinds of art historical elisions that were essential to the Bengal School's success. By juxtaposing how Rajput court and Bengal School artists handled pictorial traditions in the colonial era, the talk disorders the established art historical narrative to reopen its assumptions for discussion.

Ellen Bayard Weedon Lectures in the Arts of Asia

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