UVaM - University of Virginia Art Museum

Visit

Lectures, Spring 2016

For a copy of a Museum calendar, please contact Mai Pham.

Select the lecture series
Lunchtime Talks | Saturday Special Tours
Special Lectures & Events | 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 from 12–1 pm in the Museum.

February 2
Two Extraordinary Women: The Lives and Art of Maria Cosway and Mary Darby Robinson
by Diane Boucher

March 15
Navajo Weaving: Geometry of the Warp and Weft
by Mary Jo Ayers

April 12
Jacob Lawrence: Struggle... From the History of the American People
by Elizabeth Hutton Turner

May 3
Richard Serra: Prints
by Rebecca Schoenthal

May 18
Art Lovers
by Alicia Dissinger

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.

Saturday, January 23—CANCELLED due to inclement weather
Richard Serra: Prints
by Rebecca Schoenthal

February 27
Fish and Fowl
by Alicia Dissinger

March 19
Two Extraordinary Women: The Lives and Art of Maria Cosway and Mary Darby Robinson
by Diane Boucher

March 26
The Art of Heartache: Carson McCuller's The Heart is a Lonely Hunter
by Stephen Margulies

April 23
Casting Shadows: Selections from the Permanent Collection featuring the FUNd
by the University Museums Interns

June 4
Andy Warhol: Icons

June 11
Andy Warhol: Icons

Saturday Special Tours

Special Lectures & Events

April 14–15
Jacob Lawrence Struggle Series Symposium
Thursday, April 14
Jacob Lawrence Symposium
Keynote & Reception
6:00 pm
FREE and open to the public. Please RSVP to Laura Mellusi if you are interested in attending.

Friday, April 15
Jacob Lawrence Symposium
9 am – 4:30 pm
Harrison/Small Auditorium
FREE and open to the public. Please RSVP to Laura Mellusi if you are interested in attending.

April 21
Richard Serra
by Anne Goodyear, Co-Director, Bowdoin College Museum of Art
6 – 7 pm
Campbell 153

Perhaps best known for his large-scale steel sculptures, Richard Serra has also proved a prolific creator of prints since the early years of his career. This presentation explores how Serra’s prints have contributed in essential ways to the artist’s ongoing exploration, exploitation, and definition of the tectonics structuring the interaction of bodies, materials, and even ideas with one another.

Anne Collins Goodyear is Co-Director of the Bowdoin College Museum of Art. She is a former Curator of Prints and Drawings at the National Portrait Gallery, Smithsonian Institution, where she became the first curator to collect digital and time-based art. Goodyear has curated numerous exhibitions and published and lectured widely about modern and contemporary American art and portraiture. She is currently co-curating This Is a Portrait If I Say So: Identity in American Art, 1912–Today, which traces the dissolution of a portraiture based on mimesis to one stressing instead conceptual and symbolic associations on the part of the maker with the portrait’s subject.

Gladys S. Blizzard Lecture

Thursday, March 17
From Temple of the Arts to Theatre of the Imagination
by Julian Raby
The Dame Jillian Sackler Director
Arthur M. Sackler Gallery and Freer Gallery of Art
6 – 7 pm
Campbell 160

Julian Raby will discuss the implications of a shift in the paradigm of museum displays that elevates the emotional impact of the objects and relies less on traditional taxonomies. This shift reflects a potential change from the museum as a purveyor of information to a site of inspiration and provocation.

Raby has been the director of the Freer and Sackler since 2002. He earned a doctorate in Oriental Studies from Oxford University, where he went on to become a university lecturer in Islamic art and architecture, chairman of curators of the Oriental Institute, and chairman of the Board of the Faculty of Oriental Studies, as well as the series founder and editor of Oxford Studies in Islamic Art. His many publications include Iznik: The Pottery of Ottoman Turkey, Turkish Bookbinding in the 15th Century, The Foundation of a Court Style, and The Serenissima and the Sublime Porte: Art in the Art of Diplomacy 1453–1600” in Venice and the Islamic World, 828–1797.

Ellen Bayard Weedon Lectures in the Arts of Asia

Thursday, March 24
Mithila Painting: Beneath the Surface
by David Szanton
President
Ethnic Arts Foundation
6 – 7 pm
Campbell 153

Mithila painting is a women’s painting tradition dating to at least the 14th century. The distinctive paintings draw on images, attributes, and classic and local narratives concerning the Hindu gods and goddesses that constitute a visual vocabulary in Hindu society. Although the paintings may seem opaque in the West, their meanings are largely familiar in their Indian context. Drawing on classic and current marriage imagery and paintings of four major couples in the Hindu pantheon—Shiva/Parvati, Radha/Krishna, Ram/Sita, Vishnu/Lakshmi, and Ardhanariswara, Shiva and Parvati as a single figure—Szanton will suggest the meanings embedded in the paintings, sketch their evolving social and cultural contexts, the evolution of the imagery from ritual goals to gender relations, and their implications for feminist issues in both India, and perhaps the West as well.

Thursday, April 7
First Emperor of China and the Wider World
by Lukas Nickel
Reader in Chinese Art History and Archaeology
School of Oriental and African Studies, University of London
6 – 7 pm
Campbell 153

The 3rd century BC saw a dramatic change in the political and cultural landscape of China. The rulers of the state of Qin joined all East Asian polities into an empire that set the foundations of China as we know it today. Nickel explores how the First Emperor of Qin (259-210 BC) utilised indigenous and alien traditions to create and consolidate this vast state. Although many aspects of his actions followed local practices established long before the emperor’s lifetime, some characteristics of the public presentation of the empire cannot easily be associated with Qin or other East Asian traditions, and point instead towards cross-Asian inspiration. Nickel places Qin dynasty material culture into this wider pan-Asian context.

Ellen Bayard Weedon Lectures in the Arts of Asia