Keely Kempster Sarr, Coordinator of Family and Community Programs, explores the story of friendship and blossoming romance behind the sculpture Daphnis and Chloe by the French artist Jean-Baptiste Carpeaux.
Join artist Pia Camil as she discusses her work and her current exhibition at the Clark, Velo Revelo. Camil, whose work explores the histories of fashion and postwar painting as well as questions of privacy, publicity, and femininity, will be in conversation with Mari Rodríguez Binnie, Assistant Professor of Art at Williams College whose teaching focuses on modern and contemporary art with particular emphasis on Latin America.
Among the most prominent collaborative works involving both an African American and Asian American artist, Black & White (1993) by Glenn Ligon and Byron Kim occupies something of exemplary space in an art history particularly attuned to multiculturalism and its analogues. Joan Kee, professor in the History of Art at the University of Michigan, argues that its urgency lies in how deftly it revealed humanist efforts at reifying minoritarian personhood as part of a larger and more insidious counter-humanist enterprise where the individual was simply another byte to be identified, collected, and harvested. Perhaps clearer now than it was in 1993, Black & White emerges most forcefully as an argument for a view of abstraction embedded in habits, routines, and rituals sustaining multiple structures of regulation as perpetuated through discourse, technology and politics.
Clark Fellow Virginia Burrus presents, “Curating Earthquakes: Between Ballroom Marfa’s ‘Hyperobjects’ (2018) and Jerome’s Life of St. Hilarion (390).” This lecture explores the relation between memory and place, shuttling between Marfa, Texas, and Paphos, Cyprus, a contemporary exhibition and a fourth-century literary work. Earthquakes, and larger dynamics of destruction and resilience, provide a particular point of convergence, as the lecture engages both memory and place in their intimately material and more-than-human dimensions.
This presentation offers a view on the seventeenth and eighteenth centuries’ artistic heritage in what is now independent Brazil. It underlines regional variations on the adaptation of the Portuguese artistic models and presents a chronology of relevant artwork. In parallel with some milestones of the political and territorial organization of the then called Portuguese America, we will briefly discuss the features of Brazilian artistic geography and the role that colonial art played in the creation of a national narrative for the Brazilian History of Art.
