{"1":{"ID":34369,"post_type":"programs","title":"I Can See It All Even With My Eyes Closed\u2013A Virtual Seminar on the Life and Art of Madalena Santos Reinbolt 4\/13\/25","content":"","status":"publish","date":"2025-02-07 23:35:45","name":"i-can-see-it-all-even-with-my-eyes-closed-a-virtual-seminar-on-the-life-and-art-of-madalena-santos-reinbolt-4-13-25","parent":0,"modified":"2025-06-13 02:57:48","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":34377,"id":34377,"title":"banner design - 1","filename":"4_13-seminar-banner-2.jpg","filesize":782851,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/4_13-seminar-banner-2.jpg","link":"https:\/\/folkartmuseum.org\/programs\/i-can-see-it-all-even-with-my-eyes-closed-a-virtual-seminar-on-the-life-and-art-of-madalena-santos-reinbolt-4-13-25\/banner-design-1-3\/","alt":"","author":"9","description":"","caption":"","name":"banner-design-1-3","status":"inherit","uploaded_to":34369,"date":"2025-02-08 02:06:45","modified":"2025-02-08 02:06:45","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1562,"height":887,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/4_13-seminar-banner-2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/4_13-seminar-banner-2-300x170.jpg","medium-width":300,"medium-height":170,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/4_13-seminar-banner-2-768x436.jpg","medium_large-width":768,"medium_large-height":436,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/4_13-seminar-banner-2.jpg","large-width":1562,"large-height":887,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/4_13-seminar-banner-2-1536x872.jpg","1536x1536-width":1536,"1536x1536-height":872,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/4_13-seminar-banner-2.jpg","2048x2048-width":1562,"2048x2048-height":887}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/02\/4_13-seminar-banner-2.jpg","headline":"I Can See It All Even With My Eyes Closed\u2013A Virtual Seminar on the Life and Art of Madalena Santos Reinbolt","di_date":"2025-04-13","excerpt":"

Join us for a one-day virtual seminar, offered in English and Portuguese, showcasing new research on Madalena Santos Reinbolt\u2019s artistic practice.<\/span><\/p>\n

Watch a recording of this program in English<\/span> here<\/a>.<\/p>\n

Assista<\/span> aqui<\/a> \u00e0 grava\u00e7\u00e3o deste programa em portugu\u00eas.<\/span><\/p>\n","start_time":"11:00 am","end_time":"4:30 pm","admission":"Virtual; free with registration","main_content":"

I work everything out in my head. I can see it all even with my eyes closed. I think of something, and if it has to be tacked then I start tacking, and then on top of that I stitch all the things that I have in my head. Really, it\u2019s the needles that are doing the drawing.<\/span><\/i><\/p>\n

\u2013 Madalena Santos Reinbolt, c. 1974\u20131975\u00a0<\/span><\/p>\n

I Can See It All Even With My Eyes Closed\u2013A Virtual Seminar on the Life and Art of Madalena Santos Reinbolt, <\/span><\/i>a day of talks and presentations held in both English and Portuguese, is the first large-scale program exploring the life, art, influences, and creative processes of Madalena Santos Reinbolt (Vit\u00f3ria da Conquista, Brazil, 1912\u20131976, Petr\u00f3polis, Brazil).<\/span><\/p>\n

The program will focus on the trajectory of Santos Reinbolt, an Afro-Brazilian painter and embroiderer who migrated in search of employment from rural Northeastern Brazil, where she grew up, to the larger cities of Salvador, S\u00e3o Paulo, Rio de Janeiro, and Petr\u00f3polis in the second half of the 20th century. She chronicled local landscapes, people, and rituals from both her past and present while witnessing the rapid industrialization of her country in the second half of the 20th century. Looking at Santos Reinbolt\u2019s\u00a0 vibrant depictions of her social, natural, and spiritual environment, speakers will contextualize her practice as an expression of creative freedom and resistance within the complex climate of post-war Brazil.<\/span><\/p>\n

Organized in conjunction with the exhibition <\/span>Madalena Santos Reinbolt: A Head Full of Planets<\/span><\/i><\/a>, the first retrospective of the artist’s work\u2013first on view at the Museu de Arte de S\u00e3o Paulo Assis Chateaubriand in 2022, and currently at the American Folk Art Museum), <\/span>I Can See It All Even With My Eyes Closed <\/span><\/i>will present new research on this overlooked but important figure of twentieth-century Brazilian art. The virtual seminar will bring together leading scholars, curators, and artists from Brazil and the US to explore modernisms, Latin American arts, textiles, craft, self-taught practices, and the Black diaspora. It will offer a rare opportunity for the audience to situate Santos Reinbolt\u2019s artistic process in a broader historical, geographical, gendered, racial, and socio-economic context while examining the extent of the artist\u2019s practice and singular vision.<\/span><\/p>\n

The virtual seminar will be divided into two sessions. The first will begin with an introduction by exhibition curator Val\u00e9rie Rousseau, followed by a panel discussion with Brazilian and American curators and scholars\u2014Amanda Carneiro, Andr\u00e9 Mesquita, Amanda Reis Tavares Pereira, Mariana Arantes, and Dylan Blau Edelstein\u2014who will present new scholarship on Santos Reinbolt. The second session will feature a conversation between American artist Kesiena Onosigho and American art historian Julia Bryan-Wilson on the politics and aesthetics of textiles, followed by closing remarks from Brazilian historian and anthropologist Lilia Moritz Schwarcz.<\/span><\/p>\n

This seminar is organized by Mathilde Walker-Billaud, AFAM Curator of Programs and Engagement<\/span><\/p>\n

\n

Schedule<\/strong><\/p>\n

11:00 AM – 11:30 AM ET<\/strong><\/p>\n

Madalena Santos Reinbolt at the American Folk Art Museum in New York<\/strong><\/p>\n

Introduction by <\/span>Val\u00e9rie Rousseau<\/strong>, PhD Curatorial Chair and Senior Curator of 20th-Century & Contemporary Art, AFAM and <\/span>Mathilde Walker-Billaud<\/strong>, Curator of Programs and Engagement.<\/span><\/p>\n

11:30 AM – 1:30 PM ET<\/strong><\/p>\n

Madalena Santos Reinbolt: A Public Secret No More?<\/strong><\/p>\n

Panel presentation and conversation featuring:\u00a0<\/span><\/p>\n

– Amanda Carneiro<\/b> & <\/span>Andr\u00e9 Mesquita<\/b>, <\/span><\/strong>co-curators of Madalena dos Santos Reinbolt: A Head Full of Planets<\/i> presented at MASP, from November 25, 2022 to February 26, 2023<\/span><\/p>\n

– Amanda Reis Tavares Pereira<\/strong>, art scholar\u00a0<\/span><\/p>\n

– <\/span>Mariana Arantes<\/strong>, art scholar\u00a0\u00a0<\/span><\/p>\n

Introduced and moderated by <\/span>Dylan Blau Edelstein<\/strong>, PhD Candidate, Princeton University’s Spanish and Portuguese Department, and Curatorial Assistant of AFAM\u2019s Madalena Santos Reinbolt: A Head Full of Planets<\/i><\/span><\/p>\n

1:30 PM – 2:00 PM ET<\/strong>
\nBREAK<\/strong><\/p>\n

2:00 PM – 3:15 PM ET<\/strong><\/p>\n

Embellishing the Threads: Madalena Santos Reinbolt and Afro-Diasporic Textile Traditions<\/strong><\/span><\/p>\n

Conversation with <\/span>Kesiena Onosigho<\/strong>, artist<\/span><\/p>\n

and <\/span>Julia Bryan-Wilson<\/strong>, Professor of LGBTQ+ Art at Columbia and Curator-at-Large at MASP<\/span><\/p>\n

3:15 PM – 4:30 PM ET<\/strong><\/p>\n

Madalena Santos Reinbolt: Art As a Form of Saturation and Anachronistic Time\u00a0<\/strong><\/p>\n

Closing remarks by <\/span>Lilia Moritz Schwarcz<\/strong>, Full Professor in Anthropology at the University of S\u00e3o Paulo and Visiting Professor at Princeton University.<\/span><\/p>\n

Click here<\/a> for a full schedule and speaker biographies.<\/p>\n

\n

Credits<\/strong><\/p>\n

I Can See It All Even With My Eyes Closed\u2013A Virtual Seminar on the Life and Art of Madalena Santos Reinbolt<\/span><\/i> is co-presented with the<\/span> Museu de Arte de S\u00e3o Paulo Assis Chateaubriand<\/span><\/a> and <\/span>Brazil LAB at Princeton University<\/span><\/a>.<\/span><\/p>\n

The Museu de Arte de S\u00e3o Paulo Assis Chateaubriand – MASP, the first modern museum in Brazil, is a private, non-profit institution founded in 1947 by Brazilian businessman Assis Chateaubriand. Its building, designed by Lina Bo Bardi, is a landmark of 20th-century architecture. This year, MASP is expanding, transforming into a cultural complex with the most important collection of European art in the Southern Hemisphere. Its curatorial program is diverse, inclusive, and plural, celebrating the history of art.<\/p>\n

The Brazil LAB is an original initiative at the Princeton Institute for International and Regional Studies, gathering Princeton faculty and students working in and on Brazil and on subjects Brazil is helpful to think with. The LAB | <\/span>Luso-Afro-Brazilian Studies<\/span><\/i> | is a multi-disciplinary research and teaching hub for exploring the country\u2019s history, politics and culture, along with its regional significance and international connections.<\/span><\/p>\n

Accessibility:<\/strong><\/p>\n

This virtual program is free for all to attend. It will be recorded and shared at a later date on our website, Vimeo and YouTube pages.<\/span><\/p>\n

All sessions feature closed captioning in English, and live interpretation in Portuguese.<\/span><\/p>\n

For specific accommodation questions or needs, please contact us at least 10 days prior to the program at publicprograms@folkartmuseum.org<\/a>.<\/span><\/p>\n

Support<\/strong><\/p>\n

Lead Support for this program is provided by Dorothea and <\/span>Leo Rabkin Foundation.\u00a0<\/span><\/p>\n

Additional support is provided by <\/span>The Coby Foundation, the Madalena Santos Reinbolt Advisory Committee (Vilma Eid, <\/span>Luciana Solano, <\/span>Maria Fernanda Mazzuco), the <\/span>Consulate-General of Brazil in New York \/ Instituto Guimar\u00e3es Rosa, Citi, <\/span>the <\/span>Dorothea and Leo Rabkin Foundation, and the <\/span>New York City Department of Cultural Affairs in partnership with the City Council, the <\/span>New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature<\/span>, and the David Davies and Jack Weeden Fund for Exhibitions.<\/span><\/p>\n

Images<\/strong>\u00a0<\/span><\/p>\n

Left: Attributed to Pedro Oswaldo Cruz and Cristina Oswaldo Cruz (Brazil), <\/span>Madalena Santos Reinbolt<\/b><\/p>\n

    \n
  1. 1974\u20131975, digital photograph \u00a9 L\u00e9lia Coelho Frota, <\/span>Mitopo\u00e9tica de 9 artistas brasileiros<\/span><\/i> (Rio de Janeiro: Funarte, 1978)<\/span><\/li>\n<\/ol>\n

    Right: Madalena Santos Reinbolt<\/span>, Untitled, <\/b>1965\u20131976, acrylic wool on burlap, 35 x 43 1\/4 in. Collection Edmar Pinto Costa, S\u00e3o Paulo, Brazil<\/span><\/p>\n

    Registration<\/strong><\/p>\n

    Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

    Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d<\/span><\/p>\n

    \"\"\u00a0 \u00a0 \"\"<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/www.youtube.com\/playlist?list=PLYdGnSYY2RVr4s-2OfmGdKlRK3FNGMAXw","day":"13","month":"Apr","year":"2025","link":"https:\/\/folkartmuseum.org\/programs\/i-can-see-it-all-even-with-my-eyes-closed-a-virtual-seminar-on-the-life-and-art-of-madalena-santos-reinbolt-4-13-25\/"},"2":{"ID":34188,"post_type":"programs","title":"2025 Anne Hill Blanchard Uncommon Artists Lecture","content":"","status":"publish","date":"2025-01-10 21:10:50","name":"2025-anne-hill-blanchard-uncommon-artists-lecture","parent":0,"modified":"2025-03-04 19:40:30","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":34193,"id":34193,"title":"2025 Uncommon Artist2","filename":"2025-Uncommon-Artist2.png","filesize":2076902,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/01\/2025-Uncommon-Artist2.png","link":"https:\/\/folkartmuseum.org\/programs\/2025-anne-hill-blanchard-uncommon-artists-lecture\/2025-uncommon-artist2\/","alt":"","author":"9","description":"","caption":"","name":"2025-uncommon-artist2","status":"inherit","uploaded_to":34188,"date":"2025-01-10 21:36:02","modified":"2025-01-10 21:36:02","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1920,"height":1080,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/01\/2025-Uncommon-Artist2-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/01\/2025-Uncommon-Artist2-300x169.png","medium-width":300,"medium-height":169,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/01\/2025-Uncommon-Artist2-768x432.png","medium_large-width":768,"medium_large-height":432,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/01\/2025-Uncommon-Artist2.png","large-width":1920,"large-height":1080,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/01\/2025-Uncommon-Artist2-1536x864.png","1536x1536-width":1536,"1536x1536-height":864,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/01\/2025-Uncommon-Artist2.png","2048x2048-width":1920,"2048x2048-height":1080}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2025\/01\/2025-Uncommon-Artist2.png","headline":"2025 Anne Hill Blanchard Uncommon Artists Lecture","di_date":"2025-03-02","excerpt":"

    Join us online for the 2025 Anne Hill Blanchard Uncommon Artists Lecture and discover new research on artists Jos\u00e9 Antonio da Silva, H\u00e9lio Melo, Rosa Elena Curruchich with talks by Gabriel Perez-Barreiro, Kiki Mazzucchelli and Miguel A. L\u00f3pez.<\/span><\/p>\n

    Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"3:00 pm","main_content":"

    Join us online for the 2025 Anne Hill Blanchard Uncommon Artists Lecture.<\/span><\/p>\n

    Talks will present new research by curators Gabriel Perez-Barreiro, Kiki Mazzucchelli and Miguel A. L\u00f3pez, drawing on the themes and approaches of the American Folk Art Museum\u2019s exhibition <\/span>Madalena Santos Reinbolt: A Head Full of Planets<\/span><\/i><\/a>,<\/span> which will be on view from February 12 through May 25, 2025.<\/span><\/p>\n

    With a focus on South America in the long 20th Century, this year\u2019s lecture presents three painters who defied realism, capturing daily life at a time of social, ecological and political changes: Jose Antonio da Silva (Brazil; 1909-1996), Helio Melio (Brazil; 1926-2001) and Rosa Elena Curruchich (Guatemala; 1958-2005).<\/span><\/p>\n

    Art historian and curator Gabriel Perez-Barreiro offers new approaches to Jose Antonio da Silva\u2019s vast and singular production, Kiki Mazzucchelli looks into Helio Melio\u2019s forestial folklore, in which the Amazon plays a central role, and Miguel A. L\u00f3pez highlights Rosa Elena Curruchich\u2019s streamlined but nuanced perspective on Mayan society.\u00a0<\/span><\/p>\n

    The <\/span>Anne Hill Blanchard Uncommon Artists Lecture Series<\/span><\/a> highlights new and important contributions to the field of folk and self-taught art. This annual series honors the late Anne Hill Blanchard, an inspiring and passionate leader in the field and a devoted supporter of the American Folk Art Museum.<\/span><\/p>\n

    Schedule<\/u><\/p>\n

    1:00 p.m. EST Welcome & Opening Remarks<\/span><\/p>\n

    1:10\u00a0 p.m. EST Gabriel P\u00e9rez-Barreiro on Jos\u00e9 Antonio da Silva (Brazil; 1909-1996)<\/span><\/p>\n

    1:40 p.m. EST Kiki Mazzucchelli on H\u00e9lio Melio (Brazil; 1926-2001)\u00a0<\/span><\/p>\n

    2:10 p.m. EST Miguel A. L\u00f3pez on Rosa Elena Curruchich (Guatemala; 1958-2005)<\/span><\/p>\n

    2: 40 pm EST Q&A<\/span><\/p>\n

    Speakers<\/strong><\/p>\n

    Miguel A. L\u00f3pez<\/strong> is a writer and curator. He was co-curator of the 2024 edition of the Toronto Biennial of Art. From 2015 to 2020, he worked as Chief Curator, and later Co-director at TEOR\/\u00e9Tica, Costa Rica. In 2019, he curated the retrospective exhibition of Cecilia Vicu\u00f1a, “Seehearing the Enlightened Failure,” at the Witte de With (now Kunstinstituut Melly), Rotterdam, which traveled to Mexico City, Madrid, and Bogota, during 2020-2022.<\/span><\/p>\n

    Kiki Mazzucchelli <\/strong>is a curator, writer and editor currently based in S\u00e3o Paulo. Over the past decade, her projects have focused on historical artists from Brazil whose work has been overlooked by dominant narratives – among them Eleonore Koch (1926-2018), Fl\u00e1vio de Carvalho (1899-1973), and H\u00e9lio Melo (1926-2001). Since 2022, she has been the Artistic Director of Galeria Luisa Strina, where she is in charge of the artistic programme and special projects; as well as the co-curator (with Filipe Assis and Claudia Moreira Salles) of ABERTO, an itinerant platform of group exhibitions held in iconic modernist houses.<\/span><\/p>\n

    Gabriel P\u00e9rez-Barreiro <\/strong>is a curator and art historian. He was Director and Chief Curator of the Colecci\u00f3n Patricia Phelps de Cisneros from 2008\u20132018, and is currently Senior Advisor. He was Curator of the 33 rd S\u00e3o Paulo Bienal in 2018 and curator of the Brazilian pavilion at the 58 th Venice Biennale in 2019. From 2002\u20132008 he was Curator of Latin American Art at the Blanton Museum of Art, The University of Texas at Austin. In 2007 he was Chief Curator of the 6 th Mercosur Biennial in Porto Alegre, Brazil. He holds a PhD in Art History and Theory from the University of Essex, and an MA in Art History and Latin American Studies from the University of Aberdeen. From 2000-2002 he was Director of Visual Arts at The Americas Society in New York. Prior to that he was Exhibitions and Programs Coordinator at the Casa de Am\u00e9rica in Madrid. From 1993 to 1998 he was Founding Curator of the University of Essex Collection of Latin American Art. He has published and lectured widely on modern and contemporary art from Latin America. He is a member of the collective ESTAR(SER), the Esthetic Society for Transcendental &amp; Applied Realization.<\/span><\/p>\n

    Images<\/strong><\/p>\n

    Left: Jos\u00e9 Antonio da Silva, Cotton Field, 1969,\u00a0 oil on canvas,\u00a0 65 x 100 cm. Collection Vilma Eid<\/span><\/p>\n

    Middle: H\u00e9lio Melo, Untitled, 1990, ink and leaves’ extract on fabric. Courtesy of Almeida & Dale – Photo: Sergio Guerini<\/span><\/p>\n

    Right: Rosa Elena Curruchich, <\/span>Rosa Elena pintando caser\u00edo Chosij <\/span><\/i>[Rosa Elena Painting the Chosij Village], ca. 1980s, oil on canvas, 15.7 \u00d7 20 cm. Photo: Juan Pablo Murrugarra<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/youtu.be\/LAB8qG-gi44","day":"02","month":"Mar","year":"2025","link":"https:\/\/folkartmuseum.org\/programs\/2025-anne-hill-blanchard-uncommon-artists-lecture\/"},"3":{"ID":32781,"post_type":"programs","title":"Institutional Psychotherapy: Legacy and Constellations of Francesc Tosquelles","content":"","status":"publish","date":"2024-03-27 15:49:47","name":"institutional-psychotherapy-legacy-and-constellations-of-francesc-tosquelles","parent":0,"modified":"2024-09-24 01:22:12","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":32782,"id":32782,"title":"Tosquelles banner2","filename":"Tosquelles-banner2.png","filesize":2605303,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-banner2.png","link":"https:\/\/folkartmuseum.org\/programs\/institutional-psychotherapy-legacy-and-constellations-of-francesc-tosquelles\/tosquelles-banner2\/","alt":"","author":"27","description":"","caption":"","name":"tosquelles-banner2","status":"inherit","uploaded_to":32781,"date":"2024-03-27 15:44:58","modified":"2024-03-27 15:44:58","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-banner2-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-banner2-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-banner2-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-banner2.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-banner2-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-banner2-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/03\/Tosquelles-banner2.png","headline":"Institutional Psychotherapy: Legacy and Constellations of Francesc Tosquelles","di_date":"2024-05-03","excerpt":"

    A two-day symposium exploring the legacy of Francesc Tosquelles and presenting new research at the intersection of avant-garde psychiatry, radical politics and arts.<\/span><\/p>\n

    Watch a recording of Keynote online<\/span> here.<\/a><\/p>\n

    Watch a recording of Panel 1 online<\/span> here.<\/a><\/p>\n

    Watch a recording of Panel 2 online<\/span> here.<\/a><\/p>\n

    Watch a recording of Panel 3 online<\/span> here.<\/a><\/p>\n

    Watch a recording of Panel 4 online<\/span> here.<\/a><\/p>\n

    Watch a recording of Closing Conversation online<\/span> here.<\/a><\/p>\n","start_time":"11:00 am","end_time":"5:00 pm","admission":"Virtual; free with registration","main_content":"

    Situated at the intersection of art and psychiatry, the exhibition <\/span>Francesc Tosquelles: Avant-Garde Psychiatry and the Birth of Art Brut <\/span><\/i>explores for the first time in the United States the legacy of Catalan psychiatrist Francesc Tosquelles. After fleeing the Nationalist government of Franco amidst the Spanish Civil War, Tosquelles arrived in 1940 at the Saint-Alban psychiatric hospital in Southern France, where he devised a series of revolutionary psychiatric practices.<\/span><\/p>\n

    Developed in conjunction with this four-venue international exhibition, the symposium \u201cInstitutional Psychotherapy: The Legacy and Constellations of Francesc Tosquelles\u201d\u00a0 will draw from the themes and contributions featured in the multi-author English accompanying publication (edited by AFAM\u2019s exhibition co-curators Carles Guerra, Joana Mas\u00f3, Val\u00e9rie Rousseau and Edward Dioguardi), as well as by Joana Mas\u00f3\u2019s English anthology on Tosquelles.\u00a0<\/span><\/p>\n

    Conceived as an interdisciplinary dialogue, this online symposium will chart the history of the Saint-Alban \u201casylum-village,\u201d while studying past and present significance of \u201cinstitutional psychotherapy\u201d. Akin to Tosquelles\u2019 methodologies and epistemologies, the symposium will not offer a doctrinal survey about pioneering psychiatry and occupational therapy. Instead, the presentations will guide us through experiences, artworks and archival materials to reexamine mental health history and reconsider it in a larger political, social, and cultural context.\u00a0<\/span><\/p>\n

    Aside from the exhibition co-curators,\u00a0Joana Mas\u00f3, Carles Guerra, Val\u00e9rie Rousseau, and Edward Dioguardi<\/strong>,<\/b>\u00a0this symposium will gather speakers from Europe and the United States\u2013scholars and professionals from the fields of French studies, law & social sciences, psychiatry and medical history, Western art and media studies, including\u00a0Liat Ben-Moshe, Kaira M. Caba\u00f1as, Amanda Cachia, Eric Fassin, Fountain House, Lewis Gordon, The Greene Clinic, Jean Khalfa, Raphael Koenig, W.J.T. Mitchell, Allison Morehead, Suzanne Hudson, Camille Robcis, B\u00e1rbara Rodriguez Mu\u00f1oz, Martin Summers, Emily Watlington,\u00a0Robert Young\u00a0and Hannah Zeavin.<\/strong><\/p>\n

    The first day of the symposium will examine the ways in which Tosquelles\u2019s psychiatric, political, and cultural initiatives contribute to the reflection about mental health care and<\/span> the search for disability justice. A second part will put in perspective the artistic and intellectual life at the Saint-Alban psychiatric hospital and the legacy of Tosquelles\u2019s institutional psychotherapy in the arts and humanities. Closing remarks by W.J.T. Mitchell and Hannah Zeavin will address mental illness from a critical perspective.\u202f\u00a0<\/span><\/p>\n

    Curated by Mathilde Walker-Billaud, AFAM Curator of Programs and Engagement<\/p>\n

    \n

    Accessibility:<\/strong><\/p>\n

    This virtual program is free for all to attend. It will be recorded and shared on our website, Vimeo and YouTube pages.<\/p>\n

    All sessions feature closed captioning in English, and live ASL (American Sign Language) interpretation.<\/p>\n

    For specific accommodation questions or needs, please contact us at least five days prior to the program at publicprograms@folkartmuseum.org.<\/p>\n

    \n

    Schedule<\/strong><\/p>\n

    Day 1 \u2013 Thursday May 2nd<\/strong><\/p>\n

    11:00 am – 5.30 pm EDT<\/p>\n

    Institutional Psychotherapy: An Intertwined History of Psychiatry and Politics<\/em><\/p>\n

    11:00 – 12:30 pm EDT<\/strong><\/p>\n

    KEYNOTE<\/strong><\/p>\n

    Unearthing Tosquelles: The Research that Brought up a Figure Semi Buried in History<\/em><\/p>\n

    With Tosquelles<\/em> exhibition co-curators Joana Mas\u00f3 & Carles Guerra<\/p>\n

    1:00 pm – 3:00 pm EDT<\/strong><\/p>\n

    PANEL 1<\/p>\n

    Saint-Alban-sur-Limagnole Psychiatric Hospital: A Laboratory of Political Resistance?<\/em><\/p>\n

    With Camille Robcis, Eric Fassin, Jean Khalfa & Robert Young<\/p>\n

    Introduced and moderated by Lewis Gordon<\/p>\n

    3:30 pm – 5:30 pm EDT<\/strong><\/p>\n

    PANEL 2<\/p>\n

    From Disalienating to Decarcerating Mental Illness in the United States<\/em><\/p>\n

    With Martin Summers, the Greene Clinic & Fountain House and Liat Ben-Moshe<\/p>\n

    Introduced and moderated by Edward Dioguardi<\/p>\n

    DAY 2: Friday May 3rd<\/strong><\/p>\n

    11:00 am – 5.30 pm EDT<\/p>\n

    Institutional Psychotherapy: An Intertwined History of Psychiatry and Culture<\/em><\/p>\n

    11:00 am -1:00 pm EDT<\/strong><\/p>\n

    PANEL 3<\/p>\n

    Saint-Alban-sur-Limagnole Psychiatric Hospital: A Laboratory for the Arts?<\/em><\/p>\n

    With Raphael Koenig, Val\u00e9rie Rousseau & Kaira M. Caba\u00f1as<\/p>\n

    Introduced and moderated by Allison Morehead<\/p>\n

    1:30 pm -3:30 pm EDT<\/strong><\/p>\n

    PANEL 4<\/p>\n

    From Occupational Therapy to Disability Art<\/em><\/p>\n

    With Suzanne Hudson, B\u00e1rbara Rodr\u00edguez Mu\u00f1oz, Amanda Cachia<\/p>\n

    Introduced and moderated by Emily Watlington<\/p>\n

    4:00 pm -5:30 pm EDT<\/strong><\/p>\n

    CLOSING CONVERSATION<\/p>\n

    From a Curse to a Critical Perspective<\/em><\/p>\n

    With W. J. T. Mitchell & Hannah Zeavin<\/p>\n

    Click here<\/a> for a full schedule including speaker abstracts and biographies. For questions, please email publicprograms@folkartmuseum.org.<\/p>\n

    \n

    REGISTRATION<\/strong><\/p>\n

    Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

    Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

    Register for DAY 1 on May 2<\/strong><\/p>\n

    https:\/\/www.eventbrite.com\/e\/institutional-psychotherapy-legacy-and-constellations-day-1-tickets-871954919637?aff=oddtdtcreator<\/span><\/a><\/p>\n

    Register for DAY 2 on May 3<\/strong><\/p>\n

    https:\/\/www.eventbrite.com\/e\/institutional-psychotherapy-legacy-and-constellations-day-2-tickets-871976002697<\/span><\/a><\/p>\n

    \n

    Credit<\/strong><\/p>\n

    The symposium \u201cInstitutional Psychotherapy: Legacy and Constellations of Francesc Tosquelles\u201d is presented in partnership with the Remarque Institute at NYU, and The Society of Fellows and Heyman Center for the Humanities at Columbia University.\u00a0<\/span><\/p>\n

    Lead support for this program is provided by the Institut Ramon Llull, Nina Beaty, Susan Weiler, and the Anthony Petullo Foundation. Additional support is provided by the Art Dealers Association of America Foundation, the Dorothea and Leo Rabkin Foundation, the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and the David Davies and Jack Weeden Fund for Exhibitions.\u00a0<\/span><\/p>\n

    Co-organized by the Centre de Cultura Contempor\u00e0nia de Barcelona (CCCB) and Les Abattoirs, Mus\u00e9e\u2013 Frac Occitanie Toulouse, this four-venue collaboration was previously presented at the Abattoirs, CCCB, and Museo Nacional Centro de Arte Reina Sof\u00eda in Madrid. It developed from a research project entitled \u201cEl llegat oblidat de Francesc Tosquelles\u201d (The forgotten legacy of Francesc Tosquelles), co-produced by the Mir-Puig Private Foundation (Barcelona), the University of Barcelona, and Fundaci\u00f3 Antoni T\u00e0pies (Barcelona).<\/span><\/p>\n

    Images:<\/b><\/p>\n

    Left: Aerial View of the Saint-Alban Psychiatric Hospital,<\/span> c. 1960, photographic reproduction. Baldran Collection, Saint-Alban-sur-Limagnole, <\/span>Right: Judith Scott, Untitled<\/span>, <\/b>1989, fiber, string, yarn, 18 x 10 x 10 in. Greenberg\u2013Lee Collection<\/span><\/p>\n

    \"\"<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/www.youtube.com\/playlist?list=PLYdGnSYY2RVqaoSVcLHnLoy_2iFs_fTDw","day":"03","month":"May","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/institutional-psychotherapy-legacy-and-constellations-of-francesc-tosquelles\/"},"4":{"ID":32084,"post_type":"programs","title":"2024 Elizabeth and Irwin Warren Folk Art Symposium","content":"","status":"publish","date":"2023-11-08 17:46:42","name":"the-picture-is-still-out-there-reframing-black-presence-in-the-collections-of-early-american-art-and-material-culture-2024-elizabeth-and-irwin-warren-folk-art-symposium","parent":0,"modified":"2024-03-21 21:44:10","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":32085,"id":32085,"title":"UF_banner 3","filename":"UF_banner-3.png","filesize":2490683,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/UF_banner-3.png","link":"https:\/\/folkartmuseum.org\/programs\/the-picture-is-still-out-there-reframing-black-presence-in-the-collections-of-early-american-art-and-material-culture-2024-elizabeth-and-irwin-warren-folk-art-symposium\/uf_banner-3\/","alt":"","author":"27","description":"","caption":"","name":"uf_banner-3","status":"inherit","uploaded_to":32084,"date":"2023-11-08 17:43:07","modified":"2023-11-08 17:43:07","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/UF_banner-3-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/UF_banner-3-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/UF_banner-3-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/UF_banner-3.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/UF_banner-3-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/UF_banner-3-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/11\/53.3_300PPI-scaled-e1709587315563.jpg","headline":"2024 Elizabeth and Irwin Warren Folk Art Symposium ","di_date":"2024-03-08","excerpt":"

    A two-day symposium showcasing new research and curatorial approaches to folk art, early American history and issues of anti-Black racism. *Dates: Friday, February 23, 2024<\/strong> and Friday, March 8, 2024<\/strong>.\u00a0<\/span><\/p>\n

    Watch Day 1 Introductory Conversation<\/span> here<\/a>.<\/p>\n

    Watch Day 1 Panel 1<\/span> here<\/a>.<\/p>\n

    Watch Day 2 Panel 2<\/span> here<\/a>.<\/p>\n

    Watch Day 2 Closing Conversation<\/span> here<\/a>.<\/p>\n

     <\/p>\n","start_time":"11:00 am","end_time":"4:00 pm","admission":"Virtual; free with registration","main_content":"

    \u201cThe Picture Is Still Out There\u201d: Reframing Black Presence in the Collections of Early American Art and Material Culture<\/strong><\/p>\n

    Friday, February 23, 2024 and Friday, March 8, 2024; <\/strong>Online Symposium, 11:00-4pm EDT; Virtual; free with registration<\/strong><\/p>\n

    \u201c\u2026Even if I die, the picture of what I did, or knew, or saw, is still out there,\u201d says one of Toni Morrison\u2019s characters in her masterpiece Beloved. Reflecting on this process of Black \u201cre-memory,\u201d the symposium \u201cThe Picture Is Still Out There\u2019: Reframing Black Presence in the Collections of Early American Art and Material Culture\u201d presents curatorial practices and scholarship that affirm African American presence in early American art and material culture.<\/p>\n

    The two-day online symposium is organized in connection with the exhibition Unnamed Figures: Black Presence and Absence in the Early American North<\/em><\/a>, on view from November 15, 2023\u2013March 24, 2024. Drawing inspiration from the research behind this exhibition, the symposium serves as a platform for a broader consideration of museum practices in relation to folk art, early American history, and issues of anti-Black racism.<\/p>\n

    Art scholars, museum curators, and public historians \u2013 including exhibition co-curators Emelie Gevalt, RL Watson and Sad\u00e9 Ayorinde <\/strong>as well as Janine Boldt, Alexandra Chan, Anne Strachan Cross, Gwendolyn DuBois Shaw, Michael Hartman, Elizabeth S. Humphrey, Tiffany Momon, Marc Howard Ross, Jennifer Van Horn <\/strong>and Jill Vaum Rothschild<\/strong> \u2013 are invited to gather, share, and discuss their efforts in celebrating and reframing the early contributions of African American individuals to the field of art. Talks will consider early material culture from global and historically marginalized perspectives, acknowledging gaps in history, knowledge, and care. This virtual symposium will also present new methods of preserving, acquiring, and exhibiting that address colonialist and racist ideologies while rethinking accountability, transparency, and language choices in interpretation. This will be a unique opportunity to approach the colonial past and its continuities in museums and public institutions.<\/p>\n

    \n

    SCHEDULE:<\/strong><\/p>\n

    DAY 1 – FEBRUARY 23rd, 2024<\/strong><\/p>\n

    INTRODUCTORY CONVERSATION<\/strong>
    \n11:00 am – 1:00 pm EDT<\/p>\n

    Speakers:<\/p>\n

    Jennifer Van Horn<\/strong>, Associate Prof. of Art History and History, University of Delaware
    \nGwendolyn DuBois Shaw<\/strong>, Class of 1940 Bicentennial Term, Associate Professor of History of Art, University of Pennsylvania<\/p>\n

    SESSION 1<\/strong>
    \n1:30 pm – 3:30 pm EDT<\/p>\n

    Speakers:<\/p>\n

    Elizabeth S. Humphrey<\/strong>, former Curatorial Assistant and Manager of Student Programs, Bowdoin College Museum of Art; Ph.D. Candidate at the University of Delaware
    \nMichael Hartman<\/strong>, Jonathan Little Cohen Associate Curator of American Art Hood Museum of Art, Dartmouth College
    \nJanine Yorimoto Boldt<\/strong>, Associate Curator of American Art at The Chazen Museum of Art<\/p>\n

    Moderator<\/strong>: Anne Strachan Cross, Assistant Teaching Professor of American Art, Pennsylvania State University<\/p>\n

    DAY 2 – MARCH 8th, 2024<\/strong><\/p>\n

    SESSION 2 <\/strong>11:00 am – 1:00 pm EDT<\/p>\n

    Speakers:<\/p>\n

    Alexandra Chan<\/strong>, archaeologist, member of the academic advisory board of the Royall House and Slave Quarters, , a National Historic Landmark and museum in Medford, Massachusetts, and author of Slavery in the Age of Reason: Archaeology at a New England Farm (2015)
    \nMarc Howard Ross<\/strong>, William Rand Kenan, Jr., Emeritus Professor of Political Science at Bryn Mawr College, and author of Slavery in the North: Forgetting History and Recovering Memory (2018), which begins with a study of the President\u2019s House\/Slavery Memorial at Independence National Historical Park in Philadelphia
    \nTiffany Momon<\/strong>, Assistant Professor of History and Mellon Fellow at Sewanee, University of the South, founder and co-Director of Black Craftsmanship Digital Archive<\/p>\n

    Moderator<\/strong>: Jill Vaum Rothschild, Luce Foundation Curatorial Fellow, Smithsonian American Art Museum<\/p>\n

    CLOSING CONVERSATION<\/strong><\/p>\n

    1:30 pm – 3:00 pm EDT<\/p>\n

    Speakers:<\/p>\n

    Emelie Gevalt<\/strong>, Curatorial Chair for Collections and Curator of Folk Art, AFAM
    \nRL Watson<\/strong>, Assistant Professor of English and African American Studies, Lake Forest College
    \nSad\u00e9 Ayorinde<\/strong>, Terra Foundation Predoctoral Fellow in American Art at the Smithsonian American Art Museum<\/p>\n

    \n

    Images:\u00a0<\/strong><\/p>\n

    Left: <\/span>John Potter and Family<\/span><\/i>, <\/i><\/b>Matunuck, Rhode Island, c. 1740, oil on wood, 31 1\/4 x 64 1\/4 in.\u00a0 Newport Historical Society. \/ <\/span>Right:<\/span> Thomas W. Commeraw (c. 1771-1823), Two-Gallon Jar<\/span>, <\/b>New York City,\u00a0 c. 1793-1819, salt-glazed stoneware with cobalt decoration <\/span>H. 9 1\/4 in., Diam. 11 in. <\/span>Private Collection<\/span><\/p>\n

    Major support for this exhibition is provided by the Terra Foundation for American Art, with additional support from, the American Folk Art Society, Citi, the David Davies and Jack Weeden Fund for Exhibitions, David and Dixie De Luca, Susan and James Hunnewell, the Robert Lehman Foundation, the National Endowment for the Arts, the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, and Elizabeth and Irwin Warren.<\/span><\/em><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/916757204?share=copy","call_to_action":[{"call_to_action":false},{"call_to_action":false}],"day":"08","month":"Mar","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/the-picture-is-still-out-there-reframing-black-presence-in-the-collections-of-early-american-art-and-material-culture-2024-elizabeth-and-irwin-warren-folk-art-symposium\/"},"5":{"ID":32484,"post_type":"programs","title":"2024 Anne Hill Blanchard Uncommon Artists Lecture","content":"","status":"publish","date":"2024-01-12 20:41:56","name":"2024-anne-hill-blanchard-uncommon-artists-lecture","parent":0,"modified":"2024-03-11 16:29:56","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":32520,"id":32520,"title":"UAL Banner 3","filename":"UAL-Banner-3.png","filesize":3040135,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/01\/UAL-Banner-3.png","link":"https:\/\/folkartmuseum.org\/programs\/2024-anne-hill-blanchard-uncommon-artists-lecture\/ual-banner-3\/","alt":"","author":"27","description":"","caption":"","name":"ual-banner-3","status":"inherit","uploaded_to":32484,"date":"2024-01-17 15:53:08","modified":"2024-01-17 15:53:08","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2000,"height":1000,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/01\/UAL-Banner-3-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/01\/UAL-Banner-3-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/01\/UAL-Banner-3-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/01\/UAL-Banner-3.png","large-width":2000,"large-height":1000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/01\/UAL-Banner-3-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/01\/UAL-Banner-3.png","2048x2048-width":2000,"2048x2048-height":1000}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2024\/01\/UAL-Banner.png","headline":"2024 Anne Hill Blanchard Uncommon Artists Lecture","di_date":"2024-03-03","excerpt":"

    Join us online for the 2024 Anne Hill Blanchard Uncommon Artists Lecture and learn more about artists Janet Sobel, Curtis Cuffie and I Gusti Ayu Kadek Murniasih, with talks by Natalie Dup\u00eacher, Ciar\u00e1n Finlayson and Wulan Dirgantoro.<\/span><\/p>\n

    Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"3:00 pm","end_time":"5:00 pm","admission":"Virtual; free with registration","main_content":"

    Join us online for a new edition of the Anne Hill Blanchard Uncommon Artists Lecture.\u00a0<\/span><\/p>\n

    From New York City to Bali, this year\u2019s lecture will guide us through the unique trajectories of artists <\/span>Janet Sobel<\/strong>, <\/span>Curtis Cuffie<\/strong> and <\/span>I Gusti Ayu Kadek Murniasih<\/strong>. Interdisciplinary in its approach, this program will highlight the contributions of self-taught artists in the field of modern and contemporary art.<\/span><\/p>\n

    Speakers include art historian and curator Natalie Dup\u00eacher on new approaches to Janet Sobel\u2019s abstraction, writer Ciar\u00e1n Finlayson on Curtis Cuffie\u2019s ephemeral \u201csculptures for space,\u201d and art historian Wulan Dirgantoro on I Gusti Ayu Kadek Murniasih\u2019s grotesque female bodies.\u00a0<\/span><\/p>\n

    The\u00a0<\/span>Anne Hill Blanchard Uncommon Artists Lecture Series<\/span><\/a>\u00a0highlights new and important contributions to the field of folk and self-taught art. This annual series honors the late Anne Hill Blanchard, an inspiring and passionate leader in the field and a devoted supporter of the American Folk Art Museum.<\/span><\/p>\n

    \n

    Schedule<\/strong><\/p>\n

    3:00 p.m. EST Welcome & Opening Remarks<\/span><\/p>\n

    3:15 p.m. EST\u00a0 Natalie Dup\u00eacher |\u00a0 Janet Sobel<\/span><\/p>\n

    3:45 p.m. EST Ciar\u00e1n Finlayson | Curtis Cuffie<\/span><\/p>\n

    4:15 p.m. EST Wulan Dirgantoro | I Gusti Ayu Kadek Murniasih<\/span><\/p>\n

    4.45 p.m. EST Q&A<\/span><\/p>\n

    The 2024 Anne Hill Blanchard Uncommon Artists Lecture will be held online via Zoom. <\/span>Space is limited; advance registration is required.\u00a0 Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

    Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

    \n

    About the Speakers: <\/strong><\/p>\n

    Natalie Dup\u00eacher<\/strong> is the Associate Curator of Modern Art at the Menil Collection, Houston. In this capacity, she oversees the museum\u2019s landmark holdings of historical Surrealism, in addition to mounting temporary exhibitions. She recently curated <\/span>Janet Sobel: All-Over<\/span><\/i> (2024) and <\/span>Meret Oppenheim: My Exhibition<\/span><\/i> (2021-23), which was co-organized by the Menil Collection, The Museum of Modern Art, and the Kunstmuseum Bern. She holds a PhD from Princeton University and an MA from the Williams College Graduate Program in the History of Art.<\/span><\/p>\n

    Ciar\u00e1n Finlayson<\/strong> is a writer and editor based in New York. His writing on art and music has appeared in publications including Blank Forms, Artforum, Bookforum, Kunst und Politik<\/em>, and in exhibition catalogs for museums including the Studio Museum in Harlem, New York; Haus der Kulturen der Welt, Berlin; the Contemporary Arts Museum Houston. He is Senior Editor at Triple Canopy and the author of Perpetual Slavery<\/em>, on the work of Cameron Rowland and Ralph Lemon (Floating Opera, 2023).<\/p>\n

    Dr. Wulan Dirgantoro<\/strong> is a Lecturer in Contemporary Art at the School of Culture and Communication at the University of Melbourne, Australia. Her publications including <\/span>Feminisms and Indonesian Contemporary Art: Defining Experiences<\/span><\/i> (Amsterdam University Press, 2017) and \u201cAfter 1965: Historical Violence and Strategies of Representation in Indonesian Visual Arts\u201d in <\/span>Living Art: Indonesian Artists Engage Politics, Society and History<\/span><\/i> (ANU Press, 2022).<\/span><\/p>\n

    Images:\u00a0 <\/span>Left: Janet Sobel,<\/span> Milky Way,<\/span><\/i> 1945. Enamel on canvas, 44 7\/8 \u00d7 29 7\/8 in. (114 \u00d7 75.9 cm). The Museum of Modern Art, New York, Gift of the artist’s family. <\/span>Center: Curtis Cuffie, Untitled,\u00a0 ca. 1994\u201396. Photography: Katy Abel, ca. 1994\u201396 <\/span>Right: IGAK Murniasih, <\/span>Thumb<\/span><\/i>, n.d., cotton and mixed media, 190 x 125 x 90 cm. Image courtesy of Gajah Gallery Singapore.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/919657061?share=copy","day":"03","month":"Mar","year":"2024","link":"https:\/\/folkartmuseum.org\/programs\/2024-anne-hill-blanchard-uncommon-artists-lecture\/"},"6":{"ID":30678,"post_type":"programs","title":"Uncommon Artist Lecture Series","content":"","status":"publish","date":"2023-01-26 23:52:05","name":"uncommon-artist-lecture-series","parent":0,"modified":"2023-03-10 20:26:48","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":30679,"id":30679,"title":"Uncommon Artist Lecture Banner","filename":"Uncommon-Artist-Lecture-Banner.png","filesize":2169900,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner.png","link":"https:\/\/folkartmuseum.org\/programs\/uncommon-artist-lecture-series\/uncommon-artist-lecture-banner\/","alt":"","author":"27","description":"","caption":"","name":"uncommon-artist-lecture-banner","status":"inherit","uploaded_to":30678,"date":"2023-01-26 23:44:26","modified":"2023-01-26 23:44:26","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2023\/01\/Uncommon-Artist-Lecture-Banner.png","headline":"2023 Anne Hill Blanchard Uncommon Artists Lecture","di_date":"2023-03-05","excerpt":"

    Join us online for the 2023 Anne Hill Blanchard Uncommon Artists Lecture and learn more about self-taught artists Ceija Stojka, David Drake and Mary Sully, with talks by T\u00edmea Junghaus, Jason Young and Philip Deloria.\u00a0<\/span><\/p>\n

    Watch a recording of this program online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"3:00 pm","main_content":"

    Join us online for a new edition of the Anne Hill Blanchard Uncommon Artists Lecture. Talks will explore new research on self-taught art across time and place.\u00a0<\/span><\/p>\n

    This year\u2019s program brings historians and curators together to explore heritage as a tool for innovation and resistance. The lecture will highlight folk and self-taught practitioners who are both guardians and pioneers, combining past and present times, Western and non-Western aesthetics, breaking with stereotypes and conventions.<\/span><\/p>\n

    Speakers include art historian and activist T\u00edmea Junghaus on new approaches to Ceija Stojka\u2019s visual language, historian Philip Deloria on Mary Sully\u2019s Indigenous modernism, and historian Jason Young on David Drake\u2019s poetic ceramic practice in connection with the exhibition<\/span> Hear Me Now: The Black Potters of Old Edgefield, South Carolina<\/span><\/i><\/a> (The Metropolitan Museum of Art, Sept 9, 2022 \u2013 Feb 5, 2023).<\/span><\/p>\n

    The\u00a0<\/span>Anne Hill Blanchard Uncommon Artists Lecture Series<\/span><\/a>\u00a0highlights new and important contributions to the field of folk and self-taught art. This annual series honors the late Anne Hill Blanchard, an inspiring and passionate leader in the field and a devoted supporter of the American Folk Art Museum.\u00a0<\/span><\/p>\n

    The 2023 Anne Hill Blanchard Uncommon Artists Lecture will be held online via Zoom.<\/span><\/p>\n

    Space is limited; advance registration is required.\u00a0 Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

    Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.\u00a0<\/span><\/p>\n

    \n

    SCHEDULE<\/strong><\/p>\n

    1:00 p.m. ET Welcome & Opening Remarks<\/span><\/p>\n

    1:15 p.m. ET\u00a0 Yason Young |\u00a0 David Drake<\/span><\/p>\n

    1:45 p.m. ET Philip Deloria | Mary Sully<\/span><\/p>\n

    2:15 p.m. ET T\u00edmea Junghaus | Ceija Stojka\u00a0<\/span><\/p>\n

    2.45 p.m. ET Q&A<\/span><\/p>\n

    \n

    BIOGRAPHIES<\/strong><\/p>\n

    Jason R. Young<\/b> is an Associate Professor of History at the University of Michigan. He is the author of Rituals of Resistance: African Atlantic Religion in Kongo and the Lowcountry Region of Georgia and South Carolina in the Era of Slavery and co-editor, with Edward J. Blum, of The Souls of W.E.B. Du Bois: New Essays and Reflections.\u00a0 He is a Co-Curator of a traveling exhibition, Hear Me Now: The Black Potters of Old Edgefield, South Carolina, that opened at the MET in September 2022. Young has published articles in The Journal of African American History, The Journal of Africana Religions, and The Journal of Southern Religion, among others.<\/span><\/p>\n

    Philip J. Deloria<\/b> (Dakota descent) is the Leverett Saltonstall Professor of History at Harvard University, where his research and teaching focus on the social, cultural and political histories of the relations among American Indian peoples and the United States.\u00a0 He is the author of several books, including <\/span>Playing Indian<\/span><\/i> (Yale University Press, 1998), <\/span>Indians in Unexpected Places<\/span><\/i> (University Press of Kansas, 2004), <\/span>American Studies: A User\u2019s Guide<\/span><\/i> (University of California Press, 2017), with Alexander Olson, and <\/span>Becoming Mary Sully: Toward an American Indian Abstract<\/span><\/i> (University of Washington Press, 2019), as well as two co-edited books and numerous articles and chapters.\u00a0 Deloria received the Ph.D. in American Studies from Yale University in 1994, taught at the University of Colorado, and then, from 2001 to 2017, at the University of Michigan, before joining the faculty at Harvard in January 2018.\u00a0 Deloria is a trustee of the Smithsonian Institution\u2019s National Museum of the American Indian.\u00a0 He is former president of the American Studies Association and the Organization of American Historians, an elected member of the American Philosophical Society and the American Academy of Arts and Sciences, and the recipient of numerous prizes and recognitions.<\/span><\/p>\n

    T\u00edmea Junghaus <\/b>is an art historian and contemporary art curator. She started in the position of Executive Director of the European Roma Institute for Arts and Culture in September 2017. Previously, Junghaus was Research Fellow of the Working Group for Critical Theories at the Institute for Art History at the Hungarian Academy of Sciences (2010-2017). She has researched and published extensively on the conjunctions of modern and contemporary art with critical theory, with particular reference to issues of cultural difference, colonialism, and minority representation. She is completing her Ph.D. studies in Cultural Theory at the E\u00f6tv\u00f6s L\u00f3r\u00e1nd University, Budapest.<\/span><\/p>\n

    In recognition of her curatorial activities, Junghaus received the Kairos \u2013 European Cultural Price from the Alfred Toepfer Stiftung F.V.S., in 2008. Her curatorial works include the Roma component of the Hidden Holocaust- exhibition in the Budapest Kunsthalle (2004), Paradise Lost \u2013 the First Roma Pavilion at the 52nd Venice Contemporary Art Biennale (2007), the Archive and Scholarly Conference on Roma Hiphop (2010), The Romani Elders and the Public Intervention for the Unfinished Memorial to the Sinti and Roma Murdered Under the National Socialist Regime in the frame of the 7th Berlin Biennale (2012), the (Re-)Conceptualizing Roma Resistance \u2013 exhibition and education program in Hellerau, Dresden (2015) and the Goethe Institute, Prague (2016). She is the curator of the Visual Arts Section for RomArchive \u2013 Digital Archive of the Roma, funded by Kulturstiftung des Bundes (2015-2018).<\/span><\/p>\n

    Junghaus was the founding director of Gallery8 \u2013 Roma Contemporary Art Space (www.gallery8.org) in Budapest (2013-2017), the winner of the 2014 Catalyst Contemporary Art Award (of Tranzit Hungary) and the 2014 Otto Pankok Prize awarded by the For Roma Foundation of German writer and Literary Nobel Laureate, G\u00fcnter Grass.<\/span><\/p>\n

    Support for 2023 public programs is provided by the National Endowment for the Humanities (NEH).<\/span><\/p>\n

    Images:\u00a0<\/span><\/p>\n

    Left: David Drake, <\/span>Storage jar <\/span><\/i>(detail), 1858, Alkaline-glazed stoneware. The Metropolitan Museum of Art. Purchase: Ronald S. Kane Bequest, in memory of Berry B. Tracy, 2020.\u00a0<\/span><\/p>\n

    Center: Mary Sully, <\/span>Cornelia Otis Skinner<\/span><\/i>, ca. 1935, colored pencil<\/span> on<\/span> paper.\u00a0<\/span><\/p>\n

    Right: Ceija Stojka, <\/span>Untitled<\/span><\/i>, 2009, acrylic on cardboard.<\/span><\/p>\n

    1:00 pm\u20133:00 pm <\/span><\/p>\n

    Online; free with registration<\/span><\/p>\n

     <\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/vimeo.com\/805201967","day":"05","month":"Mar","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/uncommon-artist-lecture-series\/"},"7":{"ID":29900,"post_type":"programs","title":"Unexpected Partners: Self-Taught Art and Modernism in Interwar America","content":"","status":"publish","date":"2022-09-21 15:53:21","name":"unexpected-partners-self-taught-art-and-modernism-in-interwar-america","parent":0,"modified":"2025-04-07 22:29:14","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":29901,"id":29901,"title":"Hirshfield nude banner","filename":"Hirshfield-nude-banner.png","filesize":2556258,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner.png","link":"https:\/\/folkartmuseum.org\/programs\/unexpected-partners-self-taught-art-and-modernism-in-interwar-america\/hirshfield-nude-banner\/","alt":"","author":"27","description":"","caption":"","name":"hirshfield-nude-banner","status":"inherit","uploaded_to":29900,"date":"2022-09-21 15:49:54","modified":"2022-09-21 15:49:54","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2100,"height":1050,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner-300x150.png","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner-768x384.png","medium_large-width":768,"medium_large-height":384,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner.png","large-width":2100,"large-height":1050,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner-1536x768.png","1536x1536-width":1536,"1536x1536-height":768,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner-2048x1024.png","2048x2048-width":2048,"2048x2048-height":1024}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/09\/Hirshfield-nude-banner.png","headline":"Unexpected Partners: Self-Taught Art and Modernism in Interwar America","di_date":"2023-01-27","excerpt":"

    Join us for a virtual symposium exploring American modernism and its entanglements with self-taught art in the interwar period.\u00a0This program is organized in partnership with Stanford University\u2019s Department of Art & Art History.<\/span><\/p>\n

    Watch a recording of Session 1<\/span> here<\/a>.<\/p>\n

    Watch a recording of Session 2<\/span> here<\/a>.<\/p>\n

    Watch a recording of Session 3<\/span> here<\/a>.<\/p>\n

     <\/p>\n","start_time":"11:00 am","end_time":"5:00 pm","admission":"Virtual; free with registration","main_content":"

    Morris Hirshfield Rediscovered<\/span><\/i> features over 40 of the artist\u2019s paintings (more than half of his output) as well as photographic and audio archives that trace the painter\u2019s brief but sensational career in New York. This exhibition reintroduces to scholars, historians, and the contemporary audience a singular artist whose work has been obscured since his death in 1946.\u00a0<\/span><\/p>\n

    In the symposium \u201c<\/span>Unexpected Partners: Self-Taught Art and Modernism in Interwar America,\u201d <\/span>Morris Hirshfield\u2019s remarkable production and contentious reception serve as a springboard for a broader consideration of modernism\u2019s complex interchange with self-taught art in the United States during the mid-twentieth century. <\/span>Panelists revisit a vital moment during the interwar period when vanguard and self-taught art were in dialogue through new research into key episodes such as Morris Hirshfield\u2019s embrace by the Surrealists who decamped to New York as fascism rose in Europe or William Edmondson\u2019s experience as the first Black and self-taught artist to be given a solo exhibition at MoMA.\u00a0<\/span><\/p>\n

    Talks highlight the important contributions that self-taught artists made to the development of modernism in the United States, redressing these artists’ gradual exclusion from the art-historical canon in the postwar era and fleshing out a more representative narrative of American art.<\/span><\/p>\n

    Speakers include<\/strong>: Bill Anthes, Esther Adler, Susan Davidson, Julia Bryan-Wilson, Lynne Cooke, Jane Kallir, Jennifer Jane Marshall, Richard Meyer, Angela Miller, Rodrigo Moura, Marci Kwon, Val\u00e9rie Rousseau, Nicole Smythe-Johnson and Brooke Wyatt.<\/p>\n

    Click here<\/a> for a full schedule and speaker biographies.<\/span><\/p>\n

    Watch a recording of Session 1<\/strong>\u00a0here<\/a>.<\/p>\n

    Watch a recording of Session 2<\/strong>\u00a0here<\/a>.<\/p>\n

    Watch a recording of Session 3<\/strong>\u00a0here<\/a>.<\/p>\n

    \n

    Symposium Proceedings<\/strong><\/p>\n

    \"\"<\/p>\n

    Click here<\/a> to read the symposium proceedings.<\/strong>
    \nClick     here<\/a> to access the publication on Issuu.<\/strong><\/p>\n

    \n

    Credits and Support<\/strong><\/p>\n

    \u201cUnexpected Partners: Self-Taught Art and Modernism in Interwar America\u201d is presented in partnership with the Department of Art & Art History at Stanford University. This symposium is made possible through support from the Terra Foundation for American Art.\u00a0<\/span><\/p>\n

    Images<\/strong><\/p>\n

    Left: Hermann Landshoff, Andr\u00e9 Breton, Marcel Duchamp, Max Ernst [standing behind Morris Hirshfield\u2019s Nude at the Window (Hot Night in July)], and Leonora Carrington (seated) at Peggy Guggenheim\u2019s townhouse, Fall 1942, New York, NY, Digital print (original: gelatin silver print, 60 x 60 in.). \u00a9 bpk. Digital image: bpk-Bildagentur\/M\u00fcnchner Stadtmuseum\/Hermann Landshoff\/Art Resource, New York<\/em><\/p>\n

    Right: Morris Hirshfield, Nude at the Window (Hot Night in July), 1941, Oil on canvas with collage, 54 1\/4 x 30 3\/4 inches. <\/span>\u00a9 Carroll Janis, licensed by VAGA, New York, NY<\/span><\/em><\/p>\n

    \"\"<\/p>\n","show_in_past_programs":true,"day":"27","month":"Jan","year":"2023","link":"https:\/\/folkartmuseum.org\/programs\/unexpected-partners-self-taught-art-and-modernism-in-interwar-america\/"},"8":{"ID":29069,"post_type":"programs","title":"Elizabeth and Irwin Warren Folk Art Symposium 05\/22\/22","content":"","status":"publish","date":"2022-02-28 15:26:04","name":"elizabeth-and-irwin-warren-folk-art-symposium-05-22-22","parent":0,"modified":"2022-05-27 14:15:32","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":29071,"id":29071,"title":"2022 Elizabeth and Irwin Warren Folk Art Symposium website BANNER","filename":"2022-Elizabeth-and-Irwin-Warren-Folk-Art-Symposium-website-BANNER.png","filesize":1760814,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/2022-Elizabeth-and-Irwin-Warren-Folk-Art-Symposium-website-BANNER.png","link":"https:\/\/folkartmuseum.org\/programs\/elizabeth-and-irwin-warren-folk-art-symposium-05-22-22\/2022-elizabeth-and-irwin-warren-folk-art-symposium-website-banner\/","alt":"","author":"19","description":"","caption":"","name":"2022-elizabeth-and-irwin-warren-folk-art-symposium-website-banner","status":"inherit","uploaded_to":29069,"date":"2022-02-28 15:30:30","modified":"2022-02-28 15:30:30","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2490,"height":1000,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/2022-Elizabeth-and-Irwin-Warren-Folk-Art-Symposium-website-BANNER-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/2022-Elizabeth-and-Irwin-Warren-Folk-Art-Symposium-website-BANNER-300x120.png","medium-width":300,"medium-height":120,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/2022-Elizabeth-and-Irwin-Warren-Folk-Art-Symposium-website-BANNER-768x308.png","medium_large-width":768,"medium_large-height":308,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/2022-Elizabeth-and-Irwin-Warren-Folk-Art-Symposium-website-BANNER.png","large-width":2490,"large-height":1000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/2022-Elizabeth-and-Irwin-Warren-Folk-Art-Symposium-website-BANNER-1536x617.png","1536x1536-width":1536,"1536x1536-height":617,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/2022-Elizabeth-and-Irwin-Warren-Folk-Art-Symposium-website-BANNER-2048x822.png","2048x2048-width":2048,"2048x2048-height":822}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2022\/02\/2022-Elizabeth-and-Irwin-Warren-Folk-Art-Symposium-website-LIST.png","headline":"2022 Elizabeth and Irwin Warren Folk Art Symposium | Objects of Inquiry: New Perspectives on American Folk Art","di_date":"2022-05-22","excerpt":"

    A symposium showcasing new research and interdisciplinary approaches to American Folk Art<\/p>\n

    Watch a recording of Session 1 online<\/span> here<\/a>.<\/p>\n

    Watch a recording of Session 2 online<\/span> here<\/a>.<\/p>\n","start_time":"1:00 pm","end_time":"5:00 pm","admission":"Online; free with registration","main_content":"

    What comprises the field and study of \u201cAmerican folk art\u201d? In the early twentieth century, scholars, curators, artists, and dealers developed the concept of folk art as an expansive and sometimes contradictory framework to characterize a vast array of works from paintings and sculptures to samplers, quilts, and furniture. This virtual symposium will present new research exploring the many perspectives through which the study of folk art is currently approached, looking in particular at historically overlooked or understudied relationships between themes of identity, nationalism, and American folk art.<\/p>\n

    To sign-up, please click here<\/a>.<\/p>\n

    Drawing inspiration from the Museum\u2019s wide-ranging MULTITUDES<\/em><\/a> exhibition, talks will share new insights into 19th-century portraits and samplers, 20th-century quilts, and other artworks while revealing cross-disciplinary connections and expanded understandings of this field.<\/p>\n

    Objects of Inquiry: New Perspectives on American Folk Art<\/em> is a symposium organized in honor of Elizabeth and Irwin Warren, dedicated advocates of the American Folk Art Museum (AFAM), and in connection with the exhibition MULTITUDES<\/em>, which will be on view from January 21\u2013September 5, 2022. The program will be held over Zoom between 1:00 and 5:00 p.m. ET on Sunday, May 22, 2022.<\/p>\n

    Speakers include:<\/strong> Glenn Adamson, Ph.D., curator, writer, and historian, Mariah Gruner, Ph.D., Recentering Collections Curatorial Fellow at Historic New England, Joseph H. Larnerd, Ph.D., Assistant Professor of Design History at Drexel University, Yinshi Lerman-Tan, Ph.D., Bradford and Christine Mishler Associate Curator of American Art at the Huntington, Janneken Smucker, Ph.D., Professor of History at West Chester University, and Trevor Brandt, Ph.D. Student in Art History at the University of Chicago, with opening remarks by Emelie Gevalt, Curator of Folk Art and Curatorial Chair for Collections at the American Folk Art Museum, and closing remarks by William D. Moore, Ph.D., Associate Professor of American Material Culture, Department of History of Art & Architecture and American & New England Studies Program, Boston University.<\/p>\n

    Read speakers\u2019 abstracts<\/a> and learn more about our speakers here<\/a>.<\/p>\n

    Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

    Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email publicprograms@folkartmuseum.org<\/span><\/a>.<\/p>\n

    Schedule<\/strong><\/p>\n

    1:00\u20133:00 p.m. | Session 1 Papers and Q&A<\/strong><\/p>\n

    Welcome Remarks<\/em><\/strong><\/p>\n

    Elizabeth Warren, President, American Folk Art Museum
    \nEmelie Gevalt, Curatorial Chair for Collections and Curator of Folk Art, American Folk Art Museum and co-curator of MULTITUDES<\/p>\n

    Objects of Dispute<\/em><\/strong><\/p>\n

    Glenn Adamson, Ph.D., curator, writer, and historian<\/p>\n

    High Style Folk Art and New Deal Values: Quilts in the Index of American Design<\/em><\/strong><\/p>\n

    Janneken Smucker, Ph.D., Professor of History at West Chester University<\/p>\n

    Ghosts of a Whimsey\u2019s Woodyard<\/em><\/strong><\/p>\n

    Joseph H. Larnerd, Ph.D., Assistant Professor of Design History at Drexel University<\/p>\n

    3:00 p.m. | Break (15 minutes)<\/strong><\/p>\n

    3:15\u20135:00 p.m. | Session 2 Papers and Q&A<\/strong><\/p>\n

    Stitching a Feminine Terrain: Authority, Property, and Home in American Schoolgirl Needlework<\/em><\/strong><\/p>\n

    Mariah Gruner, Ph.D., Recentering Collections Curatorial Fellow at Historic New England<\/p>\n

    More than Memory: New Perspectives on the Klaus Stopp Fraktur Collection<\/em><\/strong><\/p>\n

    Trevor Brandt, Ph.D. Student in Art History at the University of Chicago<\/p>\n

    Sheldon Peck: Radical Folk Artist?<\/em><\/strong><\/p>\n

    Yinshi Lerman-Tan, Ph.D., Bradford and Christine Mishler Associate Curator of American Art at the Huntington<\/p>\n

    Closing remarks<\/em><\/strong><\/p>\n

    William D. Moore, Ph.D., Associate Professor of American Material Culture, Department of History of Art & Architecture and American & New England Studies Program, Boston University<\/p>\n

    5:00 p.m. | Symposium concludes<\/strong><\/p>\n

     <\/p>\n

    Image: Mary Jane Smith (1833\u20131869) and Mary Morrell Smith (1798-1869), Log Cabin Quilt, Barn Raising Variation<\/em>, Whitestone, New York, United States, 1861\u20131865, Cotton, wool, and silk, 74 \u00d7 81\u201d, Gift of Mary D. Bromham, grandniece of Mary Jane Smith, 1987.9.1, Photo by Schecter Lee.<\/p>\n

    Support for 2022 public programs is provided by the National Endowment for the Humanities (NEH).<\/p>\n

    \"\"<\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/www.youtube.com\/watch?v=M_aRwOC6Ytk&ab_channel=AmericanFolkArtMuseum","day":"22","month":"May","year":"2022","link":"https:\/\/folkartmuseum.org\/programs\/elizabeth-and-irwin-warren-folk-art-symposium-05-22-22\/"},"9":{"ID":27851,"post_type":"programs","title":"Elizabeth and Irwin Warren Folk Art Symposium 10\/24\/21","content":"","status":"publish","date":"2021-08-04 14:53:45","name":"elizabeth-and-irwin-warren-folk-art-symposium-10-24-21","parent":0,"modified":"2021-10-26 21:29:37","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":27908,"id":27908,"title":"Warren","filename":"Warren.jpg","filesize":1353621,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Warren.jpg","link":"https:\/\/folkartmuseum.org\/programs\/elizabeth-and-irwin-warren-folk-art-symposium-10-24-21\/warren\/","alt":"","author":"9","description":"","caption":"","name":"warren","status":"inherit","uploaded_to":27851,"date":"2021-08-16 15:54:08","modified":"2021-08-16 15:54:34","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":2560,"height":2000,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Warren-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Warren-300x234.jpg","medium-width":300,"medium-height":234,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Warren-768x600.jpg","medium_large-width":768,"medium_large-height":600,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Warren.jpg","large-width":2560,"large-height":2000,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Warren-1536x1200.jpg","1536x1536-width":1536,"1536x1536-height":1200,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Warren-2048x1600.jpg","2048x2048-width":2048,"2048x2048-height":1600}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2021\/08\/Warren.jpg","headline":"Elizabeth and Irwin Warren Folk Art Symposium | Points of Interest: New Approaches to American Weathervanes","di_date":"2021-10-24","excerpt":"

    A symposium showcasing new <\/span>research on American weathervanes.<\/span><\/p>\n

    Watch a recording of session 1 online<\/span> here.<\/a><\/p>\n

    Watch a recording of session 2 online<\/span> here.<\/a><\/p>\n

     <\/p>\n","start_time":"1:00 pm","end_time":"5:00 pm","admission":"Online; free with registration","main_content":"

    Weathervanes have historically served as both tools for farmers, sailors, and others to predict the wind\u2019s direction, and fanciful, imaginative forms designed to captivate and delight viewers from below. Over time, these works have also become ritual objects imbued with stories, as well as signifiers of communal importance, individual identity, patriotism, status, and romanticized, bygone eras. <\/span>This virtual symposium will showcase new research examining the rich and complex layers of meaning found within American weathervanes<\/span>.<\/span><\/p>\n

    Points of Interest: New Approaches to American Weathervanes<\/i>\u00a0is a symposium organized in conjunction with the Museum\u2019s current exhibition\u00a0American Weathervanes: The Art of the Winds<\/a><\/i>\u00a0and in honor of Elizabeth and Irwin Warren, dedicated advocates of the American Folk Art Museum. The\u00a0American Weathervanes\u00a0<\/i>exhibition is curated by Robert Shaw and coordinated by Emelie Gevalt with additional interpretation by consulting scholar Joseph Zordan.<\/p>\n

    Read speakers’ abstracts<\/a> and learn more about our speakers here<\/a>.<\/strong><\/p>\n

    Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/span><\/p>\n

    Instructions for joining with a Zoom link and password will be provided by email upon registration confirmation under \u201cAdditional Information.\u201d Closed captioning will be provided in English. For questions or to request accessibility accommodations, please email <\/span>publicprograms@folkartmuseum.org<\/span><\/a>.<\/span><\/p>\n

    Schedule<\/strong><\/p>\n

    1:00\u20133:00 p.m. ET | Session 1 Papers and Q&A<\/strong><\/p>\n

    Welcome Remarks<\/span><\/i><\/p>\n

    Jason T. Busch, Director and CEO, American Folk Art Museum<\/span><\/p>\n

    Elizabeth Warren, President, American Folk Art Museum<\/span><\/p>\n

    Robert Shaw, guest curator, author of American Weathervanes: The Art of the Winds<\/em>, and Editor, Americana Insights<\/em><\/span><\/p>\n

     <\/p>\n

    Weathered Wood: The Materiality of Early American Weathervanes<\/span><\/i>\u00a0<\/i><\/b><\/p>\n

    Laura Turner Igoe, <\/span>Ph.D.<\/span>, Chief Curator, James A. Michener Art Museum<\/span><\/p>\n

     <\/p>\n

    The Ecological Spectacle of Madison Square Garden\u2019s Diana<\/span><\/i><\/p>\n

    Katherine Fein, <\/span>Ph.D<\/span> Candidate, Department of Art History and Archaeology, <\/span>Columbia University<\/span><\/p>\n

     <\/p>\n

    George Washington\u2019s Dove of Peace: An Iconic Vane from a Moment of Change<\/span><\/i><\/p>\n

    Susan P. Schoelwer, <\/span>Ph.D.<\/span>, Executive Director, Historic Preservation and\u00a0<\/span>Collections and Robert H. Smith Senior Curator, George Washington\u2019s Mount <\/span>Vernon<\/span><\/p>\n

     <\/p>\n

    3:00 p.m. ET | Break (15 minutes)<\/strong><\/p>\n

     <\/p>\n

    3:15\u20135:00 p.m. ET | Session 2 Papers and Q&A<\/strong><\/p>\n

    Winds of Change in the 1930s: Weathervanes, the Index of American Design,\u00a0<\/span><\/i>and Questioning Artistic Canon Formation<\/span><\/i><\/p>\n

    Elizabeth McGoey, <\/span>Ph.D.<\/span>, Ann S. and Samuel M. Mencoff Associate Curator,\u00a0\u00a0<\/span>Arts of the Americas, The Art Institute of Chicago<\/span><\/p>\n

     <\/p>\n

    Isamu Noguchi\u2019s Weathervanes: An Artist Animates the Wind<\/span><\/i><\/p>\n

    Olivia Armandroff, <\/span>Ph.D.<\/span> Student, Art History, University of Southern California<\/span><\/p>\n

     <\/p>\n

    Weathervanes and Double Consciousness: History, Provenance, & the Folk Art\u00a0<\/span><\/i>Canon<\/span><\/i><\/p>\n

    William D. Moore, <\/span>Ph.D.<\/span>, Director, American & New England Studies Program\u00a0<\/span>and Associate Professor of American Material Culture, History of Art & Architecture, Boston University<\/span><\/p>\n

     <\/p>\n

    Closing Remarks<\/span><\/i>\u00a0<\/span><\/p>\n

    Emelie Gevalt, Curatorial Chair for Collections and Curator of Folk Art, American Folk Art Museum<\/span><\/p>\n

     <\/p>\n

    5:00 p.m. ET | Symposium concludes<\/strong><\/p>\n

     <\/p>\n

    Image: <\/span>Church banner weathervane<\/span><\/i>, Artist unidentified, Orono, Maine, c. 1840, sheet iron, lead, copper, and blown glass with remnants of an early gilded surface, 61 x 74 \u00bc in. Private collection. Photograph by Ellen McDermott, courtesy Olde Hope Antiques, Inc.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"WATCH HERE","reserve_link":"https:\/\/www.youtube.com\/playlist?list=PLYdGnSYY2RVq8qawmpk7kx19Upym-7gLM","day":"24","month":"Oct","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/elizabeth-and-irwin-warren-folk-art-symposium-10-24-21\/"},"11":{"ID":26022,"post_type":"programs","title":"2021 Uncommon Artists Lecture","content":"","status":"publish","date":"2020-12-14 18:23:07","name":"26022","parent":0,"modified":"2021-09-08 13:48:52","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":26023,"id":26023,"title":"Uncommon Artists Banner Final","filename":"Uncommon-Artists-Banner-Final-e1637599925498.jpg","filesize":52110,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/12\/Uncommon-Artists-Banner-Final-e1637599925498.jpg","link":"https:\/\/folkartmuseum.org\/programs\/26022\/uncommon-artists-banner-final\/","alt":"","author":"19","description":"","caption":"","name":"uncommon-artists-banner-final","status":"inherit","uploaded_to":26022,"date":"2020-12-14 18:20:10","modified":"2020-12-14 18:20:10","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":800,"height":399,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/12\/Uncommon-Artists-Banner-Final-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/12\/Uncommon-Artists-Banner-Final-300x150.jpg","medium-width":300,"medium-height":150,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/12\/Uncommon-Artists-Banner-Final-768x383.jpg","medium_large-width":768,"medium_large-height":383,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/12\/Uncommon-Artists-Banner-Final-e1637599925498.jpg","large-width":800,"large-height":399,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/12\/Uncommon-Artists-Banner-Final-e1637599925498.jpg","1536x1536-width":800,"1536x1536-height":399,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/12\/Uncommon-Artists-Banner-Final-e1637599925498.jpg","2048x2048-width":800,"2048x2048-height":399}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2020\/12\/Uncommon-Artists-Banner-Final-e1637599925498.jpg","headline":"2021 Anne Hill Blanchard Uncommon Artists Lecture","di_date":"2021-01-31","excerpt":"

    Join us online for the 2021 Anne Hill Blanchard Uncommon Artists Lecture organized in connection with the museum exhibition <\/span>PHOTO | BRUT: Collection Bruno Decharme & Compagnie<\/a>.<\/em> Discover new research and perspectives on self-taught art with talks by scholars Elaine Y. Yau on personal and material transformation in the work of Rosie Lee Tompkins, Erin O\u2019Toole on April Dawn Alison\u2019s photography, and Nicole R. Fleetwood on carceral aesthetics and prison portrait practices.<\/span><\/p>\n","start_time":"1:00 pm","end_time":"3:00 pm","admission":"Online; free with registration ","main_content":"

    Join us online for the 2021 Anne Hill Blanchard Uncommon Artists Lecture.<\/p>\n

    Talks will explore new research on self-taught art, drawing on themes of metamorphosis and transformation in the museum exhibition\u00a0PHOTO | BRUT: Collection Bruno Decharme & Compagnie<\/a>.\u00a0<\/u><\/em>This exhibition will be on view from January 24 through June 6, 2021.<\/p>\n

    Speakers include Elaine Y. Yau<\/b> on personal and material transformation in the work of Rosie Lee Tompkins, Erin O\u2019Toole<\/b> on April Dawn Alison\u2019s photography, and Nicole R. Fleetwood<\/b> on carceral aesthetics and prison portrait practices.<\/p>\n

    The Anne Hill Blanchard Uncommon Artists Lecture Series<\/a> highlights new and important contributions to the field of folk and self-taught art. The annual series honors the late Anne Hill Blanchard, an inspiring and passionate leader in the field and a devoted supporter of the American Folk Art Museum. For the first time, the Anne Hill Blanchard Uncommon Artists Lecture will be held online via Zoom.<\/p>\n

    Space is limited; advance registration is required. Please consider making a donation when you register to support ongoing virtual programming.<\/p>\n

    After registering for the program, you will receive a confirmation email with instructions and the Zoom link for joining the program via computer or mobile device at the end of the email under \u201cAdditional Information.\u201d Closed captioning will be provided. Questions? Please email publicprograms@folkartmuseum.org<\/a>.<\/p>\n

    Sunday, January 31, 2021, 1:00 – 3:00 p.m. ET<\/strong><\/p>\n

    Schedule<\/p>\n

    1:00 p.m. ET Welcome & Opening Remarks<\/p>\n

    1:12 p.m. ET Nicole R. Fleetwood: The Practice and Legacy of Prison Portraits<\/p>\n

    1:42 p.m. ET Erin O\u2019Toole: April Dawn Alison, photographer<\/p>\n

    2:12 p.m. ET Elaine Y. Yau: Rosie Lee Tompkins and Protective Self-Fashioning<\/p>\n

    Dr. Nicole R. Fleetwood<\/strong> is a writer, curator, and Professor of American Studies and Art History at Rutgers University, New Brunswick. She is the author of Marking Time: Art in the Age of Mass Incarceration<\/em> (Harvard University Press, 2020), On Racial Icons: Blackness and the Public Imagination<\/em> (Rutgers University Press, 2015), and Troubling Vision: Performance, Visuality, and Blackness<\/em> (University of Chicago Press, 2011). Fleetwood has curated exhibitions and events on art and mass incarceration at MoMA PS1, Andrew Freedman Home, Aperture, Cleveland Public Library, Zimmerli Art Museum, Mural Arts Philadelphia, Eastern State Penitentiary Historic Site, and the Urban Justice Center.<\/p>\n

    Dr. Erin O\u2019Toole<\/strong> is the Baker Street Foundation Associate Curator of Photography at the San Francisco Museum of Modern Art (SFMOMA), where she has worked since 2007. Recent exhibitions she has organized include Off the Wall: Liz Deschenes, Oliver Chanarin, Sarah Sze, Dayanita Singh and Lieko Shiga<\/em> (2020), Thought Pieces: 1970s Photographs of Lew Thomas, Donna-Lee Phillips and Hal Fischer<\/em> (2020); April Dawn Alison<\/em> (2019); New Work: Erin Shirreff<\/em> (2019); and Anthony Hernandez<\/em> (2016). She is editor of Thought Pieces: 1970s Photographs of Lew Thomas, Donna-Lee Phillips and Hal Fischer<\/em> (MACK Books, 2020), April Dawn Alison<\/em> (MACK Books, 2019), and Anthony Hernandez<\/em> (SFMOMA, 2016), as well as a contributing author of The Photographic Object, <\/em>1970 (UC Press, 2016), Janet Delaney: South of Market<\/em> (MACK Books, 2013), Garry Winogrand<\/em> (SFMOMA, 2013), Doug Rickard: A New American Picture<\/em> (Walter Koenig Books, Cologne, 2012), San Francisco Museum of Modern Art: 75 Years of Looking Forward<\/em> (SFMOMA, 2010), among other titles.<\/p>\n

    Dr. Elaine Y. Yau<\/strong> is Associate Curator of the Eli Leon Living Trust Collection of African American Quilts at the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA). Prior to this position, she co-curated Rosie Lee Tompkins: A Retrospective<\/em> with former director and Chief Curator, Larry Rinder. In addition to writing essays on artists Sister Gertrude Morgan and Minnie Evans, her contribution to the Routledge Companion to African American Art History<\/em> (2020) examined the critical impact of race on folk art scholarship. Dr. Yau earned her doctoral degree at UC Berkeley in History of Art with an emphasis in Folklore in 2015.<\/p>\n

    Images: Rosie Lee Tompkins,\u00a0Three Sixes\u00a0<\/i>(detail), 1996, quilted by Irene Bankhead, 1996, polyester double knit, linen-weave cotton or polyester, cotton, rayon, and cotton muslin backing, 96 x 96\u201d, Photography by Ben Blackwell;\u00a0April Dawn Alison,\u00a0Untitled<\/i>, n.d., collection of the San Francisco Museum of Modern Art, gift of Andrew Masullo; Russell Craig,\u00a0Self Portrait<\/i>, 2016, pastel and paper on canvas, 10 x 8\u2019, courtesy of Russell Craig, Photography by Kisha Bari, provided by the Soze Agency.<\/span><\/p>\n","show_in_past_programs":true,"reserve_text":"REGISTER","reserve_link":"https:\/\/www.eventbrite.com\/e\/2021-anne-hill-blanchard-uncommon-artists-lecture-tickets-132342169993","day":"31","month":"Jan","year":"2021","link":"https:\/\/folkartmuseum.org\/programs\/26022\/"},"13":{"ID":21390,"post_type":"programs","title":"Boroughs in Business: Art and Commerce in New York City 5\/11\/19","content":"","status":"publish","date":"2019-03-18 15:17:03","name":"boroughs-in-business-art-and-commerce-in-new-york-city","parent":0,"modified":"2019-07-09 19:13:54","series?":"Program","category":{"term_id":25,"name":"Symposia & Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":21391,"id":21391,"title":"boroughs-in-business-banner","filename":"boroughs-in-business-banner.jpg","filesize":539558,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/boroughs-in-business-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/boroughs-in-business-art-and-commerce-in-new-york-city\/boroughs-in-business-banner\/","alt":"","author":"16","description":"","caption":"","name":"boroughs-in-business-banner","status":"inherit","uploaded_to":21390,"date":"2019-03-18 15:15:44","modified":"2019-03-18 15:15:44","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/boroughs-in-business-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/boroughs-in-business-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/boroughs-in-business-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/boroughs-in-business-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/boroughs-in-business-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/boroughs-in-business-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/boroughs-in-business-list2.jpg","headline":"Boroughs in Business: Art and Commerce in New York City ","di_date":"2019-05-11","excerpt":"

    This half-day symposium will bring curators and scholars together to examine New York City as the center for commercial and artistic innovation through the works on view in the current exhibition.<\/p>\n","start_time":"10:00 am","end_time":"3:00 pm","admission":"$12 members, students, artists, seniors; $15 general public ","main_content":"

    This half-day symposium will bring curators and scholars together to examine New York City as the center for commercial and artistic innovation through the works on view in Made in New York City: The Business of Folk Art<\/em><\/a>. The morning session, \u201cThe Business of Art,\u201d will focus on objects made by artists, artisans, and manufacturers in eighteenth-\u00a0and nineteenth-century New York. The afternoon session, \u201cThe Art of Business,\u201d will expand on the history of commerce and consumer culture during this period, as reflected in works of art included in the exhibition.<\/p>\n

    Speakers include exhibition curator Elizabeth V. Warren<\/strong>; Daniel Finamore<\/strong>, curator of maritime art and history, Peabody Essex Museum<\/a>;\u00a0Graham Russell Gao-Hodges<\/strong>, professor of history and Africana & Latin American studies, Colgate University<\/a>;\u00a0Meta Janowitz,<\/strong> historical archaeologist;\u00a0Elizabeth Mankin Kornhauser<\/strong>, curator of American painting and sculpture, The Metropolitan Museum of Art<\/a>; Emily M. Orr<\/strong>, assistant curator of modern and contemporary American design, Cooper Hewitt, Smithsonian Design Museum<\/a>. Annie Polland<\/strong>, executive director, American Jewish Historical Society<\/a>, will moderate the discussions.\u00a0<\/em><\/p>\n

     <\/p>\n

    Schedule<\/strong><\/span><\/p>\n

    10:00 AM<\/strong>: Registration \/ Coffee & pastries<\/p>\n

    10:30 AM<\/strong>: Welcome address by Jason T. Busch, Director, American Folk Art Museum<\/p>\n

    10:30 AM\u201312:15 PM: Panel 1 \u2013 “The Business of Art”<\/strong><\/p>\n

    10:40 AM<\/strong>: \u00a0“Updates and Deep Dives: Behind the Scenes of the Exhibition,” Elizabeth V. Warren, Independent Curator<\/p>\n

    11:oo AM<\/strong>: “Portraying New York City\u2019s Folk,” Elizabeth Mankin Kornhauser, Alice Pratt Brown Curator of American Paintings and Sculpture, The Metropolitan Museum of Art<\/p>\n

    11:20 AM<\/strong>: “Potters and Politicians: The Crolius and Remmey Families of Pott-Bakers Hill,” Meta Janowitz, Historical Archaeologist and Professor, School of the Visual Arts<\/p>\n

    11:40 AM<\/strong>: Discussion \/ Moderator: Annie Polland, Executive Director, American Jewish Historical Society<\/p>\n

    12:15\u20131:15 PM<\/strong>: Lunch break<\/p>\n

    1:20\u20133:00 PM: Panel 2 \u2013 “The Art of Business”<\/strong><\/p>\n

    1:20 PM<\/strong>: “‘Our brains lie chiefly in our machine-shops’: Marine Art and Technology in 19th Century New York,\u201d Daniel Finamore, Russell W. Knight Curator of Maritime Art and History, Peabody Essex Museum<\/p>\n

    1:40 PM<\/strong>: “The Show Window Effect: Retail Design in New York City,” Emily M. Orr, Assistant Curator of Modern and Contemporary American Design, Cooper Hewitt, Smithsonian Design Museum<\/p>\n

    2:00 PM:\u00a0<\/strong>“The Cartmen of New York City,” Graham Russell Gao-Hodges, George Dorland Langdon Jr. Professor of History and Africana Studies,\u00a0Colgate University<\/p>\n

    2:25 PM<\/strong>: Discussion \/ Moderator: Annie Polland, Executive Director, American Jewish Historical Society<\/p>\n

    3:00 PM<\/strong>: Closing reception<\/p>\n

    This program is generously supported in part by the Victorian Society New York, Margot Gayle Fund.\u00a0<\/em><\/p>\n

     <\/p>\n

    Daniel Finamore<\/strong> is the Russell W. Knight Curator of Maritime Art and History at the Peabody Essex Museum (PEM)<\/a>. Finamore has organized more than fifteen exhibitions of American and European painting and decorative arts at PEM. He holds a BA from Vassar College, where he studied anthropology and art history, and an MA and PhD from Boston University, where he studied archaeology. He has conducted extensive archaeological field research in Belize and elsewhere, and was awarded a prize from the Society of American Archaeology for an outstanding doctoral dissertation. Finamore has received grants from a diverse range of funders for his research and exhibition projects, including the National Endowment for the Humanities, National Science Foundation, and the National Endowment for the Arts. He has written more than forty articles and chapters for academic and popular publications, and is the author and\/or editor of five books, including\u00a0Capturing Poseidon: Photographic Encounters with the Sea<\/em> (PEM, 1999), Maritime History as World History<\/em> (University Press of Florida, 2008), and\u00a0Fiery Pool: The Maya and the Mythic Sea<\/em> (Yale University Press, 2010). He curated the 2017 traveling exhibition\u00a0Ocean Liners: Modernism and Glamour<\/em>, co-organized with the Victoria and Albert Museum. Finamore is also a director of the Institute for Global Maritime Studies and an honorary member of the Salem Marine Society. He has served on the executive council of the International Congress of Maritime Museums and the US National Committee of the Census of Marine Life, and has been a director of the Council of American Maritime Museums. He was a 2011 fellow of the Center for Curatorial Leadership.<\/p>\n

    Graham Russell Gao-Hodges<\/strong> is the George Dorland Langdon, Jr. Professor of History and Africana Studies at Colgate University<\/a>. His primary areas of scholarship are colonial and revolutionary American history, social history, labor and urban America, New York City history, and Asian American history. Gao-Hodges received his PhD from New York University, and an MA from City College of New York. He is the author or editor of seventeen books, including Black New Jersey: 1664 to the Present Day <\/em>(Rutgers University Press, 2018) and TAXI! A Social History of the New York City Cabdriver<\/em> (Johns Hopkins University Press, 2007). His first book, New York City Cartmen, 1667\u20131850<\/em> (NYU Press, 1986; revised edition, 2012) is the basis for his presentation.<\/p>\n

    Meta Janowitz\u00a0<\/strong>is a historical archaeologist with a specialty in the study of material culture, particularly salt-glazed stoneware and red earthenware ceramics made in New York City and Philadelphia. She received her BA from Beloit College and her MPhil and PhD from the City University of New York, all degrees in anthropology with an emphasis in archaeology. A major project on which she has worked is the study of the stoneware kiln wasters and manufacturing debris from the Crolius and Remmey potteries found at the African Burial Ground in Manhattan, which she discussed in an article for the 2008 edition of Ceramics in America.<\/em> In her cultural resource management (public archaeology) career, she has been part of archaeological projects at many sites along the East Coast and in the Caribbean. Her academic home is the School of Visual Arts in Manhattan.<\/p>\n

    Dr. Elizabeth Mankin Kornhauser<\/strong> is the Alice Pratt Brown Curator of American Paintings and Sculpture at The Metropolitan Museum of Art<\/a> (appointed in 2010), where she completed work on the new American paintings and sculpture galleries that opened in January 2012. She recently co-curated the major exhibition Thomas Cole’s Journey: Atlantic Crossings, <\/em>which opened at The Met on January 30, 2018, and the National Gallery, London, on June 11, 2018. Kornhauser has a PhD from Boston University with a specialty in American paintings, and an MA from Cooperstown Graduation Programs, SUNY, Cooperstown, NY, in American folk art and culture. She began her curatorial career in 1976 at the Smith College Art Museum, and in 1980 at the Long Island (now Brooklyn) Historical Society in Brooklyn, NY. She co-organized the exhibition and catalog Brooklyn Before the Bridge<\/em> for the Brooklyn Museum in 1982. In 1983, she joined the Wadsworth Atheneum Museum of Art as associate curator of American paintings, sculpture, and drawings, and served as the chief curator and Krieble Curator of American Painting and Sculpture from 1997 to 2010. During her tenure at the Wadsworth Atheneum, she greatly enhanced the collections with major purchases and gifts of American art. She is a graduate of the Getty Leadership Institute, Los Angeles. Kornhauser has been the recipient of numerous grants, awards, and fellowships from the Henry Luce Foundation, the Rockefeller Foundation, the National Endowment for the Arts, the National Endowment for the Humanities, the Terra Foundation for American Art, and The American Academy in Rome, among others. She has taught undergraduate and graduate courses in American art at Trinity College, Hartford, CT, and courses for New York area universities at The Metropolitan Museum.<\/p>\n

    Emily M. Orr<\/strong> is the assistant curator of modern and contemporary American design at Cooper Hewitt, Smithsonian Design Museum<\/a>. She holds a PhD in the history of design from the Royal College of Art\/Victoria & Albert Museum and\u00a0an MA in visual culture: costume studies from New York University. Her primary areas of scholarship include retail history, industrial design, and consumer culture. Her PhD thesis is now the focus for a forthcoming monograph\u00a0Designing the Department Store: Display and Retail at the Turn of the Twentieth Century <\/em>(Bloomsbury, fall 2019).<\/p>\n

    Dr. Annie Polland<\/strong> is the executive director of the American Jewish Historical Society.<\/a>\u00a0She was\u00a0formerly the vice president for programs and education at the Lower East Side Tenement Museum, where she oversaw exhibits and interpretation. She is the co-author, with Daniel Soyer, of\u00a0Emerging Metropolis: New York Jews in the Age of Immigration<\/em> (NYU Press, 2012), which was the winner of the 2012 National Jewish Book Award. She served as vice president of education at the Museum at Eldridge Street, where she wrote\u00a0Landmark of the Spirit: The Eldridge Street Synagogue<\/em>\u00a0(Yale University Press, 2008). Polland also teaches at New York University. She received her PhD in history from Columbia University.<\/p>\n

    Elizabeth V. Warren<\/strong> has devoted the past thirty-five years to the study, writing, and curatorial work involved with folk art. Warren served as American Folk Art Museum curator from 1984 to 1991, and has been a consulting curator since then. In 2007, she was elected to the museum’s Board of Trustees. She also serves on the Board of Trustees of Bryn Mawr College. She is the curator of the American Folk Art Museum’s current exhibition Made in New York City: The Business of Folk Art<\/a>.<\/em><\/p>\n

     <\/p>\n

    Event photos by Bones Photography<\/em><\/p>\n

     <\/p>\n

    Image:<\/strong> Artist unidentified, Situation of America, 1848.<\/em>, New York City, 1848, oil on wood panel, 34 x 57 x 1 3\/8 in., Collection American Folk Art Museum, New York, gift of Ralph Esmerian, 2013.1.21.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":22173,"id":22173,"title":"_A1A0191","filename":"A1A0191.jpg","filesize":216746,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/03\/A1A0191.jpg","link":"https:\/\/folkartmuseum.org\/programs\/boroughs-in-business-art-and-commerce-in-new-york-city\/_a1a0191\/","alt":"","author":"16","description":"","caption":"","name":"_a1a0191","status":"inherit","uploaded_to":21390,"date":"2019-07-09 19:09:11","modified":"2019-07-09 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Lectures","slug":"symposiaandlectures","term_group":0,"term_taxonomy_id":25,"taxonomy":"category","description":"","parent":18,"count":0,"filter":"raw"},"main_image":{"ID":21113,"id":21113,"title":"cityofdreams-banner","filename":"cityofdreams-banner.jpg","filesize":83497,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/cityofdreams-banner.jpg","link":"https:\/\/folkartmuseum.org\/programs\/city-of-dreams-immigrant-life-in-19th-century-new-york\/cityofdreams-banner\/","alt":"","author":"16","description":"","caption":"","name":"cityofdreams-banner","status":"inherit","uploaded_to":21112,"date":"2019-02-26 21:13:34","modified":"2019-02-26 21:13:34","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1260,"height":460,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/cityofdreams-banner-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/cityofdreams-banner-300x110.jpg","medium-width":300,"medium-height":110,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/cityofdreams-banner-768x280.jpg","medium_large-width":768,"medium_large-height":280,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/cityofdreams-banner.jpg","large-width":1260,"large-height":460,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/cityofdreams-banner.jpg","1536x1536-width":1260,"1536x1536-height":460,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/cityofdreams-banner.jpg","2048x2048-width":1260,"2048x2048-height":460}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/cityofdreams-list.jpg","headline":"City of Dreams: Immigrant Life in 19th-Century New York","di_date":"2019-04-30","excerpt":"

    Tyler Anbinder, a specialist in 19th-century American politics and the history of immigration and ethnicity in American life, will discuss immigrant life in New York City.<\/p>\n","start_time":"6:30 pm","end_time":"8:00 pm","admission":"$8 students, members, artists, seniors; $10 general public ","main_content":"

    Join us for an evening with historian Tyler Anbinder, <\/strong>a specialist in nineteenth-century American politics and the history of immigration and ethnicity in American life, as he presents on immigrant life in New York and the contributions of immigrant artists, artisans, and manufacturers featured in Made in New York City: The Business of Folk Art<\/em><\/a>.<\/p>\n

     <\/p>\n

    Tyler Anbinder<\/strong> is a professor of history at George Washington University, where he teaches courses on the history of American immigration and the American Civil War. He is the author of three award-winning books: Nativism and Slavery: The Northern Know Nothings and the Politics of the 1850s <\/em>(1992); Five Points: The Nineteenth-Century New York Neighborhood That Invented Tap Dance, Stole Elections, and Became the World\u2019s Most Notorious Slum <\/em>(2001); and City of Dreams: The 400-Year Epic History of Immigrant New York <\/em>(2016). He has also won several fellowships from the National Endowment for the Humanities and held the Fulbright Thomas Jefferson Chair in American History at the University of Utrecht. He is currently writing a book on the Great Famine and the making of Irish New York.<\/p>\n

     <\/p>\n

    Event photos by Matthew Sherman<\/em><\/p>\n

     <\/p>\n

    Image:<\/strong> De La Prelette Wriley (1809\u20131873), No. 7 \u00bd Bowery, New York City<\/em>, New York City, c. 1837\u20131839, oil on wood panel, 20 x 24 3\/4 in., Collection New-York Historical Society, 1936.799. Photo \u00a9 New-York Historical Society.<\/span><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":22166,"id":22166,"title":"AFAM - TYLER ANBINDER LECTURE-3","filename":"AFAM-TYLER-ANBINDER-LECTURE-3.jpg","filesize":250164,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/AFAM-TYLER-ANBINDER-LECTURE-3.jpg","link":"https:\/\/folkartmuseum.org\/programs\/city-of-dreams-immigrant-life-in-19th-century-new-york\/afam-tyler-anbinder-lecture-3\/","alt":"","author":"16","description":"","caption":"","name":"afam-tyler-anbinder-lecture-3","status":"inherit","uploaded_to":21112,"date":"2019-07-09 18:45:01","modified":"2019-07-09 18:45:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":600,"height":400,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/AFAM-TYLER-ANBINDER-LECTURE-3-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/AFAM-TYLER-ANBINDER-LECTURE-3-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/AFAM-TYLER-ANBINDER-LECTURE-3.jpg","medium_large-width":600,"medium_large-height":400,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/AFAM-TYLER-ANBINDER-LECTURE-3.jpg","large-width":600,"large-height":400,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/AFAM-TYLER-ANBINDER-LECTURE-3.jpg","1536x1536-width":600,"1536x1536-height":400,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2019\/02\/AFAM-TYLER-ANBINDER-LECTURE-3.jpg","2048x2048-width":600,"2048x2048-height":400}}},{"acf_fc_layout":"image","image":{"ID":22168,"id":22168,"title":"AFAM - 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    The 2019 Anne Hill Blanchard Uncommon Artists Lecture will explore new research on self-taught art of Ghana in conjunction with the museum exhibition Paa Joe: Gates of No Return<\/em>, presented until February 24, 2019. Speakers include\u00a0Kristin Otto on fantasy coffins (abebuu adekai<\/em>), Silvia Forni on Asafo flags, and\u00a0Ernie Wolfe on hand-painted movie posters. Coffee and pastries to start.<\/p>\n","start_time":"10:30 am","end_time":"12:30 pm","admission":"$10 members, students, artists, seniors; $12 general public ","main_content":"

    The 2019 Anne Hill Blanchard Uncommon Artists Lecture will explore new research on self-taught art of Ghana in conjunction with the museum exhibition Paa Joe: Gates of No Return<\/em><\/a>, presented until February 24, 2019. Speakers include\u00a0Kristin Otto <\/strong>on fantasy coffins (abebuu adekai<\/em>), Silvia Forni <\/strong>on Asafo flags, and\u00a0Ernie Wolfe<\/strong> on hand-painted movie posters. Coffee and pastries to start.<\/p>\n

    The\u00a0Anne Hill Blanchard Uncommon Artists Lecture Series<\/a>\u00a0highlights new and important contributions to the field of folk and self-taught art. The annual series honors the late Anne Hill Blanchard, an inspiring and passionate leader in the field and a devoted supporter of the American Folk Art Museum.<\/p>\n

    \"\"\"\"<\/p>\n

    Schedule<\/strong><\/span><\/p>\n

    10:30 AM\u00a0 Registration \/ coffee and pastries<\/p>\n

    10:45 AM\u00a0 Welcome \/ Jason T. Busch, Director, American Folk Art Museum<\/p>\n

    11 AM\u00a0 Kristin Otto: “The Making of Life and Death: Ghanaian Figurative Coffins at Paa Joe Coffin Works”<\/p>\n

    11:30 PM\u00a0 Silvia Forni:\u00a0“Blazing Ensigns: The Arts and Artists of Asafo Flags”<\/p>\n

    12 PM\u00a0 Ernie Wolfe:\u00a0“Continental Convergence: Golden Age Hand-painted Movie Posters from Ghana”<\/p>\n

     <\/p>\n

    Dr. Silvia Forni<\/strong> is senior curator of African Arts and Cultures at the Royal Ontario Museum, Toronto.\u00a0Her most recent exhibition projects have been\u00a0Here We Are Here: Black Canadian Contemporary Art\u00a0<\/em>(2018),\u00a0Isaac Julien: Other Destinies\u00a0<\/em>(2017), and\u00a0Art. Honour and Ridicule: Asafo Flags from Southern Ghana\u00a0<\/em>(2016). Since 2013, together with Julie Crooks and Dominique Fontaine, she is responsible for the\u00a0Of Africa<\/em>\u00a0project, a multi-platform project aimed to support a sustained and long-term promotion of the cultural and creative diversity of Africa and its diaspora through an engagement with the collections in the museum and in dialogue with contemporary artists and creators.\u00a0<\/strong>She is the author of numerous essays and book chapters. Among her recent publications is the volume\u00a0Africa in the Market: 20th<\/span>\u00a0Century Art from the Amrad African Art Collection<\/em>\u00a0(2015), edited with Christopher B. Steiner, and\u00a0Art, Honor, and Ridicule: Fante Asafo Flags from Southern Ghana<\/em>\u00a0(2017), co-authored with Doran H. Ross.<\/p>\n

    Kristin Otto<\/strong> is a PhD candidate in Anthropology at Indiana University\u2013Bloomington, focusing on museum anthropology and material culture studies. She is a National Science Foundation Graduate Research Fellow and a research associate with the Mathers Museum of World Cultures. She curated the exhibition at the Mathers titled Shapes of the Ancestors: Bodies, Animals, Art, and Ghanaian Fantasy Coffins<\/em> based on research with the artists at Paa Joe Coffin Works in Ghana. Her dissertation research focuses on African objects and repair, and the intersections between the ways that we care for objects and our constructions of authenticity and identity. Preliminary research for this project formed the basis for the mini-exhibition that she curated for the Eskenazi Museum of Art at Indiana University titled Extending Lives: Repair and Damage in African Arts.<\/em> In her engagement with museum collections, she enjoys linking practices of material culture and art in source communities with global processes of curation, collection, and interpretation.<\/p>\n

    Ernie Wolfe III<\/strong> is a collector, curator, and African art and culture expert. He has made nearly fifty trips to Africa since 1973, and is a graduate of Williams College, Massachusetts. Wolfe is a lifer in the world of African art and culture, establishing his gallery in West Los Angeles in 1981, where he has been critically recognized for his exhibitions juxtaposing African painting and sculpture and the work of acclaimed contemporary American artists. He has written four books on various African art phenomena, ranging from the traditional material culture of Kenya to contemporary topics, such as the two authoritative and seminal texts on hand-painted movie posters from Ghana. He was a collaborator on the recent exhibition Ghana Paints Hollywood,<\/em> organized by the New Britain Museum of American Art.<\/p>\n

     <\/p>\n

    Image credits:\u00a0<\/strong>Kweku Kakanu (1910\u20131982); Saltpond Workshop; Asafo Flag with Whale and Ship<\/em>; c. 1925\u20131950; cotton, appliqu\u00e9, and embroidery; 109 \u00d7 200 cm; ROM 2012.65.4. Photo by Brian Boyle. Courtesy of the Royal Ontario Museum.<\/span><\/p>\n

    Flag dancing performance during Akwambo Festival. Dentsifo No. 2 Company Gomoa Dago, 2014. Photo by Silvia Forni.<\/span><\/p>\n

    Daniel Anum Jasper handpainting details on the face of a lion palanquin. Photo by Kristin Otto. Courtesy of the Mathers Museum of World Cultures, Indiana University.<\/span><\/p>\n

    Lawson Chindayen,\u00a0Captain America,\u00a0<\/i>1991, oil on canvas, 60 x 45 in. Courtesy of Ernie Wolfe Gallery.\u00a0\u00a0<\/span><\/p>\n

    \n

    Leonardo,\u00a0Tarzan in Manhattan<\/i>, 1995, oil on canvas, 63 x 45 in. Courtesy of Ernie Wolfe Gallery.\u00a0<\/span><\/p>\n<\/div>\n

     <\/p>\n

    Educational programs are sponsored in part by the Anne-Imelda Radice Education Fund, the Blanchette Hooker Rockefeller Fund, Con Edison, the Ford Foundation,\u00a0public funds from the\u00a0New York City Department of Cultural Affairs in partnership with the City Council, the Department of Youth and Community Services, New York State Council on the Arts\u00a0with the support of Governor Andrew M. Cuomo and the New York State Legislature, and City Council Member Helen Rosenthal.\u00a0<\/em><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":20844,"id":20844,"title":"8KQw_-oQ","filename":"8KQw_-oQ.jpg","filesize":321059,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2018\/11\/8KQw_-oQ.jpg","link":"https:\/\/folkartmuseum.org\/programs\/2019-uncommon-artists-lecture\/8kqw_-oq\/","alt":"","author":"16","description":"","caption":"","name":"8kqw_-oq","status":"inherit","uploaded_to":20472,"date":"2019-02-06 16:50:59","modified":"2019-02-06 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the Poetical Sciences: The Story of Edward and Orra White Hitchcock ","di_date":"2018-09-17","excerpt":"

    This half-day symposium will bring together scholars from a variety of disciplines and examine the lives and work of the Hitchcocks through different lenses, including poetry, geology, and paleontology.<\/p>\n","start_time":"10:00 am","end_time":"3:00 pm","admission":"$10 members, students, seniors; $15 general public ","main_content":"

    This half-day symposium will bring together scholars from a variety of disciplines and examine the lives and work of the Hitchcocks through different lenses, including poetry, geology, and paleontology.<\/p>\n

    Schedule:<\/strong><\/p>\n

    10:00 AM: Registration \/ Coffee and pastries
    \n10:30 AM: Welcome address by Jason T. Busch, Director, American Folk Art Museum
    \n10:30 AM\u201312:15 PM: Panel 1
    \n10:30\u201310:50 AM: “Charting the Divine Plan,” Stacy C. Hollander, Deputy Director for Curatorial Affairs, Chief Curator, and Director of Exhibitions, American Folk Art Museum
    \n10:55\u201311:20 AM: \u201c’Peculiarly Adapted to Females’: Women and the Study of Botany in the Nineteenth-Century United States,” Annie Merrill, Professor of English and Thomson Professor of Environmental Studies, Davidson College
    \n11:25\u201311:45 AM: “Finding Science\u2019s Poetry: Orra White for Today\u2019s Landscapes,” Naila Moreira, poet, science journalist, lecturer in English Language and Literature, and writing counselor, Smith College
    \n11:50 AM\u201312:15 PM: Discussion moderated by Allison C. Meier, writer
    \n12:15\u20131:15 PM: Break for lunch
    \n1:20\u20133:00 PM: Panel 2
    \n1:20\u20131:40 PM: “Geology’s Vision: Interpreting Orra White Hitchcock’s Charts in the Classroom,” Tekla Harms, Massachusetts Professor in Chemistry and Natural History, Amherst College
    \n1:45\u20132:05 PM: “The Hitchcocks and Mid-Nineteenth-Century Paleontology in the United States,” Melanie Hopkins, Assistant Curator, Invertebrate Paleontology and Division of Paleontology, and Assistant Professor, Richard Gilder Graduate School, American Museum of Natural History
    \n2:10\u20132:30 PM: “The Science of Orra and Edward Hitchcock: A Matter of Life and Death,” Amy Pollack, artist, and Robert Pollack, Professor of Biological Sciences, Director of University Seminar, and Director of Research Cluster of Science and Subjectivity, Columbia University
    \n2:35\u20133:00 PM: Discussion moderated by Allison C. Meier, writer
    \n3:00\u20133:30 PM: Closing reception<\/p>\n

    Speakers:<\/strong><\/p>\n

    Tekla<\/span>\u00a0Harms\u00a0<\/strong>is Massachusetts Professor in Chemistry and Natural History (Geology) at Amherst College in Amherst, Massachusetts. Harms completed her AB degree from Bryn Mawr College in 1977, a MSc at Queen’s University of Canada in 1982, and the PhD at the University of Arizona in 1986. Harms was a National Research Council post-doctoral fellow with the U.S. Geological Survey before joining the faculty of the Geology Department at Amherst College in 1987. Her research centers on the evolution of mountain belts and the deformation of rocks caught in continental collision zones.\u00a0 Her expertise is in the geologic history of the North American Cordilleran mountain range. She has worked in the field in the Brooks Range of Alaska, southern Yukon and northern British Columbia, eastern Washington, southwestern Montana, and the Coast Range of California, and has published on aspects of the geologic evolution of each of these areas. Harms is a Fellow of the Geological Society of America and the Geological Association of Canada.<\/p>\n

    Stacy C. Hollander <\/strong>is acting director and chief curator at the American Folk Art Museum. She is the award-winning curator and author of the exhibition and catalog\u00a0Securing the Shadow: Posthumous Portraiture in America<\/em>, and has served as curator and co-curator of numerous critically acclaimed exhibitions including\u00a0War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics<\/em>,\u00a0Self-Taught Genius: Treasures from the American Folk Art Museum,\u00a0<\/em>and\u00a0The Seduction of Light: Mark Rothko | Ammi Phillip: Compositions in Pink, Green, and Red<\/em>. Hollander has published on a wide range of folk art topics in catalogs, encyclopedias, scholarly journals, and magazines, and has lectured in the United States and abroad. She received her BA from Barnard College, Columbia University, and her MA in American folk art studies from New York University.<\/p>\n

    Dr. Melanie Hopkins<\/strong> is a paleontologist at the American Museum of Natural History. Her research focuses on the study of morphological evolution (i.e., how and why physical traits change in animals over time) using the fossil record, particularly the fossil record of trilobites. She is interested in the quantification and analysis of complex morphology, analysis of rates and patterns of evolution, the influence of development on the long-term evolution of lineages, how environmental change influences morphological change, and the importance of scale and hierarchy in understanding long-term patterns of evolutionary change and the processes underlying them. Many projects are specimen-based and rely on the extensive use of museum and new field collections. Other projects have made use of community databases, such as the Paleobiology Database. Hopkins is active in field work, particularly North America and Scandinavia.<\/p>\n

    Allison C. Meier<\/strong> is a Brooklyn-based writer focused on history and visual culture. Previously, she was a staff writer at Hyperallergic.com and senior editor at AtlasObscura.com. She moonlights as a cemetery tour guide.<\/p>\n

    Annie Merrill\u00a0<\/strong>is an Americanist who specializes in nineteenth-century literature and rambles over more extensive interdisciplinary territory. She earned a BA from Stanford University, an MA from Monterey Institute of International Studies, and a PhD from Emory University. Merrill teaches a range of courses at Davidson College in both English and environmental studies, including environmental literature, American literature, environmental humanities, Native American literature, and contemporary Indian literatures in English. Her research interests are similarly interdisciplinary: She publishes on nineteenth-century American women writers, environmental literature, ecocriticism, experiential learning, and environmental justice. Combining her expertise in women writers and environmental studies, Merrill’s current project investigates popular botany in nineteenth-century U.S. literature and material culture.<\/p>\n

    Naila Moreira<\/strong> teaches science and nature writing at Smith College and is writer-in-residence at the Forbes Library in Northampton, MA. After earning her doctorate in geology at the University of Michigan, she worked as a full-time journalist, Seattle Aquarium docent, and environmental consultant. She has authored two poetry chapbooks,\u00a0Water Street<\/em>\u00a0(Finishing Line Press, 2017) and\u00a0Gorgeous Infidelities<\/em>\u00a0(Impossible Dream Editions, 2014), which was published as an art book in collaboration with internationally recognized photographer Paul Ickovic. Her poetry, nature essays, and journalism have appeared in publications such as the\u00a0Naugatuck River Review, Cape Rock, Pirene\u2019s Fountain, Silkworm, Boston Globe, Seattle Times, Science News<\/em>, and\u00a0Common Online<\/em>. She writes a monthly environment column for the\u00a0Daily Hampshire Gazette<\/em>. This spring, her poetry appeared on Smith campus as a digital art installation in collaboration with photographer Pamela Petro (sponsored by the Northampton Arts Council), and her poem “American Elm”\u00a0<\/em>was set to music by composer Greg Brown and performed in concert during a Musical Tribute to Smith’s Trees, sponsored by the Smith Botanic Garden.<\/p>\n

    Amy Pollack<\/strong>\u00a0is an artist working and living in New York. She graduated from the New York City High School of Music and Art, then earned a BFA from The Cooper Union, and a BA from Brandeis University with a major in Art History and with honors in Graphics.\u00a0The Course of Nature<\/i><\/a>\u00a0is her first full-length book and is a collaboration with her husband, Columbia University professor Robert Pollack. An earlier version of the book has been used as a reading in the Columbia College core course \u201cFrontiers of Science,\u201d and in the Stevens Institute of Technology program in Arts and Letters.\u00a0\u00a0Her recent works include illustrations for publications of the Stevens Institute of Technology\u2019s College of Arts and Letters, illustrations for the Columbia University student magazine\u00a0Sanctum<\/i>, and illustrations in\u00a0Crosscurrents<\/i>\u00a0magazine. Her facility with scientific matters stems from summers spent at the Marine Biology Lab at Woods Hole, Massachusetts, and on her work as a technician at Brandeis University, where she looked to make ribosomes from yeast.<\/p>\n

    Robert Pollack<\/strong>\u00a0has been a professor of biological sciences at Columbia since 1978, and was dean of Columbia College from 1982 to 1989.\u00a0He graduated from Columbia University with a BA in physics, and received a PhD in biology from Brandeis University. He received an Alexander Hamilton Medal from Columbia University, and has held a Guggenheim Fellowship. He is the author of\u00a0Signs of Life: The Languages and Meanings of DNA<\/i>\u00a0(Houghton Mifflin\/Viking Penguin, 1994),\u00a0The Missing Moment: How the Unconscious Shapes Modern Science<\/i>\u00a0(Houghton Mifflin, 1999), and\u00a0The Faith of Biology and the Biology of Faith: Meaning, Order, and Free Will in Modern Medical Science<\/i>\u00a0(Columbia University Press, 2000).\u00a0Signs of Life<\/i>\u00a0received the Lionel Trilling Award and has been translated into six languages. In 2010, he was elected to be the fourth director of The University Seminars at Columbia.\u00a0The Course of Nature<\/i>\u00a0is a collaboration with his wife, artist Amy Pollack.<\/p>\n

    Event photos by Bones Photography.<\/em><\/p>\n

    Image credit:<\/strong>\u00a0Orra White Hitchcock (1796\u20131863),\u00a0Epochs of Elevation,\u00a0<\/em>Amherst, Massachusetts,\u00a01828\u20131840,\u00a0pen and ink and watercolor wash on cotton, with woven tape binding, 16 1\/8 x 40 3\/4 in.,\u00a0Amherst College Archives & Special Collections<\/span><\/p>\n

     <\/p>\n

    Educational programs are sponsored in part by the Anne-Imelda Radice Education Fund, the Blanchette Hooker Rockefeller Fund, Con Edison, the Council for Traditional Folk Art, the Ford Foundation, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the Department of Youth and Community Services, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and City Council Member Helen Rosenthal.<\/p>\n

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Anne Hill Blanchard Uncommon Artists Lecture ","di_date":"2018-01-21","excerpt":"

    The 2018 Anne Hill Blanchard Uncommon Artists Lecture will explore new research on self-taught art of the Caribbean. Speakers include Barbara Paca on Antiguan artist Frank Walter, Nancy Josephson on Haitian artist Myrlande Constant and Haitian Vodou Flags, and Jacqueline Bishop on Jamaican artist Kemel Rankine.<\/p>\n","start_time":"11:00 am","end_time":"1:00 pm","admission":"$10 members, students, seniors; $15 non-members","main_content":"

    The 2018 Anne Hill Blanchard Uncommon Artists Lecture will explore new research on self-taught art of the Caribbean. Speakers include Barbara Paca<\/strong> on Antiguan artist Frank Walter, Nancy Josephson<\/strong> on Haitian artist Myrlande Constant and Haitian Vodou flags, and Jacqueline Bishop<\/strong> on Jamaican artist Kemel Rankine. Coffee and pastries to start.<\/p>\n

    The Anne Hill Blanchard Uncommon Artists Lecture Series<\/a> highlights new and important contributions to the field of folk and self-taught art. The annual series honors the late Anne Hill Blanchard, an inspiring and passionate leader in the field and a devoted supporter of the American Folk Art Museum.<\/p>\n

     <\/p>\n

    Schedule<\/strong><\/span><\/p>\n

    11 AM\u00a0 Registration \/ coffee and pastries<\/p>\n

    11:15 AM\u00a0 Welcome \/ Dr. Anne Imelda-Radice, Executive Director, American Folk Art Museum<\/p>\n

    11:30 AM\u00a0 Barbara Paca on Frank Walter<\/p>\n

    12 PM\u00a0 Nancy Josephson on Myrlande Constant and\u00a0Haitian Vodou flags<\/p>\n

    12:30 PM\u00a0 Jacqueline Bishop on Kemel Rankine<\/p>\n

     <\/p>\n

    Barbara Paca<\/strong> currently serves as the cultural envoy to Antigua and Barbuda. In that capacity, she\u00a0works as the curator for Antigua and Barbuda\u2019s inaugural National Pavilion at La Biennale di Venezia. Paca was educated as an art historian and landscape architect.\u00a0She earned a PhD from Princeton University and has completed several postdoctoral fellowships, including a Fulbright scholarship and membership at the Institute for Advanced Study in Princeton. Paca is author of Frank Walter, The Last Universal Man<\/em> (2017),\u00a0Ruth Starr Rose: Revelations of African American Life in Maryland and the World<\/em> (2015), and The Frank Walter Catalogue for 2013<\/em> at Art Basel, Miami Beach. She has also been\u00a0involved\u00a0in the\u00a0operation of a landscape architectural firm for 30 years. Paca works on a global scale, using her knowledge of horticulture and history to anchor private residences to the land in an appropriate manner. She also works on large-scale public projects to develop a new aesthetic, promoting the use of native plants, cutting-edge environmental conservation, historic preservation, accessibility, and community building.<\/p>\n

    The Gymnast & Other Positions<\/i>\u00a0is\u00a0Jacqueline Bishop<\/strong>\u2019s\u00a0most recent book and has been awarded the 2016 OCM Bocas Award in Non-Fiction. She is also the author of\u00a0My Mother Who Is Me: Life Stories from Jamaican Women in New York<\/i>\u00a0and\u00a0Writers Who Paint\/Painters Who Write: Three Jamaican Artists.\u00a0<\/i>She writes a monthly\u00a0column on the visual arts for The Huffington Post.<\/em>\u00a0Bishop was a 2008\u20132009 Fulbright Fellow to Morocco; the 2009\u20132010 UNESCO\/Fulbright Fellow; and is an associate\u00a0professor at New York University.\u00a0She founded\u00a0Antillean<\/a>,\u00a0which encourages, develops, and revitalizes folk art traditions of the Caribbean with a goal to improve the livelihoods of its artists. Antillean works with and within communities to build upon and sustain local art traditions that in turn will build and support strong communities. Among those artists Bishop works with is Kemel Rankine, who transforms discarded metals from cars and appliances into folk art paintings of Jamaican proverbs, national heroes, birds, flowers, and other aspects of the Jamaican landscape. He collects metal from junkyards and uses enamel and occasionally house paint to create each piece.<\/p>\n

    As an artist and musician, Nancy Josephson<\/strong> became engaged in the culture of Haiti first through connection with the artwork, particularly drapo vodou,<\/em> or Voodoo flags. These vibrant, sparkly narratives hit a chord that compelled her to travel to the island in the late eighties. Once there, she was introduced to the flag makers and the spiritual communities represented in the iconography of the flags. Over a period of\u00a0ten years and many trips to Haiti, the connections to individual artists grew. She captured many of their stories and unique styles in her book\u00a0Spirits in Sequins: Vodou Flags of Haiti<\/em>\u00a0(Schiffer Publishing, 2007). Her artwork, in consort with her spiritual life, continues to reflect the love bound to Vodou.<\/p>\n

     <\/p>\n

    Image credits:\u00a0<\/strong>Frank Walter, Psycho Geometrics<\/em>, date unknown, oil on cardboard, 32 x 35.5 cm, photography by Kenneth M. Milton Fine Arts Conservation, \u00a9 courtesy Sir Selvyn and Lady Walter; Sane Mae photo by Garfield Robinson; Kemel Rankine\u00a0photo by Robin Farquharson; Myrlande Constant (b. 1968), Port-au-Prince, Haiti, Vodou Banner: Milocan Tous Les Saints Tous Les Morts<\/em>, c. 2000. Sequins and beads on fabric, 42 \u00bd x 56 \u00bd\u201d, Gift of Robert Brenner, 2012.3.1. American Folk Art Museum. Photo by Gavin Ashworth.<\/span><\/p>\n

     <\/p>\n

    Event photos by Christine Wise.<\/span><\/em><\/p>\n","gallery":[{"acf_fc_layout":"image","image":{"ID":17456,"id":17456,"title":"blanchard2018-1","filename":"blanchard2018-1.jpg","filesize":146158,"url":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/10\/blanchard2018-1.jpg","link":"https:\/\/folkartmuseum.org\/programs\/uncommon-artists-lecture-new-research-on-self-taught-art-of-the-caribbean-12118\/blanchard2018-1\/","alt":"","author":"16","description":"","caption":"","name":"blanchard2018-1","status":"inherit","uploaded_to":16611,"date":"2018-02-13 22:00:53","modified":"2018-02-13 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18:30:46","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/folkartmuseum.org\/site\/wp-includes\/images\/media\/default.png","width":1200,"height":662,"sizes":{"thumbnail":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/01\/Widener_a-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/01\/Widener_a-300x166.jpg","medium-width":300,"medium-height":166,"medium_large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/01\/Widener_a-768x424.jpg","medium_large-width":768,"medium_large-height":424,"large":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/01\/Widener_a-1024x565.jpg","large-width":1024,"large-height":565,"1536x1536":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/01\/Widener_a.jpg","1536x1536-width":1200,"1536x1536-height":662,"2048x2048":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/01\/Widener_a.jpg","2048x2048-width":1200,"2048x2048-height":662}},"list_image":"https:\/\/folkartmuseum.org\/content\/uploads\/2017\/01\/Widener-2112-1221.png","headline":"Post-Dubuffet: Self-Taught Art in the Twenty-First Century\u2014SOLD OUT","di_date":"2017-04-03","excerpt":"

    Curators, scholars, and artist come together in this symposium to examine the current state of self-taught art. Speakers will include Maxwell L. Anderson, Edward M. G\u00f3mez, Massimiliano Gioni, Jane Kallir, Randall Morris, Barbara Safarova, and Val\u00e9rie Rousseau, symposium chair and curator at the American Folk Art Museum.<\/p>\n

     <\/p>\n","start_time":"2:00 pm","end_time":"6:30 pm","admission":"$10 members, students, and seniors; $20 non-members","main_content":"

    Click here<\/a> for a full schedule, speaker abstracts and biographies.
    \nFor questions, please email publicprograms@folkartmuseum.org.<\/p>\n