![History of Art PhD Graduates](/sites/default/files/styles/portrait/public/2024-06/phd-4x5.jpg?h=18c892d8&itok=Su7bYpRx)
Congratulations to Cornell History of Art PhD Graduates!
Congratulations to Cornell History of Art PhD Graduates!
Congratulations to Cornell History of Art PhD Graduates!
Congratulations History of Art Class of 2024!
Hui Yuan is a History of Art & Comparative Literature major.
Caroline Scherr is a History of Art major.
Ananda Cohen-Aponte was named a Getty Scholar for the 2024-2025 annual theme of Extinction to support the completion of her book, Insurgent Imaginaries: The Art of Rebellion in the Late Colonial Andes.
Book Talk with Rahaab Allana 4/23/24
Visual Culture Colloquium with Chanon Kenji Praepipatmongkol 11/16/23
Coming from the University of Toronto, where he is the director of the Munk School of Global Affairs and Public Policy, Loewen begins his five-year appointment as the Harold Tanner Dean of the College of Arts and Sciences Aug. 1.
Nancy P. Lin, Klarman Postdoctoral Fellow, is set to join the History of Art Faculty Roster beginning Fall 2024
Jolene Rickard and Colleagues Awarded 2024 New Frontier Grant by College of Arts and Sciences
Noah Rice is a history of art major.
Lindy Liu is a History of Art & German studies major.
Danielle Vander Horst (MA '19), Undergraduate/Graduate Coordinator, Published in New Book "Of Things and Stories: Current Approaches to Object Biography, Medium, and Materiality."
The College of Arts and Sciences (A&S) has awarded five New Frontier Grants to cutting edge projects in science, social science and the humanities led by A&S faculty.
Afghan visual artist Elja Sharifi, currently a visiting scholar at the Herbert F. Johnson Museum of Art, sees her escape from the Taliban as a call to action. She will enter Cornell’s PhD program in art history next fall.
At Cornell’s Johnson Museum of Art, the work of renowned artist Guadalupe Maravilla is on display in the same space as that of Ingrid Hernandez-Franco, a Salvadoran woman whose asylum case was championed by a Cornell professor and her students.
Pulse of Art History with Kimberli Gant 4/22/2024
On March 22nd, all five of History of Art's graduating seniors presented Honors Theses on diverse and impressive topics.
The Findley Lecture with Devika Singh 4/15/2024
The grants provide funding for students in unpaid or low-paying summer experiences to offset the cost of taking on those positions.
Visual Culture Colloquium with Christina Maranci 4/9/2024
Following their co-taught Mellon seminar, Cornell faculty Akcan and Dadi announce the release of their edited volume of essays on the art and architecture of partitions, migrations, arrivals, experiences, and global conditions from the 20th century to the present.
Following their co-taught Mellon seminar, Cornell faculty Akcan and Dadi announce the release of their edited volume of essays on the art and architecture of partitions, migrations, arrivals, experiences, and global conditions from the 20th century to the present.
Salah M. Hassan curates Gavin Jantjes: To Be Free! A Retrospective 1970–2023 at the Sharjah Art Foundation
Pulse of Art History with Sarah Wells 3/19/2024
Visual Culture Colloquium with Chenshu Zhou 3/12/24
Your gift allows the College to fulfill our mission — to prepare our students to do the greatest good in the world.
A Millard Meiss Publication Fund award will support the publication of Kelly Presutti's "Land into Landscape: Art, Environment, and the Making of Modern France.”
Visual Culture Colloquium with Boreth Ly 2/21/24
Kelly Presutti has received a CAA Millard Meiss Publication Grant for her book, "Land Into Landscape: Art, Environment, and the Making of Modern France."
This fifth cohort of Klarman Fellows is the largest since the program was launched in 2019.
Four special guests, including Arts & Sciences alumni, will be honored at the Cornell Alumni Leadership Conference in Baltimore in February.
Leonardo Santamaría-Montero, PhD Student, Presented his recent book at the National Theater of Costa Rica
Hannah Ryan, PhD '19, Publishes New Book on Food and Feminism in Global Caribbean Art
Iftikhar Dadi delivered a lecture on “Sadequain and Calligraphic Abstraction” at the Giacometti Foundation, Paris
PhD Candidate, Alice Clinch, is highlighted by the British School in Athens for her work on ancient pigments
“The conference showcased the true intergenerational and diverse group of scholars involved in Andean Studies,” said Prof. Cohen-Aponte.
Banerjee will participate in a two-year academic leadership and governance fellowship.
Last month, three members of our department participated on a panel at the Native American Art Studies Association (NAASA) Conference in Kjipuktuk/Halifax, Nova Scotia (October 11-13, 2023).
Live events Nov. 16-17 will illuminate questions about performance, photograph and video – and the complex relationship between the three – posed in a current Johnson Museum exhibition.
Join the History of Art Department on Friday, November 17th from 3:30-5:00 PM as we chat with three alums and hear about their careers and lives after Cornell. This event is free and open to the public.
Irene Small (Princeton University) will give a Pulse of Art History talk on 11/6/2023 in Goldwin Smith Hall G22 at 4:45 PM.
Title: Poor Image and Meta-Medium: Hércule Florence and the Invention of Photography in Brazil
Abstract: This lecture investigates the solitary development of a photographic technique by the French-Brazilian inventor Hércule Florence in Brazil circa 1833. Rather than securing Florence’s primacy within an international chronology of the technology’s invention, the lecture argues that Florence’s situatedness was constitutive, rather than incidental, to his conceptualization of the medium. Unlike for many of his European counterparts, Florence’s photography was primarily a communicative, rather than pictorial solution: a meta-container for coding place-specific experience into informational units capable of transferal and distribution. In this, his “photography” paradoxically anticipates contemporary digital technologies more so than the analog medium of his own time.
Iftikhar Dadi organizes a major conference on cultural responses to climate change in South Asia.
The Next Monsoon: Climate Change and Contemporary Cultural Production in South Asia
Three-day conference: October 27 -29, 2023
Johnson Museum of Art, 114 Central Ave, Ithaca, NY
Natalia Di Pietrantonio, PhD '18, has been appointed Curator at The Crow Museum of Asian Art at the University of Texas at Dallas.
Yi Gu (University of Toronto) will give a Visual Culture Colloquium talk on 10/24/23 in Goldwin Smith Hall G22 at 4:45 PM.
Title: An Anachronistic Medium: Magic Lantern and the Art World in Mao's China (1949-1976)
Abstract: What is the divide between creative labor and artistic work? How does the platformization of culture exploit the intrinsic human desire for creative expression? Can the promotion of mass art democratize artmaking? This presentation engages with these seemingly contemporary questions by examining the fervent embrace of magic lantern in Mao’s China, where this media, largely superseded by cinema globally, was celebrated as a superior medium precisely for its capacity for fostering creative participation. By rediscovering the long-forgotten slide artists, this talk sheds light on the artworkers and amateurs whose exclusion from both the art world and contemporary art history has been indispensable to the symbolic economy of socialist art.
Lotte Hoek (University of Edinburgh) will give a Pulse of Art History talk on 10/23/23 in Goldwin Smith Hall G22 at 4:45 PM.
Title: Amphibian Cinema for a Deltaic Audience: Publicity Films in Riverine Bengal
Abstract:
The creation of Pakistan frequently left newly appointed bureaucrats grappling with a territory and population that was not immediately self-evident to them. In this fluid and often violent situation, the cinema was considered a key means by which all sorts of boundaries might be consolidated. Tasked with publicising the new state, Pakistani bureaucrats at the Ministry of Information had at their disposal a colonial inheritance of a decaying public information infrastructure, complete with iconic ‘publicity vans’ carrying celluloid reels. They also had the keen support of the United States Information Agency. All actors in this publicity drive were continually vexed, however, by the watery conditions of Bengal. The publicity van would never do in this deltaic landscape, where distinctions between sea and river, island and sandbank, dissolved in the silty waters. In this paper I trace the boats and floating screens invented by the East Pakistani state alongside the plentiful river films they produced to theorise the possibilities of an amphibian cinema, an infrastructure for public information appropriate to deltaic peripheries and their waterborne communities. Working with materials from the Bangladesh National Archive and NARA, the paper contributes directly to the current discussions in South Asian film studies about the ways in which film audiences defied the hardening of national and communal borders at the moment of the consolidation of nation-states in the region (Dadi 2022; Siddique 2022; Alonso 2023) and is inspired by the intersecting concerns of cinema and ecology there (Khan 2015, 2022; Mukherjee 2020; Ghosh 2021).
Ana Howie used her expertise in cultures of dressing and European imperialism to uncover a story tying Genoa’s elite families to globalized material trade – and Atlantic and Mediterranean slavery.
History of Art hosts Lamia Balafrej (UCLA) for a Visual Culture Colloquium talk titled, "Premodern Slave Clocks: On Art, Time, and Dependency."
Ayesha Matthan, PhD Candidate in History of Art, presented a talk titled, "The 'Bombay' that never was: Photography and Censorship in the City" as part of the Virtual Seminar Series "Contesting the City: Migration, Spaces & Practices" organized by KREA University's Moturi Satyanarayana Centre for Advanced Study in the Humanities and Social Sciences & Department of Politics in India.
“(Inter)(in)animation, Dance, and the Archive: Onyeka Igwe and A Repertoire of Protest (No Dance, No Palaver)”
After postcolonial feminist critiques of reparative impulses to “animate” those trapped in colonial archives, what non-ventriloquizing options remain, or emerge, for artists and scholars seeking to grapple carefully with this weaponized place of fabrication and storage? I don’t have the answer to this question. But to consider it in dialogue with you, I introduce “(inter)(in)animation,” a relational use of “animation” operating along a variable scale, foregrounding issues arising at the intersection of movement, “war” (what counts as war?) and the archive within the context of British-Nigerian artist Onyeka Igwe’s 2023 installation, A Repertoire of Protest (No Dance, No Palaver).