This is the first time that our Undergraduate Juried Exhibition has been available online, so please look it over, invite friends, and join us in congratulating the artists on their work and thanking them for being a part of this experience.
Here is the link, and please note that the video/digital works are accessible by a link at the bottom of that page as well:
http://carrollgallery.tulane.edu/_2020Juried.htm
Also, please join us for a virtual Walkthrough with the Juror this Thursday at 6:00 pm, in lieu of our usual opening reception. Award winners will be announced at that time! Here is the link to Thursday’s walkthrough on Zoom:
https://tulane.zoom.us/j/96071183947?pwd=QjRiK3hsU1RvVWd1ck1GYkZBNXkrQT09
Passcode: 923242
Please join us on January 21, 2021 at 6:00pm on Zoom for a virtual walkthrough of the Undergraduate Juried Exhibition with this year's juror, Jennifer M. Williams. Juried Exhibition award winners will be announced at that time.
Jennifer M. Williams is the Communications Coordinator and Wordsmith at the arts service organization, Alternate ROOTS. She is passionate about collaborating with artists, and recently served as the Public Programs Manager at the New Orleans Museum of Art. Before taking on her role at NOMA, Williams served as the Deputy Director for the Public Experience for Prospect.4. For six years, Williams served as the Director and Curator of the George and Leah McKenna Museum of African American Art.
As a visual art curator organizing exhibitions and performances, Ms. Williams is committed to contributing to the cultural and artistic landscape in the city and across the region. As a part of a vibrant art community, she supports and serves on a variety of committees and boards including Junebug Productions and the New Orleans Photo Alliance. She has participated in and led a variety of experiences around the world, including the Lagos Biennial Curatorial Intensive and the Urban Bush Women Leadership Institute in Brooklyn, NY. She received her B.A. in History with a concentration in Art History from Georgia State University.
Zoom Meeting ID: 960 7118 3947
Passcode: 923242
Please join us on Thursday, November 12 at 6pm for the last of the lectures in the Representation & Resistance series for this term, "The Greek Slave on the Eve of Abolition" by Caitlin Beach, Associate Professor of Art History, Fordham University. The lecture will take place online. https://tulane.zoom.us/j/91351100042
What kind of image can enact change?
Many nineteenth-century viewers posed this question when seeing Hiram Powers’ Greek Slave (first version, 1844), anticipating that its depiction of a Greek woman in chains might raise metaphorical connections to the urgent matter of slavery’s abolition in the antebellum United States. But as scholars have pointed out, the white marble statue was fraught with complexity in terms of its materiality and subject matter, deflecting as many associations to the enslavement of African Americans as it evoked.
This talk draws on new archival material to rethink the Greek Slave’s relationship to antislavery discourse. Its exhibition intersected the machinations of racial capitalism in the Black Atlantic, concerns that emerged in sharp relief during the sculpture’s American tour and in the city of New Orleans in particular. There, the sculpture’s display was inextricable from the acts of seeing and surveillance central to the institution of slavery and human trafficking. Yet in these same years, the Greek Slave’s closeness to slavery in the U.S. South would become a flashpoint of Black activism and antislavery critique on the global stage. In an age of slavery and abolition, Powers’ sculpture stood on shifting ground.
This lecture is supported by the New Orleans Center for the Gulf South and part of the lecture series Representation and Resistance: Scholarship Centering Race in Western Art, organized by Mia L. Bagneris and Michelle Foa of the Newcomb Art Department and co-sponsored by the Africana Studies Program.
Image caption: Photographer unknown (American), [Hiram Powers' Sculpture of the Greek Slave], ca. 1850, Metropolitan Museum of Art
Zoom meeting link: https://tulane.zoom.us/j/92590266996
Traditional art historical studies that focus exclusively on fully intact or “museum quality” artworks distort our understanding of fraught periods of history, and particularly rebellions and uprisings, due to severe censorship campaigns in their aftermath that sought to restore colonial order through targeted iconoclasm. This presentation offers new insights for writing about art’s entanglement with political violence, underscoring the gains that can be made through interdisciplinary methodologies for recovering Indigenous and Afro-Indigenous artists and subjects that have been erased from the official archive.
This talk is part of the year-long "Representation and Resistance: Scholarship Centering Race in Western Art" lecture series organised by the Newcomb Art Department and co-sponsored by the Africana Studies Program. Dr. Cohen-Aponte's lecture is also co-sponsored by the Stone Center for Latin American Studies and is the 2020 Terry K. Simmons Lecture in Art History for this year.
Zoom meeting info: https://tulane.zoom.us/j/98937431062
“ReVisión” collects essays from scholars of Latin American art history to help others understand the region’s nuanced history of creation, destruction, and renewal. In addition to essays, ReVisión showcases work from artists such as Alexander Apóstol, Juan Enrique Bedoya, Johanna Calle, and Ronny Quevedo in order to help visualize the questions of identity, exploitation of natural resources, and displacement from both before and after the conquest.” - University of Chicago Press
The book is also accompanied by an upcoming exhibition at the Denver Art Museum (dates TBA).
Lily Filson (BA Tulane, MA Syracuse, PhD, Ca'Foscari) published an article titled "Reformation England and the Performance of Wonder: Automata Technology and the Transfer of Power from Church to State" in Society and Politics vol. 13, no. 2.
Lucia Momoh (MA Tulane) published an article titled “The Art of Erasure” in The Iron Lattice, an art and culture print magazine based in New Orleans.
Two of our Art History and Latin American Studies PhD candidates have just recently published Smarthistory essays, "The History of Mexico: Diego Rivera’s Murals at the National Palace" by Megan Flattley and "Painting Aztec History" by Hayley Woodward. This was part of a special COVID-era program to support emerging art history scholars, sponsored by the Kress Foundation.