Episodi
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A conversation between Professor Geoffrey Batchen and Ukrainian-born art history doctoral student Olena Chervonik, focusing on the history and culture of Ukraine. Recorded Friday 04.03.2022 at 17:00
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Dipti Khera is an Associate Professor in the Department of Art History and the Institute of Fine Arts at New York University. Since receiving her PhD at Columbia University on the art history of early modern South Asia, Dipti has continued her research on painted artifacts and early modern architecture emerging from western India's regions of Rajasthan and Gujarat. Her book, The Place of Many Moods: Udaipur's Painted Lands and India's Eighteenth Century was published in 2020 by Princeton University Press, and is the first to use wide-ranging artistic representations of place to trace the major aesthetic, intellectual, and political shifts in India's long eighteenth century. Particularly striking is the way her work tracks the intersections between moods, material culture, physical environments, historical memory, and territorial claims. Beyond the intimacy of the story of a city, a region, or a subfield, The Place of Many Moods raises questions about how emotions, aesthetics, and artifacts operate in constituting history and subjectivity, politics and place. She is currently writing and co-editing the catalogue that will accompany her co-curated exhibition, A Splendid Land: Paintings from Royal Udaipur, slated to open at the Smithsonian's National Museum of Asian Art (Washington DC) in November 2022. A co-edited issue for Journal 18, 'The "Long" Eighteenth Century?,' is forthcoming in December 2021.
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Episodi mancanti?
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Lena Fritsch is the Curator of Modern and Contemporary Art at the Ashmolean Museum, where she works on exhibitions, displays and acquisitions of international art. Her most recent exhibition (co-curated with Clare Pollard), Tokyo: Art & Photography, is currently on display at the Ashmolean. In 2018, she authored a book titled Ravens & Red Lipstick. Japanese Photography since 1945 (Thames & Hudson and Seigensha). Before joining the Ashmolean in 2017, Lena worked as Assistant Curator, International Art at Tate Modern. She co-curated the large-scale retrospective exhibitions Giacometti (2017) and Agnes Martin (2015), and curated displays of works by artists such as Ai Weiwei and Simryn Gill. Before coming to the UK in 2013, she worked at the Directorate General, Staatliche Museen zu Berlin and Hamburger Bahnhof – Museum of Contemporary Art, Berlin. Lena holds a PhD from Bonn University, Germany and also studied at Keio University, Tokyo. She has taught courses on modern Japanese art at the University of Oxford, SOAS, V&A, and Art Academy Munster.
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Anthony Gardner is Professor of Contemporary Art History at the Ruskin School of Art at the University of Oxford. Anthony holds a Master of Arts and Bachelor of Laws from the University of Melbourne and a PhD in Art History from the University of New South Wales in Australia. His research explores the cultural politics of contemporary art, especially in the contexts of anti-imperialism and post-socialism, with particular emphasis on art and curatorial practice beyond the North Atlantic region. His books include Mapping South: Journeys in South-South Cultural Relations (2013), Politically Unbecoming: Postsocialist Art Against Democracy (2015) and, also through MIT Press in 2015, the anthology Neue Slowenische Kunst: From Kapital To Capital (with Zdenka Badovinac and Eda Čufer). His latest book, co-written with Charles Green, is Biennials, Triennials and documenta: The exhibitions that created contemporary art (2016).
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Mette Sandbye is a Professor in the Department of Arts and Cultural Studies at the University of Copenhagen in Denmark. With an educational background in Comparative Literature and Modern Culture & Cultural Communication, and a PhD on photography and memory in contemporary art, Mette specializes in photography studies. However, she also has a long career as a critic of contemporary art. Her books include the first history of Danish photography, Dansk Fotografihistorie, which she edited in 2004, and another co-edited anthology, Digital Snaps: The New Face of Photography (2014). Her current research focuses on the relationship between amateur photography and collective history since the 1960s, centred on the family photo-album. In 2019, she embarked on a collaborative Nordic project on women as professional photographers in Scandinavia 1880-1930.
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Craig Clunas (Oxford History of Art), gives a talk 13th October 2021. Craig Clunas held the chair of art history at Oxford from 2007 to 2018, the first scholar of Asian art to do so. Much of his work concentrates on the Ming period (1368-1644), with additional interests in the art of 20th century and contemporary China. Before coming to Oxford he worked as a curator at the Victoria and Albert Museum, and taught art history at the University of Sussex and the School of Oriental and African Studies, University of London. He is the author of Art in China (1997, second edition 2009) in the Oxford History of Art Series, and his other books include Superfluous Things: Material Culture and Social Status in Early Modern China (1991); Fruitful Sites: Garden Culture in Ming Dynasty China (1996); Pictures and Visuality in Early Modern China (1997); Elegant Debts: The Social Art of Wen Zhengming, 1470-1559 (2004); Empire of Great Brightness: Visual and Material Cultures of Ming China, 1368-1644 (2007), based on the 2004 Slade Lectures, and Screen of Kings: Art and Royal Power in Ming China (2013); several of these books have been translated into Chinese, Japanese and Korean. His most recent book, is Chinese Painting and Its Audiences, published by Princeton University Press in 2017 and based on his AW Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, Washington DC, in 2012. In January 2022 he will curate the exhibition “Sigmund Freud and China” at Freud Museum London; his next book entitled The Echo Chamber: Transnational Chinese Painting 1897-1935 will be published in autumn of the same year.
