Live Stream Schedule
The spring 2018 semester has concluded. Check back in the fall for an updated schedule.
The live stream schedule is subject to change.
May 4, 2018
Series: Latin American Forum
Game Changers: Women Artists in 1970s Mexico. A conversation with Magali Lara and Mónica Mayer moderated by Carla Stellweg
Speakers: Magali Lara, Mónica Mayer, Carla Stellweg, Madeline Murphy Turner
April 9, 2018
IV Annual Artist Discussion: Display Cases at the Institute of Fine Arts
Artists Nona Faustine, Kit White, and Anton Würth demonstrate a reverence for history in their practice of photography, painting, and printmaking. They will discuss their practice in the fourth Annual Artist Discussion for the exhibits in the Display Cases at the Institute of Fine Arts. Curator Lisa A. Banner moderates.
This lecture proposes a re-examination of the history of the projected image in American art since the 1960s, foregrounding darkness and black space as challenges to the whiteness of the gallery in political as well as formal terms. How can a multi-ethnic history of the moving image in contemporary art redefine the stakes of what constitutes cinematic space? How do issues of the body, identity, and subjectivity in historical projective installations read differently at a moment in which a new generation of moving image artists is challenging the norms of technological power and control, and re-configuring our relationship to self-representation, subjectivity, gender, and race?
February 26, 2018
Series: Judith Praska Distinguished Visiting Professor in Conservation and Technical Studies Lecture
Speaker: David Saunders, British Museum
Abstract: Rachel Rose (b. 1986) is among the foremost artists working with and in video today. Guided by research into such topics as vast as 19th century park design, cryogenics, to the American Revolutionary War, modernist architecture, and the sensory experience of walking in outer space, Rose’s work pinpoints what it is that makes us human, and how we seek to alter, enhance, and escape that designation.
January 30, 2018
Speaker: Dr. Mounia Chekhab-Abudaya, Curator for North Africa and Iberia, Museum of Islamic Art, Doha, Qatar
Title: Visualizing Pilgrimage: Images of Mecca and Medina in the Collections of the Museum of Islamic Art, Doha
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Abstract: Islamic pilgrimage routes have influenced the production of manuscripts, not only for those intended to be transported by pilgrims, but also for commercial transactions related to the pilgrimage itself. Pilgrimage and the mobility of the pilgrims has encouraged the development of manuscripts of several genres. These have played a role not only in the canonization of the rituals but also in the standardization of the sacred places’ representations and in the use of such manuscripts as instruments of devotion. Based on examples of representations of Mecca and Medina in manuscripts conserved in the Museum of Islamic Art in Doha, Qatar, this lecture will attempt to demonstrate the variety of images of the holy sites – whether executed on scrolls, bound volumes or talismanic documents – as well as the different functions of such illustrations.
Dr. Mounia Chekhab-Abudaya is the Curator for North Africa and Iberia at the Museum of Islamic Art, Doha, Qatar, where she curated several exhibitions including Hajj – The Journey through Art (2013 - 2014) in collaboration with the British Museum, Qajar Women (2015) and Imperial Threads: Motifs and Artisans from Turkey, Iran and India (2017-2018). She completed her Ph.D. in Islamic Art History and Archaeology at the Pantheon Sorbonne University in Paris and is specialized on the Western Mediterranean, manuscripts and pilgrimage-related devotional materials in the Islamic world. For the 2017-2018 Academic year, Mounia Chekhab-Abudaya has been undertaking a research project in Harvard university as a post-doctoral research associate, as part of the Aga Khan Programme for Islamic Art and Architecture. Dr. Chekhab-Abudaya taught Islamic Art at undergraduate and graduate levels for four years at the Pantheon Sorbonne and INALCO (2007-2011).
Abstract: Considered one of the pioneers of interactive cinema, New York-based artist Toni Dove creates hybrid performance, installation and screen-based art that fuses film, game or instrument based interaction, and experimental theater. In her work, performers interact with an unfolding narrative, using interface technologies such as motion sensing, iPad and laser harp to inhabit and animate on-screen avatars.
Toni Dove's work has been presented in the United States, Europe and Canada as well as in print and on radio and television. Projects include interactive installations: Archeology of a Mother Tongue, (virtual reality) Banff Centre for the Arts; Artificial Changelings, premiere: Rotterdam Film Festival, USA; Body Mécanique at the Wexner Center for the Arts, Ohio; Spectropia: feature length live-mix movie performance: Lincoln Center, Scanners, the New York Video Festival 2006; Cleveland at the Ingenuity festival 2007; premiered: Wexner Center for the Arts; REDCAT, LA Nov 2007;the Zero1 Festival of Art on the Edge, San Jose, 2008, EMPAC, Troy NY, 2008, the Kitchen, NYC, 2010, Roulette, NY, 2012. Lucid Possession, a live mix music cinema performance, a co-production with Issue Project Room, Roulette and HERE, premiered in NYC in 2013 after a preview show at Center for the Arts at Virginia Tech.
Her current work in progress, an interactive cinema and robotics installation ‘The Dress That Eats Souls’, will be presented in a retrospective of Dove’s interactive work “Embodied Machines” at The Ringling Museum in Sarasota, Florida, 2018.
Dove was the Hirshon Artist/Director in residence at the New School for Social Research in Media Studies 2014/15. She has received numerous grants and awards including support from the Rockefeller Foundation, the Greenwall Foundation, the Langlois Foundation, New York State Council on the Arts, National Endowment for the Arts, New York Foundation for the Arts, The LEF Foundation, MediaThe Foundation, and the Eugene McDermott Award in the Arts from M.I.T.
Dove was appointed to the 2000/2003 Government Advisory Committee on Information Technology and Creativity, National Research Council, USA. She is the granddaughter of American abstract painter Arthur Dove.
Through close analyses of paintings, photograms, and films, along with treatises, film scores, reviews, and correspondences, Elcott demonstrate that the materiality and circumscription of the screen were understood as qualities to be overcome rather than properties to parade.
November 7, 2017
Series: Silberberg Lecture Series
Title: Everyday Life at the Dig, c. 1900
Speaker: Prof. Zeynep Çelik, Columbia University (Adjunct Professor in the dept. of History) and New Jersey Institute of Technology (Distinguished Professor College of Architecture and Design)
Abstract: History of archaeology is commonly written centering on Western men of knowledge in far-away lands and among primitive people unable to understand the values and meanings of past civilizations. Focusing on everyday life on an archaeological site in Nippur, this lecture will offer another perspective by highlighting a complex social dynamic with multiple voices: local laborers, Ottoman civil servants, and American archaeologists.
Abstract: Anicka Yi lives and works in New York City. Recent institutional solo exhibitions of her work include the Solomon R. Guggenheim Museum, New York; Fridericianum, Kassel; Kunsthalle Basel; List Visual Arts Center, Cambridge, Massachusetts; The Kitchen, New York; and The Cleveland Museum of Art. In October 2016, she was awarded the Hugo Boss Prize and presented a solo exhibition at Solomon R. Guggenheim Museum, New York, from April to July 2017. Yi has screened her film, The Flavor Genome, at the International Film Festival of Rotterdam in 2017. She is represented by 47 Canal, New York.
Abstract: The collaboration between curators, conservators and conservation scientists has become an increasingly important dynamic in recent years. The result of their research, sometimes called technical art history, is often incorporated into museum websites and exhibition catalogs and design. Three exhibitions held in recent years at The Museum of Modern Art will be presented as case studies.
Karl Buchberg has a B.A. from Columbia University and holds a master’s degree in art history and an advanced certificate in conservation from the Conservation Center of the Institute of Fine Arts, New York University. He was the Conservator of Rare Books and Special Collections at the Firestone Library of Princeton University from 1980-1986. He was a part time lecturer at the Conservation Program at the School of Library Service at Columbia University from 1984-1990. He has recently retired after a tenure of thirty years from The Museum of Modern Art where he was Senior Conservator specializing in paper conservation. During this time, he was co-curator for the landmark exhibition Henri Matisse: The Cut-Outs; the first time a conservator curated a show at the museum. In addition, he contributed technical essays to both the Georges Seurat, The Drawings and Degas: A Strange New Beauty catalogues.
October 21, 2017
NYU Alumni Weekend at the Institute of Fine Arts
Speaker: Matthew Israel
Title: "The Big Picture: Contemporary Art Now"
Abstract: Artist, poet, activist and philosopher, Cecilia Vicuña (born in Chile, a long-time resident of New York) has been noted for many decades for her work in a wide variety of media and venues. Her political activism, her artistic innovation and her stimulating and original approach to problems of visuality and the expression of collective emotion are at the heart of her art.
We are immensely pleased to have Cecilia as the first Artist in this Fall's series of Latin American Forum events. She will discuss her work in the context of a conversation with Edward J. Sullivan, Professor of Latin American and Caribbean Art History and Deputy Director of the Institute of Fine Arts
October 3, 2017
Series: Silberberg Lecture Series
Speaker: Andres Zervigón, Rutgers, The State University of New Jersey
Title: Photography and Truth in the Radicalized Public Sphere
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Abstract: In 1927, the radical-left magazine Die Arbeiter-Illustrierte Zeitung (or AIZ) published a two-page spread with the declarative titled “Die AIZ sagt die Wahrheit!” [The AIZ Tells the Truth!]. At issue was its cover photo from a few weeks earlier showing right-wing militiamen scandalously posing on the country estate of German Interior Minister Walter von Keudell, the first “völkisch” member of a Weimar-era cabinet. The picture had ignited furious public debate before enveloping the minister himself, who was forced to protest his innocence from the well of the Reichstag. As von Keudell declared, the picture was nothing more than a cut-and-paste falsification. In the subsequent two-page spread, the AIZ now confessed that its cover had indeed been a “Bildkombination,” but that the image nonetheless told the truth about the government’s codling of proto-fascists. Using this case of a highly public debate about photography’s veracity, my paper proposes that Weimar-era Germany’s politically polarized public sphere was significantly fomented by the camera. The experience of political combat was now being driven by a contest of photographic images. But as the paper also suggests, the rhetoric of truth propelling this encounter, particularly in the face of an open “Bildkombination,” shows that photography now functioned at an affective register that reinscribed the medium as a passionate rather than mechanically objective form of witness. This phenomenon resembles today’s photographic conditions in the era of “alternative facts.”
Andrés Mario Zervigón is Associate Professor of the History of Photography at Rutgers, The State University of New Jersey. He is author of John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of Avant-Garde Photomontage (University of Chicago Press, 2012), and Photography and Germany (Reaktion Book, 2017). In addition, Zervigón coedited three anthologies: Photography and Its Origins with Tanya Sheehan(Routledge, 2014), Photography and Doubt with Sabine Kriebel(Routledge, 2016), and Subjective/Objective: A Century of Social Photography with Donna Gustafson (Zimmerli/Hirmer, 2017). For his current book project, titled Die Arbeiter-Illustrierte Zeitung -- The Worker's Illustrated Magazine, 1921-1938: A History of Germany's Other Avant-Garde, he received the Paul Mellon Senior Fellowship at the Center for Advanced Study in the Visual Arts (CASVA, 2013-14). His articles and reviews have appeared in New German Critique, Visual Resources, History of Photography, Rundbrief Fotografie, Photo/Researcher, Études Photographiques, October, Art Journal, and CAAReviews. Zervigón leads The Developing Room, an academic working group at Rutgers that promotes interdisciplinary dialogue on photography’s history, theory and practice. Its last event was the two-day symposium Reinventing Documentary Photography in the 1970s, co-convened by Sarah Miller and Drew Sawyer.
September 28, 2017
Series: Huber Colloquium
Speaker: Edward Sullivan, Deputy Director, Helen Gould Sheppard Professor in the History of Art, The Institute of Fine Arts and College of Arts and Sciences, NYU
Introduction by Christine Poggi, Judy and Michael Steinhardt Director, The Institute of Fine Arts, NYU
Title: Between Toledo and Buenos Aires: Radical Modernity and the Mystic Cosmovision of Esteban Lisa (1895-1983)
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Abstract: Esteban Lisa (1895-1983) was both an enigmatic figure as well as a major force within the development of art in Argentina in the mid-20th century. Born in a small town in the province of Toledo, Spain, he left for Buenos Aires at age 12. Like many other émigré artists to the Americas (Esteban Vicente, Maruja Mallo, the cinéaste Luis Buñuel or the musician Pau Casals) he formed a bridge between the artistic worlds of the New and the Old Worlds. Lisa developed a particular brand of abstraction that became widely acclaimed only after his death. (He refused to exhibit in his lifetime and, like his illustrious Buenos Aires contemporary Jorge Luis Borges, worked as a civil servant for many years). Lisa is the subject of a current exhibition at the art museum of Boston College. This lecture will place the artist within the context of his time in both Argentina and Iberia and will attempt to analyze the rise of interest in his work on both sides of the Atlantic beginning in the 1990s. Image: Fondation Audi, "Esteban Lisa: in the land of the Cedars" 2010, p. 66; PJT
September 25, 2017
Title: José Leonilson: Autobiography of a Brazilian artist
Speakers: Cecilia Brunson, independent curator; Gabriela Rangel, Director and Chief Curator, Visual Arts, Americas Society; Susanna V. Temkin, Assistant Curator, Visual Arts, Americas Society; Yuji Kawasima, PhD. Candidate Universidad Complutense de Madrid; Ana Lenice Dias, President, Projeto Leonilson; and professors Jenni Sorkin, University of California, Santa Barbara; and Edward Sullivan New York University.
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Abstract: Americas Society presents an academic symposium at New York University’s Institute of Fine Arts to celebrate the upcoming exhibition José Leonilson: Empty Man and the international launch of the three volume Leonilson catalogue raisonné, recently completed by the artist’s estate, the São Paulo-based Projeto Leonilson.
May 4, 2017
Daniel H. Silberberg Lecture
Speaker: Brigid Doherty, Associate Professor of 20th Century Art, Department of Art and Archaeology, Princeton University
Title: Hanne Darboven’s onetwo and the Opposition of Writing and Describing
May 2, 2017
Artists at the Institute
Speaker: María Magdalena Campos-Pons
April 26, 2017
Walter W.S. Cook Annual Lecture
Speaker: Nadine Orenstein, Drue Heinz Curator in Charge, Metropolitan Museum of Art
Title: Hercules Segers and Rembrandt, the Eccentric and the Traditionalist
April 7, 2017
Title: THE ATTITUDES OF ARTWORKS: A Pop-Up Graduate Student Symposium
April 5, 2017
Spotlight on New Talents in Time-Based Media Art Conservation
Brian Castriota, "Ontological Models and Authenticity in Time-Based Media Art Conservation"
Dan Finn, "Time-based Media Conservation at the Smithsonian American Art Museum"
The two “spotlights” are followed by a book presentation:
Hanna B. Hölling, "Paik’s Virtual Archive"
March 28, 2017
Artists at the Institute
March 8, 2017
Judith Praska Distinguished Visiting Professors in Conservation and Technical Studies Lecture
Speaker: Thea B. van Oosten, Judith Praska Distinguished Visiting Professor
Title: "Plastics in Modern and Contemporary Art: Meant to Last Forever?"
February 27, 2017
Samuel H. Kress Lecture
Speaker: Michael Gallagher, Sherman H. Fairchild Conservator in Charge in the Department of Paintings Conservation, The Metropolitan Museum of Art
Title: Brokering Truths
November 28, 2016
Speaker: Kate Lewis, Media Conservator; Peter Oleksik, Associate Media Conservator; Ben Fino-Radin, Associate Media Conservator
Title: Media Conservation at MoMA
November 21, 2016
Daniel Rozin, Associate Arts Professor, Interactive Telecommunications Program (ITP), NYU
Christine Frohnert , Conservator of Contemporary Art, Bek & Frohnert LLC, New York; Adjunct Professor & Time-Based Media Art Conservation Curriculum Development Program Coordinator, Conservation Center of The Institute of Fine Arts, New York University
Creating digital interactive kinetic sculptures for the long run - Daniel Rozin in conversation with Christine Frohnert
November 14, 2016
Speaker: Deena Engel, Clinical Professor; Associate Director of Undergraduate Studies for the computer Science Minors programs Department of Computer Science, Courant Institute of Mathematical Sciences; New York University
Title: Source Code Analysis in the Conservation of Software-based Art
November 7, 2016
Speaker: Mona Jimenez, Associate Arts Professor/Associate Director; Moving Image Archiving and Preservation Program, New York University
Title: Art in an Ecosystem: Media Art Communities & Conservation
October 26, 2016
Pre-History and Modern Art Panel
Speaker: Maria Stavrinaki, Associated Professor, Paris I-Panthéon-Sorbonne
Title: The Earth without Man from Cézanne to Pierre Huyghe
October 24, 2016
Speaker: Tina Rivers Ryan, Curatorial Research Assistant, Modern and Contemporary Art, The Metropolitan Museum of Art, New York
Title: Some More Beginnings: On the History of Time-Based Media Exhibitions
October 18, 2016
Latin American Forum
Speakers: Alejandro Anreus, Tony Bechara, Pepe Karmel. Moderated by Edward J. Sullivan.
Title: Geometric Abstraction in the Americas: Carmen Herrera and Her Art Worlds
October 17, 2016
Christiane Paul, Associate Professor, School of Media Studies, The New School, New York; Adjunct Curator, New Media Arts, Whitney Museum of American Art, New York
Conserving Context: Approaches to Preserving Digital Art
October 14, 2016
Publishing Art History Digitally: The Present and Future
September 26, 2016
Title: A Question of Kinethics
Reinhard Bek, Conservator of Contemporary Art, Bek & Frohnert LLC, New York
More information about our Time-Based Media Art Conservation lecture series
September 26, 2016
Title: Access & Engagement