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The Daniel H. Silberberg Lectures

The Daniel H. Silberberg Lectures, the longest running lecture series at the Institute of Fine Arts, is planned and coordinated by the Graduate Student Association. Art historians, archaeologists and conservators, specializing in a variety of periods and genres are invited to share their latest research with the IFA community and the public. 

The Silberberg lectures are held on selected Tuesdays at 6:30 p.m. in the Institute's first floor Lecture Hall at 1 East 78th Street. The lectures are free and open to the public. Seating is on a first-come first-served basis.

With the hope of bringing together diverse threads of art historical inquiry, this year’s Daniel H. Silberberg Lecture Series offers the multivalent concept of projections as its organizing theme. To project is to extend and displace, whether in space, time or perception. Besides cinematic display, the term encompasses practices of mapping and architectural modeling, forecasting and futurology, and the symptomatic behavior of psychological (mis)identification, to name just a few manifestations. Importantly, to project can also mean to amplify—to extend one’s voice and the intellectual as well as political agency that comes with it. Works of art and architecture constitute key sites of such variously extended agency.

In recent years, art historians have innovatively theorized the temporality of art objects by
elaborating on the complex layering of historical models that they can encode, as well as the momentary, durational or even generation-spanning processes by which they come into being. Forming a conceptual hinge between acts of temporal, historical, spatial and psychological extension, the notion of projection offers a productive framework for further expanding this discourse. Speakers have been invited to embrace the theme as an opportunity to engage in the kind of interdisciplinary analysis upon which the discipline of art history was founded and continues to thrive.


Please RSVP on the events calendar for upcoming Daniel H. Silberberg lectures.

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.

Abstract and bio: 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.

Zeynep Çelik is distinguished professor at NJIT-Rutgers and adjunct professor at Columbia University. Her publications include The Remaking of Istanbul (1986—Institute of Turkish Studies Book Award), Displaying the Orient (1992), Streets (1993—co-editor), Urban Forms and Colonial Confrontations (1997), Empire, Architecture, and the City (2008—Society of Architectural Historians Book Award), Walls of Algiers (2009—co-editor), Scramble for the Past (2011, co-editor), Camera Ottomana (2014, co-editor), and About Antiquities (2016), as well as articles on cross-cultural topics. She co-curated several exhibitions, among them “Walls of Algiers,” Getty Research Institute, Los Angeles (2009), “Scramble for the Past” SALT, Istanbul (2012), and “Camara Ottomana” Koç University, Istanbul (2015). Professor Çelik has been the recipient of fellowships from John Simon Guggenheim Memorial Foundation (2004), American Council of Learned Societies (1992, 2004, and 2011), and National Endowment for the Humanities (2012), as well as the Vehbi Koç Award (2014) and the Sarton Medal (2014).

Tuesday, March 27, 6:30pm
Chrissie Iles, Anne and Joel Ehrenkranz Curator, Whitney Museum of American Art

Tuesday, May 1, 6:30pm
Emine Fetvacı, Associate Chair; History of Art & Architecture, Associate Professor, Islamic Art, Boston University


February 27, 2018
Whitney Davis
, University of California at Berkeley
LEARN MORE Watch online

Abstract: Writing in the English language in New York City in 1897 and 1943 respectively, the anthropologists Franz Boas (born in 1858 in Minden, Westphalia) and Claude Lévi-Strauss (born in 1908 in Brussels, Belgium) – both later identified with sustained, powerful, and politically influential critiques of racialism in general anthropology and in American and United Nations public policies – stated fundamental principles of their ‘art histories’ in bravura (and highly tendentious) readings of the languages, visual cultures, and performance traditions of the indigenous peoples of the ‘North Pacific’ coast of present-day British Columbia, especially of the Kwakwakw’wakw people (‘Kwakiutl’) and their mask-dancing ceremonies (partly suppressed in Canadian outlaw of the potlach). This lecture examines the multilingual exchanges and inter-translations in question as the determinative context for two of the most influential proposals about the very nature of the ‘languages of art’, widely applied throughout world art history – Boas’s theory of projection and Lévi-Strauss’s ‘structuralist’ method.

November 28, 2017
Noam Elcott
, Columbia University

Abstract and bio: This talk interrogates the screen as the basic unit in the abstract films and theoretical writings of Hans Richter, Theo van Doesburg, Oskar Fischinger, Werner Gräff, Moholy-Nagy, and others. The post-WWII orthodoxy, still very much alive, whereby the film screen, like the modernist canvas, reflected its own properties through the animation of squares and rectangles, is a complete distortion of the historical record. Through close analyses of paintings, photograms, and films, along with treatises, film scores, reviews, and correspondences, I demonstrate that the materiality and circumscription of the screen were understood as qualities to be overcome rather than properties to parade. Indeed, the vast majority of abstract painters-cum-filmmakers aimed for the dissolution of the screen so that luminous forms could be freed into the material reality of the spectator’s time and space. The distinction between the modernist dream of self-reflexivity and the avant-gardist dream to merge art and life thus hinged on the infrathin difference between canvas (Leinwand) and screen (Schirm), the assertion of limits and the dissolution of boundaries.

Noam M. Elcott is Associate Professor of Art History and Archaeology at Columbia University, an editor of the journal Grey Room, and co-director of The August Sander Project (MoMA/Columbia). He is the author of Artificial Darkness: An Obscure History of Modern Art and Media (University of Chicago Press, 2016), winner of the 2017 Society for Cinema and Media Studies (SCMS) Anne Friedberg Innovative Scholarship Award, as well as essays on art, film, and media, published in leading journals, anthologies, and exhibition catalogues. His current book project is Art in the First Screen Age: László Moholy-Nagy and the Cinefication of the Arts (University of Chicago Press).

November 7, 2017
Zeynep Çelik
, New Jersey Institute of Technology

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
LEARN MORE Watch online

May 4, 2017
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

April 27, 2017
Lynne Cooke, Senior Curator, Special Projects in Modern Art, National Gallery of Art, Washington DC
Title: Curating the Incommensurables

March 7, 2017
Ben Lerner, Professor of English, Brooklyn College; Author
Title: The Kiss of Media: Ekphrasis at the Edge of Fiction

February 23, 2017
Yukio Lippit, Professor of History of Art and Architecture, Japanese Art; Director of Undergraduate Studies, Harvard University
Title: Emaki Narratology

November 15, 2016
Amy Powell, Associate Professor, Art History, School of Humanities, University of California, Irvine
Title: The Indifferent Face of Landscape

November 4, 2016
Hou Hanru, Artistic Director, MAXXI, Rome; Consulting Curator, The Robert H.N. Ho Family Foundation Chinese Art Initiative, Guggeheim Museum
Title: Tales of Our Time

April 5, 2016
Ewa Lajer-Burcharth, William Dorr Boardman Professor of Fine Arts, Harvard University
Title: Strolling Time: Drawing in Eighteenth-Century Paris

March 8, 2016
André Dombrowski, Associate Professor of History of Art, University of Pennsylvania
Title: Monet's Seascapes and the Tides of History

February 9, 2016
Heghnar Watenpaugh, Associate Professor of Art History, University of California, Davis
Title: Palmyra 1915-2015: Historic Preservation, Urbanism, and Violence

December 3, 2015
W. J. T. Mitchell, Gaylord Donnelley Distinguished Service Professor of English and Art History, University of Chicago
Title: Method, Madness, and Montage: Aby Warburg to John Nash

November 10, 2015
Christine Poggi, Professor of History of Art, University of Pennsylvania
Title: Projections: Mona Hatoum’s Cartographic Practice

October 13, 2015
Paola Antonelli, Senior Curator, Architecture & Design, and Director, Research & Development,
The Museum of Modern Art
Title: Constrain, Hack, Annihilate, or Stun: The Singular Relationship Between Design and Violence

April 21, 2015
Barry Bergdoll, Meyer Schapiro Professor of Art History and Archaeology, Columbia University

March 24, 2015
Carol Armstrong, Professor, History of Art, Director of Undergraduate Studies, Yale University

February 10, 2015
James Elkins, ​E.C. Chadbourne Professor of Art History, Theory, and Criticism, School of the Art Institute of Chicago
The End of the Theory of the Gaze

December 2, 2014
Joshua Shannon, Associate Professor, Contemporary Art History and Theory, University of ​Maryland
Photorealism: A History of Surfaces
Watch this lecture online

October 21, 2014
Zirwat Chowdhury, Visiting Assistant Professorof Art History and Humanities, Reed College
Architecture between Caricature and Failure

April 22, 2014
Alessandra Russo, Associate Professor, Columbia University
Untranslatable Images?

April 1, 2014
Julia Bryan-Wilson, Associate Professor, University of California, Berkeley
Feminist Figuration

March 11, 2014
Eva Hoffman, Assistant Professor, Tufts University
Connections Far and Wide: Translating Art and Culture in the Medieval Mediterranean World (working title)

Thursday, December 5, 2013
Kaja Silverman, Keith L. and Katherine Sachs Professor of Contemporary Art, University of Pennsylvania
Unstoppable Development

Tuesday, November 19, 2013
Michael Ann Holly, Starr Director Emeritus of the Research and Academic Program, The Sterling and Francine Clark Art Institute
Painted Silence.

Tuesday, October 29, 2013
Marie-Helene Girard, Visiting Professor of French, Yale University
"Un autre monde très lointain et très inconnu": British Painters in Paris in 1855

February 12, 2013
Christiane Gruber, Associate Professor of Islamic Art, University of Michigan
Violence's Vestiges: The Martyrs' Museum in Tehran 

April 9, 2013
Richard Clay, Senior Lecturer in the History of Art and Co-Director of the Heritage and Cultural Learning Hub, University of Birmingham (U.K.)
Iconoclasm and Violence in Revolutionary Paris, 1789-1795
Watch this lecture online

May 7, 2013
Robert Hayden, Professor of Anthropology, Law and Public & International Affairs and Director, Russian and East European Studies, University of Pittsburgh
Intersecting Religioscapes: A Comparative Approach to Trajectories of Change, Scale, Competition, Sharing and Violence in Religious Spaces
Watch this lecture online

January 31, 2012
Stanley Abe, Associate Professor of Art History, Duke University
The Modern Moment of Chinese Sculpture

February 28, 2012
Zainab Bahrani, Edith Porada Professor of Ancient Near Eastern Art and Archaeology, Columbia University
The Double: Difference and Repetition in Ancient Art

March 6, 2012
Michelangelo Sabatino, Associate Professor (and History-Theory Coordinator) at the Gerald D. Hines College of Architecture, University of Houston
PRIDE IN MODESTY: Modernist Architecture and the Vernacular Tradition in Italy

March 27, 2012
Francesco de Angelis, Associate Professor in the Department of Art History and Archaeology, Columbia University
Looking for Justice: Space, Images, and Attention in the Forum Augustum in Rome 

April 3, 2012
Michael Leja, Professor of Art History, University of Pennsylvania  
Cubism in Bondage:  Morgan Russell's Synchromism

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