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Art, Art History & Visual Studies - Duke University
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AAHVS Undergraduate Honors Colloquium

Tuesday, February 9, 2016
6:30-9 PM
A290, Bay 9, Smith Warehouse
Duke University

Hanna Wiegers
“Origins and Development of the St. Jacques Convent in Paris”
Commentator: Joseph Williams

Justin M. Sandulli
“This Side of Paradise: Tracing Modernism in Hawaii”
Commentator: Rosalia Romero

Kathy Huang
“Zeng Fanzhi and the Global Art Market”
Commentator: Kelly Tang

Sophia Sennett
“Generating Topologies: Movement and Sensing through Immersive Cinema”
Commentator: Nathan Bullock

Refreshments served.

AAHVS Graduate Student Symposium

February 11-12, 2016


“Object, Image, Archive: Historicizing the Global in Caribbean Art”

Dr. Erica M. James
Assistant Professor
Departments of The History of Art and African American Studies
Yale University

Thursday, February 11, 2016
4 PM
A266 (Collision Space), Bay 10, Smith Warehouse
Duke University


1–5 PM, Friday, February 12, 2016
A266 (Collision Space), Bay 10, Smith Warehouse
Duke University

Symposium Papers
Nicole Gaglia (Moderator); Dr. Erica M. James (Respondent)

1:00 – 1:40 PM
Elizabeth Baltes, "The 'Other Population' of Greece: Portrait Statues in Hellenistic Society"

1:40 – 2:20 PM
Nathan Bullock, "A Feminist Psychoanalytic Perspective on Glass Architecture in Singapore"

2:20 – 3:00 PM
Anita Bateman, "What Is and Is Not Already There: Violence, Studium, and Punctum in Black Representational Spaces"

3:00 – 3:30 PM
Coffee Break

Research Presentations

3:30 – 4:15 PM
Patricia Bass, “Re-reading: The Analogue and the Digital in Turn-of-the-Century Graphology”

4:15 – 5:00 PM
Ozgun Eylül Iscen, “Shadow Archive, Avisuality, and Digital Aesthetics: Media Arts in the Middle East”

Panel Discussion
Collecting and Presenting Work by Artists of African Descent

Ebony G. Patterson, …shortly after 8- beyond the bladez (detail), 2014. Mixed media on paper, 92 × 111 inches (233.7 × 281.9 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase with additional funds provided by Blake Byrne (T’57) and Marjorie and Michael Levine (T’84, P’16, P’19, P’19). Image courtesy of the artist and Monique Meloche Gallery, Chicago, Illinois. © Ebony G. Patterson.

Thursday, February 11, 2016
7 PM
Nasher Museum of Art at Duke University

Come to the Nasher Museum for a lively conversation on collecting and presenting work by artists of African descent, with The New York Times art critic Holland Cotter, Studio Museum in Harlem Director Thelma Golden, San Francisco art collector Pamela Joyner, New York gallery owner Jack Shainman, and Pérez Art Museum (Miami) Director Franklin Sirmans.

The panel will be moderated by Richard J. Powell, Dean of Humanities and John Spencer Bassett Professor of Art and Art History at Duke, and curator of the recent traveling exhibition, Archibald Motley: Jazz Age Modernist. This event is a collaboration between the Nasher Museum, Ackland Art Museum at the University of North Carolina at Chapel Hill, the North Carolina Central University Art Museum, and the North Carolina Museum of Art.

Please come early — 6 PM — to mingle with the panelists and take in the exhibition that features many works by artists of African descent, Reality of My Surroundings: The Contemporary Collection.

Art History Lecture

“Kiyochika's ‘Hurrah for Japan! One Hundred Victories, One Hundred Laughs’: Clear Ends, but with What Means?”

Miriam Wattles
Associate Professor, Department of History of Art and Architecture
University of California - Santa Barbara

Wednesday, February 17, 2016
4:30-6:00 PM
A266, Bay 10, Smith Warehouse
Duke University

Manipulating public emotions through war propaganda relies on creating a huge gulf between Us and Them. Much of the unofficial propaganda designed by Kobayashi Kiyochika (1847-1915) for both the Sino-Japanese War and the Russo-Japanese War employed the then common illustration style to straightforwardly heroize the Japanese military while denigrating the enemy. Yet his most popular series, “Hurrah for Japan! One Hundred Victories, One Hundred Laughs,” was radically innovative and complex. Some of its visual puns turned racist cartoons promulgated in Western publications upside down. Yet often the gist of the joke depended on East Asian referents. My talk highlights the ways that Kiyochika drew upon tensions between past and present, East and West to come up with cruel, yet sometimes knowingly sympathetic laughs.

Co-sponsored by the Asian Pacific Studies Institute (APSI), and the Departments of Asian & Middle Eastern Studies; Art, Art History & Visual Studies; and History.

Artist Talk

Susan Crile
Professor of Art, Hunter College, CUNY

Thursday, February 18, 2016
6:30 PM
A290, Bay 9, Second Floor, Smith Warehouse
Duke University

Susan Crile’s paintings move between the poles of beauty and horror. Her work is in the collections of many museums including the Metropolitan Museum of Art, New York NY, The Hirshhorn Musem & Sculpture Garden, Washington D.C., The Soloman R. Guggenheim Museum, New York, NY and the Cleveland Museum of Art, Cleveland, OH. She has exhibited at numerous museums in the United States and Europe, which include, Il Museo di Roma in Trastevere, Il Museo di Palazzo Mocinego in Venice, The phillips Collection in Washington DC and the St Louis Museum of Art. She has had over 50 one-person exhibitions.

Crile has received two National Endowment for the Arts awards, and Residency grants to The Bellagio Study and Conference Center, at The Rockefeller Foundation in Bellagio, Italy and to The American Academy in Rome. She has lectured in the United States and Europe, and has taught at Princeton University, Sarah Lawrence College, and Barnard College, among others. She is a professor at Hunter College, CUNY where she has been on the faculty since 1982.

Currently, Crile is working on a series of life-sized paintings on paper of Guantanamo prisoners and a series of paintings on the BP oil spill in the Gulf of Mexico. She also has been designing and making hand printed silk scarves in Calcutta, India. Susan Crile lives and works in New York.

Faculty Exhibition
Beverly McIver The Ties That Bind

February 20 - April 9, 2016
Craven Allen Gallery
Durham, NC

Opening Reception
5-7 PM, Saturday, February 20, 2016

Also showing: Duke University advanced painting students.

Beverly McIver is Esbenshade Professor of the Practice of Art, Art History and Visual Studies at Duke University. She is widely acknowledged as a significant presence in contemporary American art and has charted a new direction as an African American woman artist. She is committed to producing art that examines racial, gender, social and occupational identity. Her sister Renee is a frequent subject of the artist, as well as other family members.

Her work is in the collection of the North Carolina Museum of Art, the Weatherspoon Art Museum in Greensboro, N.C., the Baltimore Museum of Art, the NCCU Museum of Art , the Asheville Museum of Art, The Crocker Art Museum, The Nasher Museum, and the Nelson Fine Arts Museum on the campus of Arizona State University.

McIver’s work has been reviewed in Art News, Art in America The New York Times and a host of local newspapers. She has received numerous grants and awards including the Anonymous Was A Woman Foundation grant, a John Simon Guggenheim Fellowship, a Radcliffe Fellowship from Harvard University, a Marie Walsh Sharpe Foundation award, a distinguished Alumni Award from Pennsylvania State University, a Louis Comfort Tiffany Foundation Award and Creative Capital grant.



Full Exposure: Paul and Damon McCarthy’s Pirate Party

December 12, 2015 – March 13, 2016

Paul and Damon McCarthy, Pirate Party Photograph Portfolio, 2005.

The Nasher Museum presents an exhibition of photographs by Paul and Damon McCarthy in the Incubator, as part of The New Galleries. Full Exposure: Paul and Damon McCarthy’s Pirate Party is co-organized by students in the fall 2015 graduate seminar, Performance and Performativity, co-taught by Kristine Stiles, France Family Professor of Art, Art History & Visual Studies at Duke University, and Erin Hanas, Coordinator of Academic Programs at the Nasher Museum. Student co-curators are Anita Bateman, Nathan Bullock, Nicole Y. Gaglia, Ozgun Eylul Iscen, Toshi Pau, Renée Michelle Ragin and Charlena Wynn. The exhibition features 33 photographs from Paul and Damon McCarthy’s Pirate Party Photograph Portfolio (2005), a promised gift from Blake Byrne. The students’ accompanying essays are available online.

For decades, Paul McCarthy’s performances, video installations and exhibitions have drawn critical acclaim for their searing depictions of contemporary American family life and the mass production and consumerism of popular culture. In Pirate Party, McCarthy and his son, Damon, turn their attention to the Disney film franchise and amusement park attraction Pirates of the Caribbean. Originally performed over the course of a month and documented in thousands of photographs and hours of video, Pirate Party culminated in a four-channel video installation and a portfolio of 79 photographs.

McCarthy’s trademark style of incorporating foodstuffs, gore, nudity and sexuality places the absurd and profane at the center of the camera lens. His photographs elicit visceral reactions in order to resurrect a savage response in viewers. Obscenely and erotically gestural, McCarthy’s art challenges ways in which the body can become an instrument for transmitting ideas, imposing pain and reflecting cultural norms. Pirate Party captures chaos in static images. It unhinges popular imaginings of the pirate that glamorize debauchery and destruction. The installation-performance critiques the brutality presented in Disney’s ride and films — socially accepted spaces for family fun — and exposes the desensitization to violence in American culture.

Reality of My Surroundings: The Contemporary Collection

October 1, 2015 – July 10, 2016

Hurvin Anderson, Untitled, 2009. Woodblock and woodcut print on paper, edition 11/40, 28 5/8 × 21 15/16 in. (72.7 × 55.7 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Gift of Marjorie and Michael Levine (T’84, P’16, P’19, P’19); 2013.18.1. © Hurvin Anderson. Photo by Peter Paul Geoffrion.

In celebration of the museum’s 10th anniversary, the Nasher Museum presents some of its most significant works from the contemporary collection. Reality of My Surroundings demonstrates the museum’s ongoing commitment to collecting contemporary work by global artists, with a focus on artists of African descent. The exhibition emphasizes art’s unique role in effecting cultural change and highlights works that address pressing social issues of our day, particularly race, gender, class, immigration and globalization. It includes painting, sculpture, works on paper, photography, video and installation. Many of the works are new acquisitions, including the video Girls, Tricky, by Academy Award-winning artist/director Steve McQueen.

The New Galleries: A Collection Come to Light

August 27, 2015 – September 18, 2016

The New Galleries: A Collection Come to Light is a comprehensive and dynamic reinstallation of the museum’s collection. Eight new galleries will be dedicated to specific collection areas highlighting many of the museum’s masterworks while illustrating a history of human creativity. The Ancient World covers a broad geographical and chronological reach, featuring works from ancient Egyptian, Greek and Roman cultures. Medieval Europe displays important architectural sculpture, devotional objects and stained glass from the Romanesque and Gothic periods. European Art, 1400-1900, illustrates cultural and aesthetic changes from the Renaissance to the dawn of the modern period through a variety of objects, paintings and sculptures.

American Art, 1800-1945, begins with portraiture from the early Republic, continues with Hudson River School painting and Ash Can School works, and concludes with examples of Regionalism. Modern Affinities features European and American modernist art alongside works by self-taught artists, illustrating connections between them. Two galleries dedicated to non-Western cultures include Art of the Americas, presenting ceramics, metalwork and textiles from Mesoamerica, and African Art, featuring many of the museum’s best masks, figural sculpture and beadwork from the African continent. The galleries will include a flexible “incubator space” often used for rotating student-curated exhibitions and inaugurated with an installation of Ansel Adams photographs curated by two undergraduate interns.

Nasher10 / Odili Donald Odita Murals

August 18, 2015 – October 1, 2017

Odili Donald Odita, Shadow and Light (for Julian Francis Abele), 2015. Acrylic latex paint on wall. Dimensions variable. Commissioned by the Nasher Museum of Art at Duke University. Courtesy of the artist and Jack Shainman Gallery, New York

As part of Nasher10, a celebration of the first decade and beyond, the Nasher Museum has commissioned two large-scale murals by abstract painter Odili Donald Odita. His wall painting inside the Nasher Museum’s Mary D.B.T. Semans Great Hall, entitled Shadow and Light (For Julian Francis Abele), is inspired by the African-American architect who designed most of Duke’s campus. Odita’s wall painting visually connects the Nasher Museum to downtown Durham, where he will soon paint a second mural on the Foster Street wall of the Downtown Durham YMCA, 218 W. Morgan Street. Odita was born in 1966 in Enugu, Nigeria, and lives and works in Philadelphia. His abstract paintings explore ways to trigger memory and address the human condition through color, pattern and design.

The wall painting at the museum will be celebrated at the Nasher10 Homecoming event on October 4. The mural at the Downtown Durham YMCA will be unveiled on October 10 at a block party at 218 W. Morgan Street. This temporary exhibition will be on view through 2017.

Both murals by Odili Donald Odita are commissioned by the Nasher Museum of Art at Duke University. Both murals are made possible by the Office of the Vice Provost for the Arts and Council for the Arts Visiting Artist Program of Duke University; the Winifred Johnson Clive Foundation; and Elizabeth Hitchins Quigley and L. Matthew Quigley. Additional generous support is provided by Nasher Annual Fund donors.

Department News


“Outstanding Academic Titles” for 2015

Choice Reviews Online has placed Architectural Agents: The Delusional, Abusive, Addictive Lives of Buildings (Minnesota 2015) by Annabel Wharton, William B. Hamilton Professor of Art and Art History, on their list of top 25 “Outstanding Academic Titles” for 2015.

Every year in the January issue, in print and online, Choice publishes a list of Outstanding Academic Titles that were reviewed during the previous calendar year. This prestigious list reflects the best in scholarly titles reviewed by Choice and brings with it the extraordinary recognition of the academic library community. The list is quite selective: it contains approximately ten percent of some 7,000 works reviewed in Choice each year. Choice editors base their selections on the reviewer's evaluation of the work, the editor's knowledge of the field, and the reviewer's record. The full 2015 list featured 606 exceptional titles.

In awarding Outstanding Academic Titles, the editors apply several criteria to reviewed titles:
• overall excellence in presentation and scholarship
• importance relative to other literature in the field
• distinction as a first treatment of a given subject in book or electronic form
• originality or uniqueness of treatment
• value to undergraduate students
• importance in building undergraduate library collections



The Department of Art, Art History & Visual Studies at Duke University currently offers a Ph.D. Program in the History of Art and Visual Culture, an MA in Historical and Cultural Visualization, an MFA in Experimental & Documentary Arts, and a JD/MA in Law and History of Art. The department offers undergraduate degrees in Visual Arts, Art History, Visual & Media Studies, Art History + Visual Arts, and a Concentration in Architecture; and minors in Visual Arts, Art History, Visual & Media Studies, and Photography.

PhD Program

The Ph.D. Program in the Department of Art, Art History & Visual Studies offers two tracks: the Art History & Visual Culture track and the Visual & Media Studies track. The PhD Program is committed to preparing students for advanced research in the global visual cultures of the past and present. The department recognizes that visual literacy plays an increasingly important role in contemporary society. Art, architecture, mass media (television, video, film, internet), and urbanism all work through reference to visual and spatial conventions. We strive to provide students with the necessary tools to understand objects and archives and with the skills to interpret visual and material culture for the benefit of the broader community.

MA in Digital Art History

The 18-month Master’s in Digital Art History integrates historical disciplines and the study of cultural artifacts with digital visualization techniques for the analysis and presentation of research. The program builds on courses and well-developed strengths at Duke University. Students affiliate with an existing faculty research initiative, from which they will develop their own independent research project for the M.A. thesis. Common themes that unite the various projects are the visualization of process, the representation of change over time, recontextualizing displaced objects and object biographies.

MFA in Experimental and Documentary Arts

The Master of Fine Arts in Experimental & Documentary Arts at Duke brings together two forms of artistic activity — the documentary approach and experimental production in analog, digital, and computational media — in a unique program that fosters collaborations across disciplines and media as it trains sophisticated, creative art practitioners. Successful completion of the program requires the development of a complex understanding of documentary practices and traditions as well as creative skills in experimental media and new technologies.

JD/MA Program in Law and History of Art

The goal of the Program in Law and History of Art is to produce law school graduates sophisticated in the understanding of artworks and their histories. Art law is becoming a field of increasing prominence both in legal practice and legal research. For law students interested in the area, an MA in art history provides invaluable experience with art in a curatorial or museum context and in an academic setting, with potential application to law practice. Students will be introduced to methods of art historical research and to theories of visual culture as well as to the analytic language of the art historical discipline.

Undergraduate Programs

Visual Arts courses offer directed experiences in the practice of the visual arts, enhancing the understanding of art both within the history of culture and as individual human achievement. Department offerings emphasize the analysis and articulation of visual concepts and processes as they relate to a broader education in the humanities and sciences. A major or concentration in visual arts can provide the foundation for further study in various areas of the visual arts. It may prepare the student for further training as an artist, teacher, or architect, as well as in related fields such as advertising or design.

Art History is the study of works of art in the context of the broader social, political, and intellectual cultures of which they are a part. Studying art history develops the ability to evaluate and organize information, visual as well as verbal; it also enhances the faculties of creative imagination, precise observation, clear expression, and critical judgment. Students of art history acquire a sophisticated understanding of the theory and practice of artistic production and reception. Art history’s emphasis on careful observation, the ordering of diverse sorts of information, expository writing, and scholarly research makes it a good general preparation for advanced study or any profession.

Visual & Media Studies concerns all aspects of the production, circulation, and reception of visual images in culture, science, and society. Studies in visual culture engage students in the analysis of the rhetoric and semiotics of images, providing access to how visual meaning is socially, politically, and culturally constructed and received. Visual studies enables students to interpret the representations that shape the visual constructs of a particular society, to consider how systems of visual code differ from culture to culture, and the think through how the symbolic constructions of life organize how one sees, understands, and participates in natural and social environments.


Iván Navarro, BED (Water Tower) from This Land is Your Land, 2014. Neon, wood, painted steel, galvanized steel, aluminum, mirror, one-way mirror and electric energy, 189 x 105 1/8 x 105 1/8 inches (480.1 x 267 x 267 cm). Nancy A. Nasher and David J. Haemisegger Collection.

Iván Navarro, Ladder (Water Tower) from This Land is Your Land, 2014. Neon, wood, painted steel, galvanized steel, aluminum, mirror, one-way mirror and electric energy, 189 x 105 1/8 x 105 1/8 inches (480.1 x 267 x 267 cm). Nancy A. Nasher and David J. Haemisegger Collection.

Iván Navarro, ME/WE (Water Tower) from This Land is Your Land, 2014. Neon, wood, painted steel, galvanized steel, aluminum, mirror, one-way mirror and electric energy, 189 x 105 1/8 x 105 1/8 inches (480.1 x 267 x 267 cm). Nancy A. Nasher and David J. Haemisegger Collection.

NewsByte is published biweekly during the academic year. It is published monthly during June, July, and August. Please refer all relevant departmental information for inclusion in our e-newsletter to John Taormina, Director, Visual Media Center, at taormina@duke.edu.

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