Events Archive

NEW! The CVC now has a video archive available upon request.

Please contact us if you would like to view a particular lecture from Fall 2018 – Present.

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CVC Events 2019 – 2020:


Image: Night Watch (Mikaela with Liberty), 20’ wide LED screen on barge, Hudson River, 30”X45”/48″X72″ Lambda Photograph, Shimon Attie, 2018, courtesy of Jack Shainman Gallery, New York.

Public Lecture:


Thursday, September 26, 2019
Conrad A. Elvehjem Building L150
5:00 PM

– – –

Friday, September 27, 2019
10:00 AM – 12:00 PM
University Club, Room 212
Institute for Research in the Humanities Seminar Room

Lecture abstract:

Artist Shimon Attie will present and discuss a selection of his projects across space and time. The presentation will touch briefly on early works, such as his seminal The Writing on the Wall project, a series of site-specific projections in Berlin’s former Jewish Quarter, while examining in more depth recent works realized in the past five years. The presentation will conclude with Attie presenting his most recent project, Night Watch a floating media installation circulating in the waterways around New York City for the month of September in 2018. The piece was made with 12 individuals living in the NYC area, whose lives were saved by having been granted political asylum in the United States.


Shimon Attie is an international visual artist whose work spans many media, but he is especially well-known for his site-specific public projections and video installations that focus on migrants, asylum seekers, and the persecuted. For The Writing on the Wall (1991- 1992) Attie projected images of Jews and Jewish life from 1930s Berlin onto the buildings and in the neighborhoods where the images were originally taken. This past fall, Night Watch, a series of video portraits of asylum seekers, many of them queer, was installed on a floating barge equipped with a large-scale LED screen. The floating media installation was on view along Manhattan and Brooklyn’s coast during the UN General Assembly week.  In more recent years, Attie has also created a number of multiple-channel immersive video installations for museum and gallery exhibition.  Currently on view through September 29th at the Madison Museum of Contemporary Art is Shimon Attie: The Crossing, an exhibit curated by undergraduate and graduate students in the course Design Thinking For ExhibitsThe Crossing (2017) is an art film made with Syrian refugees who had recently arrived in Europe, many on rafts over the Mediterranean, some just weeks before the filming.  Attie’s current work in progress, Time Twirl (w/t), is a video installation which conflates our current political moment of Donald Trump and Brazil’s Jacir Bolsenaro and their historical antecedents, with Brazilian dance, Mel Brooks and comedic representation of fascism.  Attie has received 12 year-long visual artist fellowships, including from the John S. Guggenheim Memorial Foundation, the American Academy in Rome (The Rome Prize), The National Endowment for the Arts, The Pollock-Krasner Foundation, The Radcliffe Institute for Advanced Study at Harvard University, and Kunstfonds (Germany’s NEA equivalent).

Events made possible thanks to the generous financial support of the Anonymous Fund and the Center for Jewish Studies.

We would also like to thank the Women’s and Gender Studies Consortium, and the Departments of Art and Art History.


Image: Hernando de Esturmio, Saints Justa and Rufina, Painting from the chapel of the Evangelists from the Cathedral of Seville, 1555.

Public Lecture:


Monday, September 30, 2019
Conrad A. Elvehjem Building L140
5:00 PM

– – –



Monday, September 30, 2019
12:00 – 1:00 PM
University Club Room 212
Institute for Research in the Humanities Seminar Room

Lecture abstract:

Dr. Antonio Urquízar Herrera’s proposed talk is grounded in a systematic analysis of the cultural and religious appropriation of Andalusian architecture by Spanish historians during the sixteenth and seventeenth centuries. Early Modern Spain was left with a significant Islamic heritage: Córdoba Mosque had been turned into a cathedral, in Seville the Aljama Mosque’s minaret was transformed into a Christian bell tower, and Granada Alhambra had become a Renaissance palace. To date this process of Christian appropriation has frequently been discussed as a phenomenon of hybridization.

Workshop abstract:

The existence of a correlation between public image and noble status was a shared belief in Early Modern Europe. Some fifty years ago, the so-called “theory of magnificence” and the notion of “splendor” offered a historical interpretation for the emergence of the sumptuous artistic decorations of 15th- and 16th-Century Italy. These ideas have been widely used to explain the spread of courtly splendor across Europe. However, magnificence alone does not give us the full picture of the social understanding of the Early Modern households. The purpose of this presentation is to widen the frame in order to propose a recovery of the sources’ stress on the theory of signs as a complement to the traditional theory of magnificence.


Dr. Urquízar-Herrera is Professor at the History of Art Department of the UNED, Madrid. During the past twenty years he has enjoyed short, medium and long-term research stays and visiting fellowships at different universities: Lima, Padova, London (Warburg Institute), Lisbon, New York (IHA), Paris (EHESS and INHA), and Cambridge. He will perform a new stay at Cambridge during spring- summer 2020. He frequently participates as invited lecturer or speaker at universities and conferences in Europe and the US. His several books about early modern art in Spain include Admiration and Awe: Morisco Buildings and Identity Negotiations in Early Modern Spanish Historiography (Oxford UP, 2017), and Coleccionismo y nobleza: signos de distinción social en la Andalucía del Renacimiento (Marcial Pons, 2007). He has recently co-edited the volume Another Image: Jews and Muslims Made Visible in Christian Iberia and Beyond, 14th to 18th Centuries (2019, Brill, Leyden).

Both events are free and open to the public. They are possible thanks to the generous financial support of the Anonymous Fund.

We would also like to thank the Buildings-Landscapes, Cultures Program, the Middle East Studies Program, LACIS, the Art History Department, and the Department of Spanish and Portuguese.



Image: Canon Tables, Zeytun Gospels, Getty fol. 6.

Public Lecture:


Thursday, October 24, 2019
Conrad A. Elvehjem Building L150
5:00 PM

Public Workshop:


Thursday, October 24, 2019
12:00 – 1:00 PM
University Club Room 212
Institute for Research in the Humanities Seminar Room

Lecture abstract:

Art history, histories of genocide, cultural heritage, and the questions of the continuity of the medieval and the modern intersect in the biography of a medieval Armenian Gospels manuscript. Eight of its illuminated pages were discovered in the J. Paul Getty Museum in 2010, prompting a lawsuit. The tale of the separation of the pages from the manuscript tells a story of genocide and survival, and makes the case for a human right to art.

Workshop abstract:

In recent years art historians have paid renewed attention to dimensions of the life of art objects beyond the moment of their creation. In a book interrogatively entitled What Do Pictures Want? (2005), WJT Mitchell suggested that depictions have ‘lives’ and that these lives are only partly controlled by those who create art objects – artists or patrons. We humans may create images; but, once created, objects exist in the social world independently of their creators. One way in which art historians have studied the biographies of objects has been through the study of provenance – an area of art history that has attracted critical attention recently (Feigenbaum, and Reist). Provenance, often presented as a dry list of successive owners of an art object, can reveal much more – an “alternative history of art.” Disagreements over provenance are often at stake in disputes over the ownership of an object and often figure in restitution battles. In this workshop we will consider the social lives of art objects, broadly conceived, and the place of provenance in contemporary art historical debates.


Gail Feigenbaum, and Inge Reist, “Introduction,” pp 0-4 and Gail Feigenbaum, “Manifest Provenance,” 6-28, in Gail Feigenbaum and Inge Reist, eds. Provenance: An Alternate History of Art (Los Angeles: Getty Research Institute, 2013).

Heghnar Watenpaugh, “Prologue” and “Chapter 1: Survivor Objects,” in The Missing Pages: The Modern Life of a Medieval Manuscript, from Genocide to Justice (Palo Alto: Stanford University Press, 2019)


Professor Heghnar Zeitlian Watenpaugh specializes in the history of art, architecture, and urbanism in the Middle East, including architectural preservation, museums, and cultural heritage. Her first book, The Image of an Ottoman City: Architecture in Aleppo, was awarded the Spiro Kostof Book Prize from the Society of Architectural Historians. She has also received the Best Article Award from the Syrian Studies Association, and the Omer Lutfi Barkan Article Prize from the Ottoman and Turkish Studies Association.  Her second book, The Missing Pages: The Modern Life of a Medieval Manuscript, from Genocide to Justice, was published by Stanford University Press in 2019. Her research has been supported by fellowships from the J. Paul Getty Trust, National Endowment for the Humanities, Fulbright-Hays, Social Science Research Council, the Center for Advanced Study in the Visual Arts at the National Gallery of Art, and the Office of the President of the University of California. She has served on the boards of the Society of Architectural Historians, the Syrian Studies Association, and the Historians of Islamic Art Association, among other professional organizations.

Events made possible thanks to the generous financial support of the UW Anonymous Fund.

The Center for Visual Cultures would also like to thank the Department of Art History, the Buildings, Landscapes, Cultures Program, LACIS, the Middle East Studies Program, and the Department of Spanish and Portuguese.



Image: Aerial view of the Villa of Séviac (France). Photograph:

Public Lecture:


Tuesday, November 5, 2019
Conrad A. Elvehjem Building L140
5:00 PM

Public Workshop:


Tuesday, November 5, 2019
12:00 – 1:00 PM
University Club Room 212
Institute for Research in the Humanities Seminar Room

Lecture abstract:

The luxury décor of the Late Roman villa of Séviac (France) includes mosaics and statuary, including heirlooms, locally-made elements, and imported items. Though most surviving fragments of statuary are physically small, they provide evidence for up to ten marble statues and statuettes, some of which originated in the East Mediterranean. Moreover, an exceptional portrait wearing an Eastern-style toga suggests a connection to the imperial court or administration. The statuary collection at Séviac provides an opportunity to examine aristocratic networks of acquisition in Southern Gaul around A.D. 400, a period when easy connectivity within the Mediterranean world was declining. Personal travel and networks probably account for the imported items at Séviac.

Workshop abstract:

Researchers in Art History and Archaeology can expect to study old objects, but they may also find that they need to handle old data: Victorian-era publications, original excavation notebooks, or other archival records. These old sources can be tantalizing or frustrating in their brevity or the different expectations of recording (such as an 18-page article in 1903 summarizing the finds from 1200 Roman tombs Sousse, Tunisia). Outmoded assumptions about gender, class, or colonialism may be jarring but provide a good reminder of the intellectual filters through which objects and knowledge pass in reaching us. At the same time, old sources enrich research because they are the eyewitness account of early discoveries and monuments that often no longer exist. Digitization projects have made much early data more accessible. The researcher must seek information, consider social context, and attempt new synthesis to enrich current research. In this workshop, I use examples from my own research projects to explore the problems and rewards of working with old data.


Dr. Stirling is Professor of Classics at the University of Manitoba and held the Canada Research Chair in Roman Archaeology 2002-2012. One stream of her research investigates the role of Roman and late Roman statuary in society. She is the author of the Learned Collector: Mythological Statuettes and Classical Taste in Late Antique Gaul (Ann Arbor 2005) and has published statuary from France, Greece, and Tunisia. Another long-term interest is the archaeology of North Africa, and for many years she co-directed excavations at the Roman site of Leptiminus (Lamta, Tunisia). She is the editor (with David Stone) of Mortuary Landscapes of Tunisia (Toronto 2007).

Both events are free and open to the public. They are possible thanks to the generous financial support of the Anonymous Fund.

The Center for Visual Cultures would also like to thank the Department of Art History, The Buildings, Landscapes, Cultures Program, and The Material Culture Culture Program.



Video still from La confesión, 2015.

Public Lecture:


Friday, March 6, 2020
5:00 PM
Conrad A. Elvehjem Building L140

– – –


Friday, March 6, 2020
12:00 PM – 1:00 PM
University Club Room 212
Institute for Research in the Humanities Seminar Room


Dr. Coco Fusco will discuss her recent video works that explore the relationship between poetry and politics in Cuba.


Dr. Coco Fusco is an interdisciplinary artist, writer, and scholar. She is a recipient of a 2018 Rabkin Prize for Visual Arts Journalism, the 2016 Greenfield Prize in Visual Art, a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2013 Fulbright Fellowship, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in the 56th Venice Biennale, two Whitney Biennials (2008 and 1993), Frieze London Special Projects, BAM’s Next Wave Festival, the Sydney Biennale, The Johannesburg Biennial, The Kwangju Biennale, The Shanghai Biennale, InSite O5, Mercosul, Transmediale, The London International Theatre Festival, VideoBrasil and Performa05. Her works have also been shown at the Tate Liverpool, The Museum of Modern Art, The Walker Art Center and the Museum of Contemporary Art in Barcelona. Fusco is the author of English is Broken Here: Notes on Cultural Fusion in the Americas (1995), The Bodies that Were Not Ours and Other Writings (2001), A Field Guide for Female Interrogators (2008). She is also the editor of Corpus Delecti: Performance Art of the Americas (1999) and Only Skin Deep: Changing Visions of the American Self (2003). Her latest book, entitled Dangerous Moves: Performance and Politics in Cuba was issued in English by Tate Publications in London in 2015 and in Spanish by Turner Libros in 2017.

Both events are free and open to the public. They are possible thanks to the generous financial support of the Anonymous Fund.

The Center for Visual Cultures would also like to thank The Department of Spanish and Portuguese, The Latin American, Caribbean and Iberian Studies Program (LACIS), Interdisciplinary Theatre Studies, Afro American Studies, Art, and The Women’s and Gender Studies Consortium.


We thank Professor Laurie Beth Clark, who taught the core course for the Visual Cultures PhD Minor and Graduate Certificate, AH 801, for hosting the final two classes of the semester online, as webinars, so students had the opportunity to share their research with the community, and anyone who expressed an interest had the opportunity to log in and learn.

Affiliate Events 2019 – 2020:

Wisconsin Workshop

September 12-14, 2019







Wednesday, October 2, 2019
12:00 – 1:00 PM
206 Ingraham Hall







Thursday, November 14, 2019
4:30 – 6:00 PM
University Club, Room 212

Also, don’t miss Sayak Valencia’s Poetry Reading at
A Room of One’s Own on November 15th at 6:00 PM

*The lecture is hosted by the Department of Spanish & Portuguese and co-sponsored by the Center for Visual Cultures








Every four years, the Chazen showcases art by university faculty. A tradition since the museum opened, the show has usually included only faculty and emeriti from the art department. In celebration of the Chazen’s 50th anniversary in 2020, and in acknowledgement that art-making increasingly crosses disciplines and departments, Faculty Exhibition 2020 welcomed proposals from all departments across the campus that utilize art-making in their teaching and research. In addition, rather than confining the show to a single gallery, the exhibition will showcase parts of the collection and buildings that are often overlooked. Projects will explore relationships between the artist’s own work and specific art works in the museum’s collection, or the artist’s own work and the museum’s public spaces and architecture.

The artists are: Jennifer Angus • Emily Arthur • Spatula & Barcode • Derrick Buisch (photo Russell Panczenko) • Anna Campbell

Jill H. Casid (photo Erika Townsley) • Anthony Cerulli • Li Chiao-Ping (photo Brent Nicastro) • Marianne Fairbanks • Sarah FitzSimons • Aristotle Georgiades • Lisa Gralnick

Stephen Hilyard  • John Hitchcock • Tomiko Jones (photo Maggie Soladay) •  Jean Laurenz • Helen Lee •  Myszka Lewis •  Tom Loeser

Caroline Niziolek  •  Darcy Padilla •  Jason Ruhl  • Fred Stonehouse  •  Michael Velliquette • Tony Wise • Thomas Zickuhr



March 5,  6 p.m.  •  Gallery talk by Jill Casid, Chazen Mezzanine

April 2,  6 p.m. •  Gallery talk with performance, Jean Laurenz, Rowland Gallery

April 9, 12:30 p.m. •  Gallery talk, Anthony Cerulli,  Rowland Gallery

April 22, 1  p.m. •  Wellness Wednesday: meditations and discussions, Michael Velliquette,  Gallery TBA





Thursday, March 5, 2020
4:00 – 5:30 PM
336 Ingraham Hall

Through two of her most recent productions at RESAD, Nuria Alkorta reflects on two complementary ways of understanding theater creation in a pedagogical context. The first example shows a process of staging and interpretation of the dramatic character in a baroque theater fiesta, Hado y divisa de Leonido y Marfisa, by Calderón de la Barca. The second shows a process of collective creation in which actors are the generators of the dramatic material that crystallizes in the play #tiempo de exposición, by Paz Palau. Through these two productions, topics such as: individualization of learning, technique and creativity, expressiveness and expression, process and creative process, rehearsal methodologies, and acting training are central to exploring the nuances of Golden Age theater today. For more information, click here. This event is organized by the Latin American, Caribbean, and Iberian Studies Program.



School of Human Ecology
On view in the Lynn Mecklenburg Textile Gallery
February 5 through March 15, 2020

Image: A selection from Unpacked. Image courtesy of nelson

UNPACKED: Refugee Baggage seeks to humanize the word “refugee.” This multimedia exhibit features the sculptures of Mohamad Hafez, a Syrian-born, Connecticut-based artist and architect who re-creates war-torn domestic interiors within suitcases. Each piece is based on interviews with refugees who were forced to leave their homes in countries ranging from Syria and Afghanistan, to the Democratic Republic of Congo, and who now reside in the United States. As visitors view Hafez’s sculptures, they can both hear and read these recorded interviews, which were collected by Iraqi-born Wesleyan University student, writer, and speaker, Ahmed Badr. Included in the series are Hafez and Badr’s own stories, which detail Hafez’s inability to return to Syria, and the bomb that entered Badr’s family home.






CVC Events 2018 – 2019:

OCTOBER 11, 2018

Alongside the performative speech act – the words with which we do things – there has always existed a contrary set of pejorative speech acts – the words with which we undo things. With growing contemporary concern over civility and incivility in American life, this talk will offer a speculative genealogy of the pejorative arts. Focusing in particular on the “profane oath” – a pejorative speech-act broadly considered immoral, uncivil, and illegal in this period – it tracks the hidden history of the pejorative as an enunciatory site from which black and indigenous people could countermand the civilizing mission. The talk examines this pejorative speech-act though a reading of the 1957 MGM film, Something of Value, a film that allegorically maps Native North American resistance onto East African anti-colonial resistance in a manner that offers some useful insights into the intersection of black and indigenous studies today.


Tavia Nyong’o is Professor of African American Studies, American Studies, and Theater Studies at Yale University. He works in contemporary aesthetic and critical theory with a particular attention to the visual, musical, and performative dimensions of blackness, as well as to the affective and technocultural dimensions of modern regimes of race. His first book, The Amalgamation Waltz: Race, Performance, and the Ruses of Memory (Minnesota, 2009), won the Errol Hill Award for best book in African American theatre and performance studies. He is completing a study of fabulation in black aesthetics and embarking on another on queer wildness. Nyong’o has published in venues such as Radical History Review, Criticism, GLQ, TDR, Women & Performance, WSQ, The Nation, Triple Canopy, The New Inquiry, and n+1. He is co-editor of the journal Social Text and the Sexual Cultures book series at New York University press. He regularly blogs at Bully Bloggers.

The lecture and workshop were supported by the Anonymous Fund, the Theater Studies Program, and the Departments of Art and Art History.

OCTOBER 25, 2018

Dr. Posner will give a public lecture designed to attract an interdisciplinary audience. In the lecture, she will reflect on the opportunities and challenges of data visualization and share some of her work with two very different data sets: one from a museum, the other from a commercial retail chain.

Dr. Posner will also lead a hands-on workshop for digital humanists. In the workshop, she will guide participants through the process of curating a data set and applying visualization software to it. Participants will learn hands-on skills, but Dr. Posner will also encourage participants to think critically about the data and its visual expression.


Miriam Posner is an assistant professor at the UCLA School of Information. She’s also a digital humanist with interests in labor, race, feminism, and the history and philosophy of data. As a digital humanist, she is particularly interested in the visualization of large bodies of data from cultural heritage institutions, and the application of digital methods to the analysis of images and video. A film, media, and American studies scholar by training, she frequently writes on the application of digital methods to the humanities. She is at work on two projects: the first on what “data” might mean for humanistic research; and the second on how multinational corporations are making use of data in their supply chains.

The lecture and workshop were supported by the Anonymous Fund, the Center for the History of Print and Digital Culture, and the Departments of Communication Arts and Art.

NOVEMBER 2, 2018

Michel Foucault’s History of Sexuality is often taken as a key theoretical text in the study of sexuality throughout the humanities, and yet some of its critique of the radical rhetoric of the sexual revolution and its discussion of our ‘privileged objects of knowledge’ may seem now historically remote. With the rise of digital media and information technology, we have seen a new sexual revolution in the past two decades, and so how do we revise Foucault for a theory of the influence of the Internet and current media on sexual practices and sexual politics? What are the new ‘privileged objects of knowledge’ in our conception of sexuality? How do they relate formally to the technologies of their representation, including recent innovations in cinema but also in the deployment of sexuality in social media? We will look at Steve McQueen’s 2011 film Shame as a case in point about sexual ideology, sex addiction, and technology.


Ellis Hanson is a Professor of English at Cornell University teaching Victorian and Modernist Literature. He is author of Decadence and Catholicism (Harvard, 1997) and edited the influential volume Out Takes: Essays on Queer Theory and Film (Duke, 1997). Recent work has turned to the exploration and production of mood within aesthetic theory (see Ellis Hanson, “The Languorous Critic,” New Literary History, vol. 43, No. 3, (Summer 2012), pp. 547-564 and the forthcoming essay, “The Style of Decadent Prose” in The History of Decadence, Alex Murray, ed., Cambridge UP). Two new projects consider with the sustained analysis of interiority: the first, The Aesthetics of Suffering, consider the external representation of chronic internal states, and the other, Knowing Children, concentrates on the visual representation of child sexuality in contemporary American culture.

The lecture and workshop were supported by the Anonymous Fund, the Interdisciplinary Theater Studies Program, and the Departments of English, Art, and Art History.

MARCH 5, 2019
Photo of Ni Una Menos Demonstration by Sol Vazquez.

Social Movements are increasingly performative. This means that organizers place a premium on the form that social mobilization takes, both on and offline, not only as a reflection of the movement’s agenda but as a driver of the movement’s development and vitality. Social media campaigns are launched and sustained through images that become vectors for decentered participation, that is, for protesters to appropriate and circulate networked images such as memes and gifs in their own terms. In this talk, I will discuss the visual performative tactics deployed by the Argentine feminist collective Ni Una Menos (NUM) on urban and digital spaces. Focusing on NUM’s use of discursive and visual images such as the collective scream, the feminist tide, and ‘Operation Spider’ as a response to gender-based violence, I will analyze the function of expressive action as a means of collective empowerment and transnational insurgency. I will track how NUM turned mourning into the seeds of revolutionary change in Argentina and beyond by operating simultaneously as a collective, a constellation of performances, and a transnational mobilization that moves through images of its pulsating articulations and accumulations.


Marcela A. Fuentes is Assistant Professor in the Department of Performance Studies at Northwestern University. Her research focuses on performance and networked communication in contemporary social movements and activisms. Her forthcoming book Performance Constellations: Networks of Protest and Activism in Latin America (University of Michigan Press, Fall 2019) argues that bodily performance and new media are process-based tools that disrupt the workings of oppressive regimes and bring forth opportunities for transformative political processes. Fuentes’s work has been published in the Journal of Latin American Cultural Studies, Text and Performance Quarterly, e-misférica and edited volumes on transnational feminist movements, memory, and social change. She is currently a council member for the Hemispheric Institute of Performance and Politics and an external consultant for the Buenos Aires’ Performance Biennial. From 2016 to 2018 she was a member of the Ni Una Menos collective.

Event made possible thanks to the Anonymous Fund and the Departments of Interdisciplinary Theatre Studies, LACIS, and Spanish and Portuguese.

This event was featured in the Badger Herald!

Read the article here.

MARCH 28, 2019
Felix González-Torres, Untitled [Billboard of an Empty Bed] 1991.

There is a tendency in visual culture theory to still abide – probably inadvertently – by Marshall McLuhan’s eventful phrase (1962, 1967) “The medium is the message,” later rephrased as “The medium is the massage,” which proposes that the medium itself will distort “reality” by composing and displaying images meant to force biased contents onto the viewer. I will challenge this persistent idea of a passive viewer by exploring how landscapes and cityscapes – where the subject’s changing position and point of view create an equally changing scene – may lead the viewer to restate meaning and form beyond the visual, thus defying deliberate contents, unleashing the freedom to see in a more complex sensory context, and redefining their visual culture. When discussing the landscape experience, I will focus on anthropologist David Le Breton’s Éloge de la marche (2000) and Tacita Dean’s Place (2005); and, for the cityscape experience, artist Félix González-Torres Untitled [The empty bed] (1991) billboards posted on several Manhattan buildings, and Michel de Certeau’s 1995 essay Practices of Space.

MARCH 28, 2019 @ 12:00 PM

A Workshop by Lilliana Ramos Collado, PhD
School of Architecture, University of Puerto Rico

This workshop is designed as a presentation and conversation about contemporary Puerto Rican art, with special attention devoted to the creation and installation processes. Puerto Rican Arts has become the rage. In the last 5 years, many of our artists have been featured in solo and group shows in New York City, Chicago, Miami, Los Angeles, Las Palmas (Canary Islands), Mexico City, Havana, London, Berlin, Milan, Madrid, Montreal and Sao Paulo, among other venues. The main reason for this sudden applause is the great diversity of subject matter, materials, approaches, object theory, social commitment, and siting; and the way they transform tradition into something completely wayward and unexpected. From a renewed interest in land art, to the making of gigantic grattages and frottages; from allegorical art to down-to-earth political commentary, our artists are taking art by storm. The painter Arnaldo Roche has taken the self-portrait to a new level. Land artist Dhara Rivera has renewed that concept in a lyrical vein. Jeannette Betancourt has focused on the plight of Puerto Ricans subjected to a monstrous fiscal debt forced upon us but never audited. Ramón Rivera Beltrán is retelling our history as something no longer written in stone… but in brittle concrete. Humor and sadness, anger and beauty are shared by these four artists.Biography:

Dr. Lilliana Ramos Collado teaches architecture theory/history at the University of Puerto Rico in Río Piedras. She has published three poetry books, Útimos poemas de la rosa (Erizo Editorial, 2013) being the latest, and several books on art theory, history and criticism, the latest being Puerto Rico: Gateway to Landscape (2014). Ramos has published widely on art, literature, architecture and heritage in scholarly and non-scholarly journals and magazines, was Puerto Rico Museum of Contemporary Art head curator, and also Executive Director of the Institute of Puerto Rican Culture, a position equivalent to Minister of Culture. Her latest book on architecture and heritage, La patria en ruinas: siete visitas a la catástrofe, is due next May.

Events made possible thanks to the financial support of the Anonymous Fund and LACIS. We are also grateful for the support of the Departments of Art, Art History and Spanish and Portuguese.

THURSDAY, APRIL 4, 2019 @ 5:00 PM
Flag. 1954-55 (dated on reverse 1954). Encaustic, oil, and collage on fabric mounted on plywood, three panels, 42 1/4 x 60 5/8″ (107.3 x 153.8 cm). Gift of Philip Johnson in honor of Alfred H. Barr, Jr.
Image licenced to Isabelle Wallace WALLACE, ISABELLE by Isabelle Wallace
Usage : – 2000 X 2000 pixels
© Digital Image (c) The Museum of Modern Art/Licensed by SCALA / Art Resource

Neither Johns’ first nor oldest extant work, Flag (1954-55) is often described as a personal emblem and point of origin, both for Johns’ oeuvre and postmodern culture more generally. But what kind of emblem is Flag? And, indeed, what kind of origin? With these two questions in mind, this lecture revisits Johns’ much-discussed painting and places it in dialogue with two contemporaneous, but seemingly unrelated developments outside the field of art history: 1) Jacques Lacan’s return to Freud as developed in his Parisian seminars of the mid to late fifties, and 2) the discovery of DNA’s double helix structure by James Watson and Francis Crick in 1953. As I will argue, these never-compared phenomena reflect a profound shift in our perception of the human subject, which is in turn aligned with a profound shift in the conception of art, evident, I claim, in the self-reflexive, mid-century paintings of Jasper Johns.

THURSDAY, APRIL 4, 2019 @ 12:00 PM

What do Olafur Eliasson, Paul Pfeiffer, Iñigo Manglano-Ovalle, and Christian Jankowski all have in common? All are new media artists whose work is engaged with apocalyptic structures, themes, or imagery. In this wide-ranging discussion of art since the year 2000, we will consider several projects that sound a sober note of alarm, or, are notably light-hearted and/or pop-cultural, despite cataclysmic and/or religious subject matter. Our primary questions will be two: how does apocalyptic rhetoric function at the turn of the second millennium? And, what connections might we make between it, technology, and the Judeo-Christian tradition?


Isabelle Loring Wallace is Associate Professor of Contemporary Art at the Lamar Dodd School of Art at the University of Virginia. Her research focuses on a wide range of objects and images, ranging from mid-twentieth-century American painting to early twenty-first-century photography, video, and installation. She has written essays on Manet, Duchamp, Jenny Saville, Wim Delvoye, Steven Meisel and Paul Pfeiffer, and co-edited of two anthologies that reflect her commitment to thinking about contemporary art within broad cultural and historical contexts: Contemporary Art and Classical Myth, co-edited with Jennifer Hirsh (Ashgate 2011) and Contemporary Art About Architecture: A Strange Utility co-edited with Nora Wendl (Ashgate 2013). Professor Wallace is also author of Jasper Johns (Phaidon, 2014) and is currently completing a second book on Johns that considers his work in conjunction with contemporaneous developments in the fields of genetics and psychoanalysis. Simultaneously, she is working on a new project that considers recurring intersections between new media art and assorted Judeo-Christian themes.

Events made possible thanks to the Anonymous Fund and the Departments of Art, Art History and English.

FRIDAY, APRIL 26, 2019 @ 5:00 PM

Our luminous technologies cast shadows that stretch across the planet. Join speculative architect Liam young and an all-seeing smart city operating system as they take a tour in a driverless taxi on a storytelling tour through the flickering screen and beyond the fog of the cloud, to explore City Everywhere, a quasi-fictional city of the near future, extrapolated from the fears and wonders of an increasingly complex present. Seen through the eyes of the machines that we are now designing our cities for, you will visit the autonomous infrastructures, industrial territories and sacrificial landscapes that span from the robot ports on the Siberian coastline to the massive mining excavations carved from the middle of Australia where our gadgets begin their lives.

FRIDAY, APRIL 26, 2019 @ 12:00 PM

In the Post Anthropocene non human actors such as technology and artificial intelligence now compute, condition and construct our world. The data centers, telecommunications networks, distribution warehouses, unmanned ports and industrialized agriculture that define the very nature of who we are today are at the same time places we never inhabit. Instead they are occupied by server stacks and hard drives, logistics bots and mobile shelving units, autonomous cranes and container ships, robot vacuum cleaners and smart fridges, driverless tractors and taxis. This is not a posthuman condition in the sense that term is typically used. This isn’t about body modifications, cyborgs, exoskeletons and genetic engineering. The Post Anthropocene has nothing to do with our bodies, it is more accurately extra-human in that it is outside of us, totally indifferent to us, where we are no longer part of the equation at all. In the context we must shift from human centered Western narratives structures. In the post Anthropocene perspectives such as first person, third person or the Hero’s Journey break down when internet connected toasters talk back and we confess to Amazon Alexa that we are contemplating suicide. In this workshop we explore a series of new stories, myths and perspectives for a world beyond us.


Liam Young is a speculative architect who operates in the spaces between design, fiction and futures. He is cofounder of Tomorrows Thoughts Today, an urban futures think tank, exploring the local and global implications of new technologies and Unknown Fields, a nomadic research studio that travels on expeditions to chronicle these emerging conditions as they occur on the ground. He has been acclaimed in both mainstream and architectural media, including the BBC, NBC, Wired, Guardian, Time, and Dazed and Confused, is a BAFTA nominated producer and his work has been collected by institutions such as the Metropolitan Museum of Art, the Victoria and Albert Museum and MAAS in Sydney. He has taught internationally at the Architectural Association, Princeton University and now runs the ground breaking MA in Fiction and Entertainment at Sci Arc in Los Angles. Liam’s narrative approach sits between documentary and fiction as he focuses on projects that aim to reveal the invisible connections and systems that make the modern world work. Liam now manages his time between exploring distant landscapes and prototyping the future worlds he extrapolates from them.

Events made possible thanks to the Anonymous Fund and the Departments of Art, Art History, and English.

Affiliate Events 2018 – 2019:


Kruger’s most recent book, Imagining the Edgy City, brings together film and fiction, public art, architecture, and history with previous work on theatre and other performances in Johannesburg. The book shows how apparently new claims for Johannesburg as global city hide a long history of images of Johannesburg as the wonder city of Africa and the world, with comparisons both pertinent and impertinent with other cities from Chicago to Paris, Berlin to Bogotá, Sydney to Sāo Paulo. Johannesburg has been called the “Chicago of South Africa” partly because of gangster culture in both places, but Johannesburg also owes a lot to the influence of Chicago architects and urbanists.


Ruth Ketterer Harris Lecturer

Public Lecture: “Gossips, Garlands, and Thirty-Four Cows: The Modern Fold Aesthetic of the Folly Cove Textile Designs”
Thursday, November 1, 2018 @ 7:00 PM
Room 2235, Nancy Nicholas Hall
1300 Linden Drive, Madison
Gossips, 1941 – 1945
Block print mat by Virginia Demetrios, a Folly Cove Designer
Gift from the Estate of Professor Helen Louise Allen, Accession Number: P.D.US.0065


During the 1940s through 1960s, in the small community of Folly Cove in Gloucester, Massachusetts, a network of artists and designers produced block-printed textiles for the mid-century American home. Drawing on the landscapes and cultural icons they saw around them in rural New England, the Folly Cove Designers often incorporated these everyday images into strikingly modern graphics. Started by Virginia Lee Burton, the writer and illustrator of popular children’s books, the Folly Cove Designers worked as a collective, critiquing one another’s work and encouraging attention to detail in design and craftsmanship. The Folly Cove Designers sought to bring fine art to the home, in their case primarily through hand-printed table linens; they also supplied designs to regional and national department stores and fabric companies. The discussion of the Folly Cove Designers will focus on examples collected by Helen Louise Allen and now housed in the Helen Louise Allen Textile Collection.

Theron Schmidt

Public Lecture: What kind of work is this? Performance and materialisms in the Biennale of Sydney
Thursday, 8 November 2018, 5pm-7pm, 6191 Helen C. White
Workshop: How we talk about the work is the work: Creative approaches to critical art writing
Friday, 9 November 9am-12pm, Humanities 6321
Advance registration required
Sponsored by University Lectures and Interdisciplinary Theatre Studies. Co-sponsored by Art, Art History, Dance, and the Center for Visual Cultures

“Cultivating Citizens with Art”

Lecture by Prof. Lauren Kroiz
University of California, Berkeley
Thursday, November 8, 2018 @ 6:30 PM
Auditorium, Chazen Museum of Art
Reception to Follow

Sponsored by the James Watrous fund of the Dpartment of Art History with Co-Sponsorship from the Chazen Museum of Art

Flash Gallery Talk: Anna Campbell

Thursday, April 11, 2019
12:30 – 1:00 PM
Leslie and Johanna Garfield Galleries,
Chazen Museum of Art

For this Flash Gallery Tour of Un/Seen, Prof. Anna Campbell will discuss the politics of exposure and image-making, focusing in particular on representation of queer and racialized identities in the work of F. Holland Day (1864–1933) and René Peña (1957– ) as read through Susan Sontag’s 1975 essay Fascinating Fascism.

Held in conjunction with Un/Seen: The Alchemy of Fixing Shadows.


CVC Events 2017 – 2018:

SEPTEMBER 28 – 29, 2017

Durham, N.C. residents pose with toppled statue of a Confederate soldier. | Photo: Twitter / @DerrickQLewis

Nicholas Mirzoeff presented his current project, The Appearance of Black Lives Matter, #Charlottesville in a public lecture on September 28th. Police killings captured on cell-phone video or photographs have become the hallmark of United States visual culture in the twenty-first century. In the lecture, Mirzoeff examined this transformation of visual culture from the deaths of Eric Garner and Michael Brown in the summer of 2014, to the inauguration of Donald Trump in 2017, and most recently to the violence of white supremacists in Charlottesville, VA.

The student workshop focused on the Introduction and Conclusion to his publications How to See the World (2015) along with the Beginning of The Appearance of Black Lives Matter (2017). How to See the World analyzes an unprecedented political shift initiated by the visual revolution of the internet’s image explosion. From Google Images to Instagram, video games to installation art, this transformation is confusing, liberating and worrying all at once. As Mirzoeff reminds us, this is not the first visual revolution; the nineteenth century saw the invention of film, photography and x-rays, and the development of maps, microscopes and telescopes made the 17th century an era of visual discovery. But the sheer quantity of images produced on the internet today has no parallels. Mirzoeff’s recent publication The Appearance of Black Lives Matter studies the formation of the space of appearance, that space where we catch a glimpse of the society that is to come—the future commons or communism. In this discussion, we will focus on the Preface and Ouverture: Black Lives Matter from The Appearance of Black Lives Matter.

OCTOBER 6-11, 2017
OCTOBER 7 & 8, 2017


In collaboration with Chicago Shakespeare Theater and the Museum of Contemporary Art Chicago, the Center for Visual Cultures welcomed Teatro Línea de Sombra, October 6 – 11. A performance group consisting of Jorge Vargas, Alicia Laguna, Zuadd Atala, Eduardo Bernal, Raul Mendoza, Gilberto Barraza, Vianey Salinas, Jesus Cuevas, and Malcom Vargas, Teatro Línea de Sombra is revered for their transnational pieces that use documentary techniques, video editing, film embedding, site-specific performances, and anti-methodological acting to explore issues of immigration, violence, and human rights awareness.

Baños Roma considers the life of Cuban-Mexican boxer José “Mantequilla” Nápoles, one of the most important characters in Mexican popular culture at the end of the 20th century. His importance lies not only in the achievements he obtained in his sports career but because he is a representative figure of the time. “Mantequilla,” (his nickname meaning “butter” referring to his smooth boxing style), now with dementia, is still a legend that lives in the social imaginary. Today he lives in Ciudad Juárez, a city plagued by its own decay due to the narcos involvement. Teatro Línea de Sombra is interested in that hero of boxing but from the perspective of the ghostly figure that he is now. Thus, two contemporary instances are constructed, on the one hand, reality, based on the bleak look at his life in Ciudad Juárez, and on the other, memory and the fragility it exposes. This binomial could be called “The memorable reality.” Teatro Línea de Sombra is concerned not only with the impossible notion of true events but the group also implies that memory can help imagine the present.

Directors Eduardo Bernal and Jorge A. Vargas of Teatro Línea de Sombra led a two-day workshop where participants explored Teatro Línea de Sombra’s unique methodology that stresses the key concepts of the referent, conviviality, experience, the argument, and the image. Participants also composed either a short scene or wrote a reflexive artistic/academic argument that fused Teatro Línea de Sombra’s  approach to maps, biopolitics, the body, and the environment.

OCTOBER 19, 2017

Presented in partnership with the Center for the Humanities and the Institute for Research in the Humanities

Christina Sharpe is Professor of English at Tufts University and the author of Monstrous Intimacies: Making Post-Slavery Subject and In the Wake: On Blackness and Being. Her research interests are in black visual culture, black diaspora studies, and feminist epistemologies, with a particular emphasis on black female subjectivity and black women artists.

In In the Wake, Sharpe interrogates literary, visual, cinematic, and quotidian representations of Black life that comprise what she calls the “orthography of the wake.” Activating multiple registers of “wake”—the path behind a ship, keeping watch with the dead, coming to consciousness—Sharpe illustrates how Black lives are swept up and animated by the afterlives of slavery, and she delineates what survives despite such insistent violence and negation. Initiating and describing a theory and method of reading the metaphors and materiality of “the wake,” “the ship,” “the hold,” and “the weather,” Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and “wake work” as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

OCTOBER 18, 2017

two banners, one embroidered with "We were never meant to survive" and the other depicting an eagle stabbed with a pencil soaring over two guns

Cauleen Smith

Cauleen Smith (born Riverside, California, 1967) is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas, Smith roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, third world cinema, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. Her films, objects, and installations have been featured in group exhibitions. Studio Museum of Harlem, Houston Contemporary Art Museum; Yerba Buena Center for Art, and the New Museum, New York, D21 Leipzig and Decad, Berlin. She has had solo shows for her films and installations at The Kitchen, MCA Chicago, Threewalls, Chicago. She shows her drawings and 2D work with Corbett vs. Dempsey.  Smith is the recipient of several grants and awards including the Rockefeller Media Arts Award, Creative Capital Film /Video, Chicago 3Arts Grant, and the Foundation for Contemporary Arts, Chicago Expo Artadia Award, and Rauschenberg Residency. Smith was born in Riverside, California and grew up in Sacramento. She earned a BA in Creative Arts from San Francisco Sate University and an MFA from the University of California, Los Angeles School of Theater Film and Television. Smith is based in the great city of Chicago and serves as faculty for the Vermont College of Fine Arts low-residency MFA program.

Read more about Smith’s work in a recent ARTFORUM article.

Christina Sharpe is Professor of English at Tufts University and the author of Monstrous Intimacies: Making Post-Slavery Subject and In the Wake: On Blackness and Being. Her research interests are in black visual culture, black diaspora studies, and feminist epistemologies, with a particular emphasis on black female subjectivity and black women artists.

Emmy Award-Winning Michael Wylie
March 5, 2018

Much has been written in recent years of the spate of superb writing for television across many series, but the leaps forward in visual artistry are equally remarkable. Amidst the context of fervid change and experimentation in television, what then is happening to the medium as a centerpiece of visual culture? How are the artistry, politics, craft, economics, and culture of television changing? What does artistic production design for contemporary television entail? This public discussion aimed to answer these and more questions, as Emmy Award-winning production designer Michael Wylie discussed his work across numerous series including the popular television shows Legion, Pushing Daises, Californication, Masters of Sex, and Agent Carter.

Jane Blocker
Echo: Sound Recording and Racial Violence in Contemporary Art History 
April 5, 2018

Jane Blocker is a Professor of Art History and Associate Dean for Art and Humanities at the University of Minnesota.

Her public lecture, “Echo: Sound Recording and Racial Violence in Contemporary Art History” looked back to the infamously politicized 1993 Whitney Biennial and its inclusion of the amateur video showing five white police officers beating Rodney King, to consider the ways in which recorded sound serves as historical document. It drew together critical reactions to the Biennial, the performance practice of Anna Deavere Smith, and the story of Echo to think about the effect of racial violence on historical temporalities.

The student workshop focused on Professor Blocker’s latest research alongside her 2015 publication, “History in the Present Progressive: Sonic Imposture at The Pedicord Apts.”

Affiliate Events 2017 – 2018:

Honor Ford-Smith
Performance: Song for the Beloved
September 21, 2017

Honor Ford-Smith is an artist-scholar whose work intersects performance, installation art, historical memory, death and mourning, as well as racial, ethnic and Caribbean studies. Song for the Beloved is a performance and installation piece she recently brought to Liberty Hall in Kingston, Jamaica, to mourn the death of civilians in the hands of the state or paramilitary groups.

NOVEMBER 2, 2017

Photo of a man in silhouette holding an antennae

What do we mean when we discuss an animation’s “frame rate” or say a photograph is “in development”? What is rastering? What is a signal to noise ratio? Employing photography, collage and sculpture to engage these technical terms and the history of communication systems, Herman uses the analogy of an antenna to query the way structure and rhythm impact both fabrication techniques and a thing’s reception in the world. Engaging methods of reproduction and distribution as a point of departure, Herman’s work exploits “noise” or the break down of data, to explore the role materials and patterning plays in perception. Finding both beauty and intellectual clarity in these disruptions and moments of metamorphose, Herman reveals how symbolic logic and myth continue to resonate in our hyper-digitized world. As part of his presentation Herman discussed his project for Weaving Lab: Digital Residency.

November 8, 2017

Video art in Cuba was introduced by Tania Bruguera’s movement Behavior Art in the 1990s. In general, it is a documentary type of video made with precarious technology. It is mainly used by artists as an extension of their primary practice and incorporated in exhibitions as video installations. Rosa’s lecture and workshop presented a short history of the medium and reflected on how Cuban video relates to both reality and to more academic art practices.

NOVEMBER 9, 2017

How do media — both journalism and entertainment — frame Americans’ relationship to and understanding of race? What roles do they play in dividing or uniting, and to what end?


Informed by the artistic practice of Brazilian artist Hélio Oiticica (1937-1980) in relation to the socio-political conditions and carnival culture in Brazil in the 1960s, What Bodies Can Do: Art and the Social Practice of Resistance seeks to alter our understanding of the art object by re-evaluating the kinship between participatory art, embodied performativity, and social practices of resistance. Premised on the conviction that Hélio Oiticica’s paradigm-shifting Parangolés specifically, and participatory art more broadly, are fundamentally what Judith Butler calls “embodied forms of action and mobility marked by dependency and resistance,” this project will bring together an interdisciplinary group of scholars to create, perform, and ultimately engage in a timely debate about the political, social, and cultural potentials arising from the embodied performativity of art.

In other words, this event will set the stage for demonstrating the potential of art as what Brazilian critic Mário Pedrosa called “an experimental exercise of freedom.” By exercising art making and display as embodied social action, What Bodies Can Do: Art and the Social Practice of Resistance aims to provide a platform for new scholarship and a vital site for public discussion and activism.

What Bodies Can Do: Art & the Social Practice of Resistance is organized by the Visual Cultures Collective in collaboration with the Center for Visual Cultures, Teatro Décimo Piso, and the Chazen Museum, with active involvement from the Departments of Art History, English, Spanish and Portuguese, Art, the UW Center for the Humanities, and the International Student Services

APRIL 6 – 7, 2018

MARCH 2 -3, 2018

This symposium proposes to bring together artists, scientists and scholars across several disciplines for whom color matters in quite different registers, across the globe and across modernity. From the Early Modern era to the present, color theory and practice cross disciplines and sponsor debates about what color is. This 21st century symposium looks forward and back in time to invite collective thought about color’s modernity. The symposium invites scholars, artists and participants to think about how their research addresses two questions: crossovers between color theory and material practices now, among artists and scientists, and as part of the global exchange of color, pigments and artifacts.

MARCH 12 – 13


Interdisciplinary Theatre Studies Colloquium Speaker Sara Freeman, U Pugent Sound; Editor, Theatre History Studies

Contemporary playwrights now often compress the linguistic and imagistic aspects of theatre, distilling spatial and dramatic elements with as much attention to visuality as textuality. Countering Hans Thies Lehman’s position on dramatic theatre, Liz Tomlin asserts that the “dramatic form itself has continuously questioned its own predicates, with a self-reflexivity that has enabled it to dismember the classical dramatic apparatus piece by piece, shape shifting into the absences that are left almost imperceptibly to form new structures that can accommodate the philosophical questions of the time.” Taking up this insight, Sara Freeman argues that divisions between text-based and non-text-based theatre, or dramatic and postdramatic forms, truncate rather than illuminate the innovations of twenty-first century dramaturgies practiced by writers like Caryl Churchill, Naomi Iizuka, and Sarah Ruhl. She details how contemporary directors and designers stage these authors’ work informed by the insights of avant-garde forms, performance art, devising practices, and mediatized culture about how to maximize the phenomenological impact of the linguistic, spatio-temporal, and perceptual experimentation in the writing. Following Tomlin’s recovery of plays-as-texts for postmodern theatre,Freeman explicates the indissolubility of text and staging in twenty-first century dramaturgies and argues for the theatrical and critical necessity of a spatialized poetic vocabulary that owes as much to Bachelard as it does to Aristotle when addressing new Anglo-American writing in theatre.


Antoni Miralda + Alicia Rios
Artist Talk, Workshop, and Performance
April 25 – 29, 2017

Alicia Rios creates multi-sensory works that require the public’s participation, where reality is reinterpreted through food and devoured collectively. Her collective Ali&Cia has produced edible greenhouses, libraries and entire cities and islands, staged for up to four thousand people. Rios is also one of the leading Spanish experts on tasting olive oil, has written several cookbooks, and publishes regularly on culinary themes. Information about her work can be found at:

Antoni Miralda explores the foods of many different cultures in projects that are edible anthropologies and conceptual propositions. He has made shrines in food markets and ritualistic ceremonial banquets. His FoodCultura Museum is a collection of devices and strategies that question common museum protocols to examine and foster participation in culinary cultures from around the world. Miralda currently has a permanent stall at La Boqueria, the largest permanent food market in Spain.  His work was recently featured in the Spanish Pavilion of the Milan Expo and will be part of the upcoming Venice Biennale.  Information about his work can be found at:

On Wednesday, 26 April, Rios and Miralda lectured on their individual oeuvres. Following a short break, there was a moderated dialogue between the two about similarities and differences in their approaches and a discussion of their Madison project. This symposium took place in L160 Elvehjem Building (800 University Avenue) starting at 4:30 PM.

On Saturday, 29 April,  Rios and Miralda will produced their first collaborative project, a procession and mobile exhibition on the theme of food waste.  Assistant and volunteers worked with the artists on Friday in advance of the performance.

These events were funded by the Anonymous Fund, University Lectures Fund, Jay and Ruth Halls Visiting Scholar Fund, Borghesi Mellon Workshops, and Spatula&Barcode. Co-sponsoring units include the Center for Humanities, Interdisciplinary Theatre Studies, Design Studies, Art History, Spanish and Portuguese.

Andy Bichlbaum of the Yes Men
Artist Talk
April 20th, 6pm in Elvehjem L140

The Yes Men are an activist duo and network of supporters created by Jacques Servin (Andy Bichlbaum) and Igor Vamos. Through the use of satire and staged media events the Yes Men primarily aim to raise awareness about problematic social and political issues. Bichlbaum spoke about their activism and art practice.

Sponsored by the Center for Visual Cultures. Co-sponsored by Evil Twin Booking Agency. Funding provided by the University of Wisconsin-Madison Anonymous Fund.


Susan Stockwell
Artist Talk
March 30th, 6pm in Elvehjem L140

Sail Away: Workshop
March 31 & April 1

Susan Stockwell’s work takes many forms from small studies to large scale sculptural installations, drawings and collage. It is concerned primarily with transformation and with issues of ecology, geo-politics, mapping, trade and history. The materials used are the everyday, domestic and industrial disposable products that pervade our lives. These materials are manipulated and transformed into works of art that are extraordinary.

Stockwell spoke on her work during an artist talk on March 30 at 6pm in Elvehjem L140. She also hosted a two-day workshop in which participants had the unique opportunity to work directly with Stockwell to build sailboats (similar to those in the photo above) from discarded currency and maps that were then released on Lake Mendota.

Susan gained an MA in sculpture from the Royal College of Art in 1993. She exhibits in galleries and museums all over the world including, TATE Modern and the Victoria and Albert Museum in London, The Katonah and the Neuberger Museums of Art in America and The National Museum of China in Beijing. She has been awarded scholarships, grants and commissions such as a Visiting Arts Taiwan-England Artists Fellowship and commissions from the University of Bedfordshire, Black Rock Investments and the National Army Museum. She has taught extensively and taken part in residencies and projects in Europe, America, Australia and Asia.


David Getsy & Ramzi Fawaz
Cheap: Queer Visual Culture, Salvage, and Reuse
October 13th, 7pm in Elvehjem L140

This event featured a public dialogue between two leading scholars in queer visual culture studies, David Getsy and Ramzi Fawaz, whose recent books explore the uses of throwaway or disposable cultural forms to articulate alternative expressions of sexuality and gender in contemporary U.S. culture.

Getsy’s recent monograph Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, uses transgender theory to study 1960s abstract sculpture, paying particular attention to found object and salvage metal work that resists traditional forms of embodied representation and figuration. In a similar vein, but with different objects, Fawaz’s new book The New Mutants: Superheroes and the Radical Imagination of American Comics, explores how American comic books, arguably the most disposable popular media of U.S. culture, used fantasy to imagine pleasurable and even politically radical transmutations of the human body.

The participants discussed their recent book projects to introduce a broader dialogue about queer aesthetic practices, both high and low, that revalue “cheap” materials as rich tools for imagining gender and sexuality in new and potentially radical ways: why do cheap materials (from scrap-metal, to low-quality newsprint and comic strips, to garbage) appeal to certain artists engaged in queer aesthetic and political projects? How does cheapness accrue unexpected cultural capital or value despite its denigrated origins? What kinds of beauty, wonder, enchantment, and pleasure might be pulled from salvaged objects, textures, and surfaces? And most importantly perhaps, how does one go about studying objects that are so ephemeral, fleeting, and disregarded?

In this way, the event dovetailed with this year’s Center for Visual Cultures theme, “Visual Cultures: Useless, Decadent, Discarded” by considering what methods currently exist, or might further be developed, for the
study of those visual forms that are actually composed of discarded, cheap, or ephemeral materials, catching the imagination but rarely aiming at permanency. Each participant preparde questions for their interlocutor inspired by the concepts and arguments that stem from their respective works; following this exchange, Getsy and Fawaz engaged with the audience in an open Q&A.

Carlos Garaicoa
Broken Future Line: Urban Landscape/The City’s Social Body

Tuesday, September 27
6pm Elvehjem L140

Carlos Garaicoa’s art focuses on the aesthetic, social, and political implications of ruins–including those in his hometown of Havana–as an expression of history and an inquiry into the future. Working with a variety of materials and media, such as photography, architectural design, and installation, he comments on urban planning and the relationships between political conflicts and their physical expression in the conditions of the modern city.

In this conversation, held on September 18, 2016, Garaicoa discusses his career, latest projects, and inaugural Artist x Artist residency with Michelle Bird and Andrea Nelson (Courtesy of the National Gallery of Art)

Learn more about Carlos Garaicoa and contemporary Cuban photography from the online exhibition catalogue for the exhibit “Apertura: Photography in Cuba Today,” held at the Chazen Museum March 6 – June 21, 2015.


John Bell

Lecture | Performing Crisis: Puppetry and Activist Theater
Friday, April 29th, 4pm
Elvehjem L140

Workshop | Toy Theater
Saturday, April 30th, 9am – 3pm

John Bell is a puppeteer, scholar, and director of the Ballard Institute and Museum of Puppetry. He was a member of the renowned Bread and Puppet Theater for more than a dozen years. He is recognized as one of the preeminent scholars on puppets and performing objects and has written and edited several books on the subject. He has taught at New York University, Rhode Island School of Design, Emerson College, MIT and other institutions. Drawing on folk, avant-garde, and popular theater traditions to address contemporary issues, his Brooklyn-based theater collective, Great Small Works, performs in theaters, schools, galleries, and the streets. Their original toy theater production, entitled “Terror as Usual,” was developed as a portable way to engage the public in the deconstruction of the daily culture of fear promoted by the news after 9/11.

Lecture | Performing Crisis: Puppetry and Activist Theater

A consistent element of community expression in public space, from medieval processional theater to the recent Black Lives Matter and “Je Suis Charlie” demonstrations, is the use of puppets, masks, and performing objects, either in an improvised or well-preconceived manner.  This presentation will consider the nature of objects in public demonstrations as the material performance of political ideas.  What are the dynamics of material, design, movement, chorus, and scale in the context of community expression in the massive spaces of streets, parks, and public squares?

Workshop | Toy Theater

During his visit, John Bell will lead workshop participants in the creation of their own toy theater project based on current events and stories they want to tell through the simple but powerful medium of the miniature.

The workshop will be held Saturday, April 30th in the Humanities building, room 6111, from 9am to 3pm with an hour break for lunch. No previous experience in art or puppetry is needed. Preference will be given to those who see a use for this in their activism, education or art practice and are committed to fully participating in the workshop. Groups who want to develop a piece together are encouraged and should indicate that.

Artist-in-Residence Bahia Shehab

Women, Art, and Revolution in the Streets of Egypt
Bahia Shehab
April 2-10, 2016

Lecture: April 5th, 5pm Elvehjem L140
Film Screening: Nefertiti’s Daughters, April 6th, 5:30pm Elvehjem L150
Workshop: April 3 – 8

Bahia Shehab, one of UNESCO’s 70 most accomplished women speakers, is a Lebanese-Egyptian artist, designer and art historian. Her artwork has been on display in exhibitions and galleries in China, Denmark, France, Germany, Italy, Lebanon, UAE and the US. The documentary Nefertiti’s Daughters featuring her street artwork during the Egyptian uprising was released in 2015. She is associate professor of practice, director of the visual cultures program and founder of the graphic design program at The American University in Cairo where she has developed a full design curriculum mainly focused on visual culture of the Arab world. She has taught over twelve courses on the topic. Her book A Thousand Times NO: The Visual History of Lam-Alif was published in 2010 and the artwork by the same title is shortlisted for V&A’s Jameel Prize 4. She is a 2012 TED Fellow and a 2016 TED Senior Fellow. Bahia was selected as one of BBC’s 100 Women for two consecutive years, in 2013 and 2014. The American University in Beirut honored her as distinguished alumna in 2015.

Bahia Shehab will give a public lecture on Art and Resistance entitled “We Were Never There” on Tuesday April 5th, 5pm in Elvehjem L140.

The walls on the streets of post-revolution Cairo have been white-washed by the new regime. Street expression is no longer tolerated and artists have suffered arrest, imprisonment and exile. The talk will trace the destiny of artists and activists who were painting on the streets of Cairo during the Egyptian uprising in 2011-2013. It will highlight the different forms of continued protest in what activists consider a time of crisis and what the world sees as an aborted revolution.

Film Screening: Nefertiti’s Daughters, followed by a Q&A with filmmaker Mark Nickolas and artist Bahia Shehab
April 6th, 5:30pm in Elvehjem L150
Queen Nefertiti returns to join revolutionary street artists on the front lines in the fight for women’s rights and freedom in Egypt today.

Following the film, we will be joined by filmmaker Mark Nickolas and featured artist Bahia Shehab for a Q&A discussion.


Nefertiti’s Daughters is a story of women, art and revolution.
Told by prominent Egyptian artists, this documentary witnesses the critical role revolutionary street art played during the Egyptian uprisings.

Focused on the role of women artists in the struggle for social and political change, Nefertiti’s Daughters spotlights how the iconic graffiti of Queen Nefertiti places her on the front lines in the ongoing fight for women’s rights and freedoms in Egypt today.

Mural Workshop led by Bahia Shehab
“No to the Impossible”

لا للمستحيل

Shehab will lead a mural workshop for UW Students and Madison community, in coordination with the Williamson Street Art Center and local organizations for one week (April 2-9 at Art Lofts Building, 111 North Frances Street Madison). The workshop aims to engage Madison’s community in an interactive activity that would make the residents re-think their relationship with the city in general and with buildings as canvases for art in specific. The choice of an Arabic calligraphy spread on one of the walls of Madison’s local buildings also aims to bridge dialogue between cultures, by sharing a universal message of hope and resilience.

In 2010 Bahia Shehab exhibited “1000 times No”, an artwork documenting the visual development of one Arabic letter form “la” which means No.  During the 2011 Egyptian uprising the artwork took a political turn when Shehab started spraying different “No” messages on the streets of Cairo. Four years into the revolution, the No messages took an international dimension when Shehab started spraying them in different cities around the world, street art is not tolerated in Egypt under the current regime.

Her “No to the Impossible” in Wisconsin-Madison is inspired by “The Butterfly’s Burden” a poem by the famous Palestinian poet Mahmoud Darwish. The message will be painted as a mural on the street.

During her stay, Bahia Shehab will also visit classes and artist studios.

Fall 2015 Events

Visual Grammars for Seeing Blackness
November 5

Nicole Fleetwood (Rutgers University), “Fraught Imaginaries: Collaborative Art and Activism in Prison”

Herman Gray (University of California, Santa Cruz), “Precarious Diversity: Media, Representation, and Demography”

Jay Katelansky (University of Wisconsin-Madison), “a BLACK amorphous thing: how phantom shifts the narrative”

Peter Cusack
Sounds from Dangerous Places
September 22 & 23
Sounds from Dangerous Places asks “What can we learn of dangerous places by listening to their sounds?” This talk will include recordings and photographs from Chernobyl, the Caspian oil fields and the Aral Sea, Kazakhstan.Peter Cusack is a sound artist, and a research fellow and member of CriSAP (Creative Research into Sound Arts Practice) at the University of the Arts, London.Discussion: “Musical Ecologies in a Damaged World,” a workshop around the work of Peter Cusack, with Gregg Mitman, Craig Eley, Frederic Neyrat, and Andrew Salyer. We will discuss Cusack’s works and several art clips (Lucien Castaing-Taylor and Véréna Paravel, John Cage, Pierre Schaeffer, etc).

Sounds from Dangerous Places


The Center for Visual Cultures presented 2015 Artist in Residence Nelson Ramírez de Arellano Conde, artist and Director of the National Photography Museum in Havana.

Lecture: No More Boundaries for Cuban Photography
March 5, 2015
5:30 PM – 6:30 PM
Chazen Museum of Art, Auditorium

This event, free and open to the public, marks the opening of Apertura: Photography in Cuba Today. Funding provided by the UW-Madison Anonymous Fund, UW-Madison Lectures Committee, Center for the Humanities, and by the Latin American, Caribbean and Iberian Studies Program with support from the US Department of Education’s Title VI Grant Program.

Artists featured in Apertura: Liudmila&Nelson, Carlos Garaicoa, José Manuel Fors, Angel Delgado, René Peña, Rafael Villares, Reynier Leyva Novo.

Reception: Apertura Exhibition
March 5, 2015
Live music, refreshments, and cash bar.
Chazen Museum of Art, Witter Lobby

Workshop: Thirteen Ways to Photograph a Blackbird
March 7, 2015
9:00 AM – 12:00 PM, and an optional session 1:00 PM – 4:00 PM
Pyle Center
Workshop is free, but availability is limited.

This workshop follows a method developed in the Instituto Superior de Arte in Cuba by artist Flavio Garciandía on the basis of Thomas McEvilley’s 1984 essay “On the Manner of Addressing Clouds.” The workshop consists of a morning session, and an optional afternoon session. In the morning, Nelson Ramírez de Arellano will present thirteen objective categories that allow us to evaluate art on the basis of form, content and the relationship between the two as they apply to photography. In the afternoon, there will be practical exercises for students to engage with the concepts and “design” a fictional oeuvre following discussed premises.

Nelson Ramírez de Arellano Conde is the director of the Fototeca de Cuba (Cuban National Museum of Photography). He received the Cuban National Prize for curating the collective exhibition The City and Photography, Habana 1900-2005, and he organized the 9th Havana Biennale in 2006. He is also a conceptual artist working in photography and video as member of the duo Liudmila & Nelson.

CVC Theory-in-Practice Lab: Cassils

Performance: Becoming an Image
Tuesday, Feb 17, 7:00 PM
Wisconsin Union Theater
Free tickets available at the Memorial Union Theatre Box Office.

Ghost: A Workshop with Cassils
Wednesday, Feb 18, 12Noon

Artist’s Talk
Wednesday, Feb 18, 7:00 PM
Location: Elvehjem L150

Meiling Chen and Liu Ding: Contemporary Chinese Time-based Art
Nov. 6, 2014 – Nov. 7, 2014
Elvehjem Building, L140

The Center for Visual Cultures is pleased to announce these upcoming events with visiting artists/critics Meiling Cheng and Liu Ding.

Meiling Cheng
Lecture, Thursday, 6 November, 5:30 PM, Elvehjem L140BX Mini: Multicentric Notations

In this talk, Meiling Cheng will discuss her new book, Beijing Xingwei: Contemporary Chinese Time-Based Art (2013). From cannibalism to light-calligraphy, from self-mutilation to animal sacrifice, from meat entwined with sex toys to a commodity-embedded ice wall, the idiosyncratic output of Chinese time-based art over the past thirty years has invigorated contemporary global art conversations. Beijing Xingwei offers the first in-depth study of such time-based artworks created to mark China’s rapid reintegration into the global communities and its concurrent transformations in the post-Deng era. At a moment when time is explicitly linked with speed and profit, Beijing Xingwei explores multiple alternatives for how people with imagination can spend, recycle, and invent their own time.

Meiling Cheng is Associate Professor of Dramatic Arts/Critical Studies and English at University of Southern California School of Dramatic Arts. She is the author of In Other Los Angeleses: Multicentric Performance Art (2002) and Beijing Xingwei: Contemporary Chinese Time-Based Art (2013), which received the support of a 2006 Zumberge Individual Research Grant and a 2008 Guggenheim Fellowship. With Gabrielle Cody, Dr. Cheng is currently co-editing a critical anthology entitled, Reading Contemporary Performance: Theatricality Across Genres, which will be published by Routledge in 2015.

Liu Ding

Lecture, Friday, 7 November, 10:00 AM, Elvehjem L150
“A Less Visible Ideological Structure”: (Art) Historical Research in the Practice of Art and Curation

This talk will present examples from both my recent artwork and my curatorial practice to propose a model of historical research in artistic practice. This process discovers and envisions connections between historic events and contemporary thinking and practice. I see historical perceptions and the discourses of historical narratives as the materialization of a less visible ideological structure that has gradually emerged since the 1950s in China. We understand the complexities of this intellectual framework poorly, yet we live fully under its influence. I will discuss the urgency of engagement with art histories in the making of artworks, and my process of researching and making exhibitions.

Liu Ding is an artist and curator based in Beijing. His artistic and curatorial practice treats objects, events, and discourses of art history and the foundation of historicization both as materials and as the basis for critical reflection. He initiated the research and exhibition project titled Little Movements: Self-practice in Contemporary Art I, II, in collaboration with Carol Yinghua Lu. He co-curated the 7th Shenzhen Sculpture Biennial, titled Accidental Message: Art is Not a System, Not a World. Publications written and edited by him include Little Movements: Self-practice in Contemporary Art I, II, Accidental Message: Art is Not a System, Not a World, and Individual Experience: Conversations and Narratives of Contemporary Art Practice in China from 1989 to 2000.

In addition, it may be possible to join any of the following events.

Thursday, 6 November, 1130-1, Art Lofts Gallery, 111 N. Frances Street. Public Discussion of the Transmedia Graduate Student Exhibition with Meiling Cheng and Liu Ding.
Thursday, 6 November, 130-3, Lunch and Conversation about Performance Studies with Meiling Cheng. Limited space. Advanced reading will be required. Contact to register.
Friday, 7 November, 12-2, Animal Studies Workshop with Meiling Cheng. Limited space. Advanced reading will be required. Please contact to register.
Friday, 7 November, 12-2, Lunch and Conversation in Chinese with Liu Ding. Limited spaces. Must be able to converse in Chinese. Contact to register.
Friday, 7 November, 5 PM. Reception and Informal Conversation with Meiling Cheng and Liu Ding. Limited Spaces. Off campus. Transportation Required. Contact to register.
A limited number of studio visits with Liu Ding may be available. Open only to Art Department Graduate Students. Contact
The visit by Meiling Cheng and Liu Ding is sponsored by the Center for Visual Cultures and co-sponsored by the Art Department, the Department of Theater and Drama, the Department of Art History, the Center for East Asian Studies, and the China Institute with funding from the University Lectures Committee and the Anonymous Fund.

Guillermo Gómez-Peña and Saúl García-López
The Center for Visual Cultures is excited to announce our Fall 2014 Artist-in-Residence, Guillermo Gómez Peña.  During his residency, from October 6-11, 2014, we present a series of events including a two-day workshop, a performance, and a multimedia performance lecture featuring Guillermo Gómez-Peña and La Pocha Nostra.  This residency is part of our 2014-2015 “Visual Culture in the Performative” series. All events are free and open to the public.

Guillermo Gómez-Peña is a performance artist, writer, activist, radical pedagogue, and director of the performance troupe, La Pocha Nostra. Please click here for more information about Gómez-Peña and La Pocha Nostra.

Exercises for Rebel Artists: Two-day performance workshop led by La Pocha Nostra troupe members, Guillermo Gómez-Peña and Saúl García-López
October 7 & 8, 1:00-8:00PM.

Imaginary Activism: The Role of the Artist Beyond the Art World

Performance, October 9, 8:00PM, Fredric March Play Circle Theatre, Memorial Union
**Please Note: This is a free event, however tickets are required. Please pick up free tickets, available on Friday, Sept 26, at Memorial Union Theatre Box Office.**

Multiple Journeys: The Life and Work of Guillermo Gómez-Peña
Multimedia Lecture Performance, October 10, 8:00PM, Elvehjem Building, L160

Guillermo Gómez-Peña’s Residency with the Center for Visual Cultures is generously supported by the Department of Spanish and Portuguese, Latin American, Caribbean and Iberian Studies Program, Department of English, Department of Art History, UW-Madison Lectures Committee, Fredric March Play Circle Theatre, Memorial Union, and the Anonymous Fund. And generously co-sponsored by: Art Department, Chican@ and Latin@ Studies Program, Department of Gender and Women’s Studies, and Department of Theatre and Drama.


AfricaCartoons presents Godfrey “Gado” Mwampembwa, one of the world’s leading editorial cartoonists.

Exhibition: “Africa and China: The Political Cartoons of Gado.”
Monday, May 5 through Friday, May 30 in Memorial library.
Brownbag: “China in Africa: An African Cartoonist’s View.”
Wednesday, May 7 at 12:00 noon in Ingraham 206.
“An Afternoon with Gado,” informal conversations over refreshments and pizza.
Thursday, May 8 1:00 – 3:00 PM in Van Hise 1418.
Sponsored by the African Studies Program, the African Diaspora and Atlantic World Research Circle, the Department of African Languages and Literature, the Mellon Comics Workshop, the Department of English, and the Center for Visual Cultures.


A.W. Mellon Workshop: Art + Scholarship presents Gregg Bordowitz, filmmaker, AIDS media activist, writer, opera composer.

Screening and Discussion of work by artist Gregg Bordowitz.
Friday, April 25 at 4:00 PM in Elvehjem L150.
Lecture: “Materialist Geography and the Knight’s Move.”
Thursday, May 1 at 7:00 PM in Elvehjem L150.
Brown Bag seminar.
Friday, May 2 at 12:00 PM in Elvehjem L170.
The Gregg Brodowitz events are co-sponsored by the Art Department, Department of Art History, Department of Communication Arts, English Department, LGBT Campus Center, and the Center for Visual Cultures.


The A.W. Mellon Comics Workshop presents “Comics at UW-Madison.”

Friday, April 18 from 2:00 – 4:00 PM in the Design Lab (College Library 2252)
This program is part of the A.W. Mellon Interdisciplinary Workshops in the Humanities sponsored by the Center for the Humanities at the University of Wisconsin – Madison with support from the Andrew W. Mellon Foundation. Co-sponsored by the Center for Visual Cultures.


Henry J. Drewal, Evjue-Bascom Professor of African and African Diaspora Art History with the Department of Art History and Department of Afro-American Studies, UW – Madison.

Lecture: “Embodied Knowledge: Making Sense of Art.”
Thursday, April 17 at 6:00 PM in Elvehjem Building L140.
Presented by the Center for Visual Cultures.
Part of the Center for Visual Cultures year-long lecture series on “Global Affect, Materiality, and the Senses.”

Ronald Radano, Professor of Musicology and Ethnomusicology with the School of Music, UW – Madison

Lecture: “Fleshy Sound: Racial Embodiment and the Global Circulation of Black Music.”
Wednesday, April 16 at 5:30 PM (had to be cancelled and postponed for a later date)
Presented by the Center for Visual Cultures.
Part of the Center for Visual Cultures year-long lecture series on “Global Affect, Materiality, and the Senses.”

Mike Konopacki, syndicated political cartoonist.

Lecture: The A.W. Mellon Comics Workshop presents “Organizing comics: cartooning truth to power.”
Thursday, March 28 from 2:00 – 4:00 PM in the Design Lab (College Library 2252)
This program is part of the A.W. Mellon Interdisciplinary Workshops in the Humanities sponsored by the Center for the Humanities at the University of Wisconsin – Madison with support from the Andrew W. Mellon Foundation. Co-sponsored by the Center for Visual Cultures.


Dr. Melinda Barlow, Associate Professor of Film Studies at the University of Colorado.

Lecture: GradForum presents “Enchanted Objects: Stories Women Tell about the Things They Keep.”
Thursday, March 27 at 6:00 PM and Friday, March 28 at 5:00 PM in Elvehjem Building L140.
Presented by Art History GradForum and the Department of Art History. Co-sponsored by the Center for Visual Cultures and the LGBT Campus Center and made possible through generous funding by the Anonymous Fund and additional support from the Department of Art History.


P.A. Skantze and Matthew Fink: “Methodologies in Motion: Manifesto, Workshop & Public Performances for a Political Aesthetics of Affective Attention.”

Lecture: “Methodologies in Motion: Public Manifesto and Conversation toward a Political Aesthetics of Affective Attention
Wednesday,” March 26, Elvehjem Building, L140 at 6:00 PM.
Workshop and public performance: “All that Fell and A Workshop in Physical Radio”
2-Day Workshop from 3:00 PM to 5:00 PM on Wednesday, March 26 and Thursday, March 27 in the Center for Visual Cultures in Memorial Library room 218.
Public Performance on Friday, March 28 at 8:00 PM, Elvehjem Building, L160.
Workshop Discussion and Rehearsal and Public Performance of “afterKLEIST anORATORIO”
Workshop Rehearsal from Noon to 2:00 PM on Friday, March 28 and Saturday, March 29 at the Center for Visual Cultures in Memorial Library room 218.
Performance on Saturday, March 29 at 6:00 PM at the University Club.
Sponsored by the Center for Visual Cultures and organized by Jill Casid, Professor of Visual Studies with the Department of Art History and Coordinator of the Visual Culture Cluster. Co-sponsored by the Mellon Workshop on Art and Scholarship, in Theory and Practice, the Department of Art, and the Department of Theatre and Drama. Funding courtesy of the Anonymous Fund and the Mellon Workshop on Art and Scholarship, in Theory and Practice.
Part of the Center for Visual Cultures year-long lecture series on “Global Affect, Materiality, and the Senses.”

Professor Swati Chattopadhyay, Professor and Chair of the Department of the History of Art and Architecture at the University of California, Santa Barbara.

Lecture: “Of Small Spaces Forgotten.”
Thursday, 6 March 2014 at 5:30 PM in Elvehjem 140.
Presented by the Center for Visual Cultures. Co-sponsored by the Center for South Asia and Department of Art History. Funding courtesy of the University Lectures Committee with additional support from the Center for South Asia and the Department of Art History.
Part of the Center for Visual Cultures year-long lecture series “Global Affect, Materiality, and the Senses.”

Dr. Christiane Gruber, Associate Professor and Director of Graduate Studies in the History of Art department at the University of Michigan.

The Mellon Postdoctoral Fellows Program presents “Images of the Prophet Muhammad In and Out of Modernity: The Curious Case of a 2008 Mural in Tehran.”
Thursday, February 6 at 6:00 PM in Elvehjem 140
The event is sponsored by the Mellon Postdoctoral Fellows Program, the Department of Art History, and the Center for Visual Cultures.


Agnes Lugo-Ortiz from the University of Chicago.

Lecture: “Portraiture and Enslavement: A Transatlantic Account.”
Thursday, December 5 at 5 PM in Elvejhem Building L150.
Sponsored by the Spanish and Portuguese Studies Program; the Latin American, Caribbean and Iberian Studies Program; and The Center for Visual Cultures.


Stuart Horodner, visiting curator.

Lecture about professional practices, career strategy, and the reasons who someone wants to be an artist and how they sustain their creative curiosity over a lifetime.
Monday, November 18 at 4:30 PM in Elvehjem Building, Room L160.
This lecture is presented by the Art Department with funding from the University Lectures Committee courtesy of the Anonymous Fund. Co-sponsored by the Department of Art History, the Center for Visual Cultures, and the Chazen Museum of Art.


An afternoon symposium

“Data in the Humanities plus Art”
Friday, November 8 at 1:00-5:00 PM in the DeLuca Forum, Wisconsin Institutes for Discovery
Co-Sponsored by the New Arts Venture Challenge, the Humanities Research Bridge, the Wisconsin Institute for Discovery, the UW-Madison General Library System, the Department of Statistics, the Department of English, and the Center for Visual Cultures.


Workshop and Lecture by Visiting Scholar, Elizabeth Freeman, Professor of English at the University of California, Davis and Editor of GLQ: A Journal of Lesbian and Gay Studies.

Workshop: “Sacramental Time in Djuna Barnes,” led by Professor Elizabeth Freeman on Thursday, November 7 at 10:00 AM in The Center for Visual Cultures’ meeting room, Memorial Library, Room 218.
Lecture: “Feeling (un)timely: the anachronic and synchronic as modes of becoming,” a lecture by Professor Elizabeth Freeman on November 7 at 6 PM in Elvejhem Building L140.
Presented by the Center for Visual Cultures. Co-Sponsored by the Departments of Art History, English, and Gender and Women’s Studies. Funding courtesy of the Anonymous Fund with additional support from Art History and English.
Part of the year-long lecture series for The Center for Visual Cultures on “Global Affect, Materiality, and the Senses.”

Symposium: “Coordinated Seeing? Thinking with Vision, Hand, and Mind: a symposium exploring the intersections of brain research, vision science, and the humanities.”

Morning keynote will by Trenton Jerde, PhD, Center for Cognitive Sciences, University of Minnesota, “Functional Organization of Space and Movement in Human Frontoparietal Cortex.” The afternoon keynote by Lynda Barry, Art Department; Image Lab, Wisconsin Institutes for Discovery, UW-Madison, “Hand Jive: Drawing Fast and Slow.”
Friday, November 1 from 9:15 AM to 12:15 PM; 1:15 PM to 4:00 PM in the Chazen Auditorium of the Chazen Museum.
Presented by The Center for Visual Cultures and the McPherson Eye Research Institute. Co-sponsored by Art, Art History, & Life Sciences Communication departments.


“Where Media Practice Meets STS: A Collaborative Workshop in Visual Science & Technology Studies.”

Thursday, October 31 and Friday, November 1. in the Wisconsin Idea Room of the Education Building, 1000 Bascom Mall
Funded through the generous support of the Robert F. and Jean E. Holtz Center for Science and Technology Studies at the University of Wisconsin- Madison, the Critical Media Practice program at Harvard University, and the Andrew W. Mellon Foundation. Co-sponsored by the Center for the Humanities and the Center for Visual Cultures.


A.W. Mellon Comics Workshop Presents a Workshop with Lynda Barry.

“Drawing Words and Speaking Pictures: The Mysterious Thing We Call Comics”
October 25 1-3pm in the Media Studio (College Library 2252).
In partnership with the Center for Visual Culture and the Center for the Humanities.


Exhibition and Opening: “Our House!! Unsettling the Domestic, Queering the Spaces of Home.”

Curated by Lex Lancaster, featuring works by Anna Campbell, Jill H. Casid, Jay Ludden, Portia Danis, River Bullock, Ruthie Rolfsmeyer, and Sylvie Rosenthal.
Exhibition Opening Thursday, October 17th, 2013, 5:00 – 8:00 PM.
Open until November 8
Sponsored by the Department of Art History and co-sponsored by The Center for Visual Cultures.


Professor Shiela Reaves, Professor of UW Life Sciences Communication and affiliate faculty member of UW American Indian Studies

Lecture: “The Visual Brain: The First Two Seconds.”
Thursday, October 10 at 6pm in Elvehjem L140.
Part of the year-long lecture series for The Center for Visual Cultures on “Global Affect, Materiality, and the Senses.”

Visiting Scholar: Mary Celeste Kearney, Associate Professor of Film, Television, and Theatre at Notre Dame University

Lecture: “Sparkle, Glitter, Shine: The Postfeminist Luminosity of Contemporary Girls’ Media.” Complicating Angela McRobbie’s theory of the “postfeminist masquerade.”
Thursday, October 10th from 4 to 5:30 pm in Chazen L140.
The lecture is co-sponsored by the Departments of Communication Arts, and of Gender and Women’s Studies, by the School of Library and Information Studies, and by the Center for Visual Cultures. Funding courtesy of the Kemper K Knapp Bequest Fund.


Esther Dischereit (Berlin/Vienna), Holly Handman-Lopez (Oberlin: Dance, with UW-Madison participants), Todd Hammes and Chana Dischereit (percussion).

“Transforming Words,” a word-movement-sound performance.
Tuesday, September 24 at 6:00 PM at the DeLuca Forum, Wisconsin Institutes for Discovery (University Ave/Orchard St.)


Jill H. Casid, Professor of Visual Studies in the Department of Art History.

Lecture: “Queer Projection: Theses on ‘The Future of an Illusion.”
Thursday, September 9 in Elvehjem L140.
Part of the Center for Visual Culture’s series on “Global Affect, Materiality, and the Senses.”


Visiting Scholar Barbara Browning, Associate Professor of Performance Studies, Tisch School of the Arts, New York University

Public Lecture:“I’m Trying to Reach You: performing fiction/performing scholarship”
Thursday, November 10, 2011
4:00 pm
Room L140, Chazen Museum of Art

Co-sponsored by the Department of English and the Latin American, Caribbean and Iberian Studies Program (LACIS).

Visiting Scholar Patty Chang, performance artist and filmmaker

Lecture and Workshop with Patty Chang
Thursday and Friday, February 9-10, 2012
Elvehjem Building, Chazen Museum of Art

Sponsored by the the Anonymous Fund and Global Studies/International Institute Seminar Series.

Visiting Scholar Lowery Stokes Sims, Curator at the Museum of Arts and Design in New York

Lecture and Workshop with Lowery Stokes Sims
Thursday and Friday, March 1-2, 2012
Elvehjem Building, Chazen Museum of Art

Sponsored by the Anonymous Fund, the Global Studies/International Institutes Seminar Series, the Department of Art History, the Department of Afro-American Studies, the Art Department, the African Studies Program, and the Gender and Women’s Studies Research Center.

Visiting Scholar Dr. Alfred Sommer, Professor of Epidemiology, Ophthalmology, and International Health

Lecture and Workshop with Dr. Alfred Sommer
Monday, April 23, 2012
Biochemistry Building, 420 Henry Mall

Dr. Sommer’s visit was supported by the International Institute Seminar Series and the Anonymous Fund and is co-sponsored by the Eye Research Institute.

Visiting Scholar Nicholas Mirzoeff, Professor of Media, Culture and Communication at New York University

Lecture, Workshop, and Reception with Nicholas Mirzoeff
April 22-24, 2012

Organized by the Aesthetic Relations Mellon Workshop of the Center for Humanities. Supported by the International Institute Seminar Series and the Anonymous Fund.

Visiting Scholar Jaqueline Berndt, Professor of Art and Media Studies at Kyoto Seika University, Japan

Lecture and Workshop with Jaqueline Berndt
Friday and Saturday, April 27-28, 2012
Elvehjem Building, Chazen Museum of Art

Sponsored by the the Anonymous Fund and Global Studies/International Institute Seminar Series.

CVC Brown-Bag Presentations


Visiting Scholar Dr. Michael F. Marmor, Stanford University
Public Lecture: “The Artist’s Eyes: Vision and the History of Art”
September 28, 2010 at 5:30 pm
Health Sciences Learning Center, 750 Highland Avenue

Dr. Marmor was presented in conjunction with the 2nd Annual Eye Research Institute Vision Science & Visual Art Poster and Gallery Session

Visiting Scholar Suzanne Anker, Professor at the School of Visual Arts and a visual artist and theoretician working with genetic imagery
Public Lecture:“Laboratory of Art’s Knowledge”
December 9, 2010 at 6:00 pm
Town Center, Wisconsin Institutes for Discovery
330 North Orchard Street

Suzanne Anker was presented in conjunction with the University of Wisconsin-Madison Illuminate: Year of the Arts and the UW Arts Institute Interdisciplinary Artists-in-Residence Leslie Hill and Helen Paris.

Click here to see images from the UW Arts Institute performance and symposium event “Inside Story: Performance, Biography & Biology,” (December 4–12, 2010).

Visiting Scholar Sylvester Okwunodu Ogbechie, Associate Professor of Art History at the University of California–Santa Barbara and African arts entrepreneur.
Public Lecture: “Who Owns Africa’s Art? Museums, Knowledge Work and the Economics of Cultural Patrimony”
March 3, 2011 at 5:00 pm
Chazen Museum of Art, Room L140
800 University Avenue

Visiting Scholar Dianne Harris, Professor of Landscape Architecture, Architecture, Art History, and History and Director, Illinois Program for Research in the Humanities.
Public Lecture: “Displaying Race: Material Culture, White Identities, and the Postwar House”
March 28, 2011 at 5:30 pm
Chazen Museum of Art, Room L140
800 University Avenue

Fred Wilson, Artist and Independent Curator.
Public Lecture: “The Silent Message of the Museum”
April 5, 2011 at 6:00 pm
Chazen Museum of Art, Room L160
800 University Avenue

Additional Lectures and Events
A.W. Mellon Workshop in Visualities beyond Ocularcentrism

CVC Brown-Bag Presentations

The Center for Visual Cultures events are presented in conjunction with the University of Wisconsin-Madison Illuminate: Year of the Arts


Visualities beyond Ocularcentrism, a 2009-2010 Series of Public Conferences on Sense Perception and Experience before and in the Wake of the Digital

October 5-6, 2009: Race as Ocularcentrism
Mini-conference with Jennifer González, including a public lecture and workshop.

October 8-9, 2009: Seeing Beyond the Art-Science Divide
Mini-conference with Stephen Palmer, including a public lecture and workshop.

October 29-30, 2009: Neuroarthistory and the Nature of Visual Culture
Mini-conference with John Onians, including a public lecture and workshop.

November 16-17, 2009: The Newtonian Slave Body
Mini-conference with James Delbourgo, including a public lecture and workshop.

December 10-11, 2009: The West Indian Front Room: Domestic Material Culture in and across Migrant Diasporas
Mini-conference with Michael McMillan, including a public lecture and workshop.

February 26, 2010: Thinking Through Diagrams
Mini-conference with Michael Whitmore, John Bender, Michael Marrinan, James Elkins, Tom Conley, Dalia Judovitz, Daniel Rosenberg, and Daniel Selcer, including public lectures, workshops, and a research colloquium.

March 5-6, 2010: Material Images, the Senses, and Religious Experience in the West from Late Antiquity to the Early Modern
Mini-conference with Eric Palazzo, Bissera Pentcheva, Pamela Sheingorn, Kellie Robertson, Cynthia Hahn, Walton O. Schalick, and Thomas E.A. Dale, including public lectures, workshops, and a symposium.

April 8, 2010: See me if you can! Philosophy, Performance, and the Aesthetics of Personal Being
Mini-conference with Alva Noë, including a public lecture and workshop.

Additional Lectures and Events
A.W. Mellon and H.C. White Workshops in Visualities beyond Ocularcentrism

October 15, 2009: Public lecture by Brent Keever, Director of the Critical Studies Program at the Paris Center for Critical Studies
“The Gas Screen: Sense, Surveillance, Sublimation through Fabien Chalon’s Le Monde en marche”

March 2, 2010: Brownbag lunch presentation with Leslie Hill, performance artist and filmmaker
Bring your lunch to the Center for Visual Cultures to hear Leslie Hill discuss her work with Helen Paris as “Curious” and their plans for their upcoming Fall 2010 residency and course at UW-Madison. Coffee and tea will be provided. For more information on the UW Arts Institute Fall 2010 residency program visit Leslie Hill and Helen Paris, Interdisciplinary Artists-in-Residence.

March 11, 2010: Workshop with V.S. Ramachandran and Catherine Malabou
This workshop presented by the Wisconsin Union Directorate’s Distinguished Lecture Series and the Center for the Humanities in conjunction with the Center for Visual Cultures.

April 21, 2010: Public Lecture by Adam Kern, Associate Professor in East Asian Languages and Literature
“Refiguring ‘Haiku Pictures’ (Haiga): From Chinese Ink Painting to Japanese Erotica.”

May 3 , 2010: Brownbag discussion: What is Visual Culture / What is Visual Studies?
Please join the Center for Visual Cultures for an informal discussion about visual culture and visual studies. Coffee, tea, and light refreshments will be provided.


Parallax: Changing Perspectives in Visual Culture, a 2008-2009 Series of Public Conferences

October 13-14, 2008: Queer Theory, Visual Culture
Mini-conference with David L. Eng and Ann Pellegrini, including public lectures and workshops.

November 4-7, 2008: Photography and the Technologies of Empire and Race
Mini-conference with Shawn Michelle Smith and Marcus Wood, including public lectures, workshops, research colloquium and exhibitions.

February 12-13, 2009: Perception
Mini-conference with Barbara Maria Stafford, including public lectures, workshops, research colloquium and exhibition.

April 8-10, 2009: Worlding Visual Culture: Transnational Feminism and the Visual
Mini-conference with Amelia Jones and Ranjana Khanna, including public lectures, workshops and research colloquium.

Additional Lectures
April 7, 2009: Public lecture by Rosamond Purcell
“Metamorphic Histories”


New Directions in Visual Culture, a 2007-2008 Series of Public Conferences

October 25-27, 2007: Visual Theory: Interruption, Interference, Intervention
Mini-conference with Norman Bryson and Kaja Silverman, including public lectures, workshops and a research colloquium.

November 6-9, 2007: Islam, Religion and Visual Culture
Mini-conference with Finbarr Barry Flood, Mazyar Lotfalian, Hamid Naficy and Jessica Winegar, including a screening, public lectures, workshops and a research colloquium.

February 7-8, 2008: Visualizing Science
Mini-conference with Michael Lynch, including a public lecture, workshop, research colloquium and exhibition.

April 9-11, 2008: Interdisciplinarity and the University Art Museum
Mini-conference with Amy Lonetree and Alan Shestack.

Additional Lectures
March 11, 2008: Public lecture by Camilo Trumper, PhD Candidate, Department of History, University of California-Berkeley. “ ‘A ganar la calle’: The Politics of Public Space and Public Art in Santiago, Chile, 1970-1973.”
Presented by the Visual Culture Cluster Hire Search Committee. Co-Sponsored by Latin American, Caribbean and Iberian Studies and the Department of History.

March 25, 2008: Public lecture by Lyle Massey, Assistant Professor, Department of Art History and Communication Studies, McGill University. “‘Galen never inspected a woman’s uterus, even in his dreams…’: Gendering the Anatomical Body in the Renaissance.” Sponsored by the Visual Culture Cluster Hire Search Committee. Co-sponsored by Women’s and Gender Studies and the Department of Art History.

March 27, 2008: Public lecture by Janet Vertesi, Ph.D. Candidate, Science and Technology Studies, Cornell University.
“‘Seeing Like a Rover’: Image Processing on the Mars Exploration Rover Mission.” Sponsored by the Visual Culture Cluster Hire Search Committee. Co-sponsored by the Holtz Center for Science and Technology Studies and the Department of the History of Science.

April 1, 2008: Public lecture by Adam Kern, Associate Professor, East Asian Languages and Civilizations, Harvard University. “The Geisha’s Forbidden Comicbook: Gender, Advertising, and the Visual-Verbal Imagination in Early Modern Japan.”
Sponsored by the Visual Culture Cluster Hire Search Committee. Co-sponsored by the Center for East Asian Studies and the Department of East Asian Languages and Literature.


October 19-22, 2006: TRANS: A Visual Culture Conference

With keynote speakers Sue Golding, Nicholas Mirzoeff, Olu Oguibe, Leslie Hill and Helen Paris, a performance by Tim Miller screening with Judith Helfand of her film Blue Vinyl, and exhibitions at Ironworks, MMoCA, Design Gallery, and the 7th Floor and 734 Galleries. Pre-conference events included lectures by Ute Ritschel, Erica Rand, and Tim Miller.

This conference takes the transsubstantiating challenge of the “trans” in Transdisciplinarity, Transgender, Transethnic, Transart, and Transracial not just as its theme but also as its point of departure. How might the cultural and political processes of the “trans” in transplanting, transmitting, transculturating, and transferring mark not only hybridizing crossings but also the forging of structural transformations?

Projecting past the threshold of defining what Visual Culture Studies is, the conference invites experiments in doing that may take the forms of papers, demonstrations, exhibitions, performances, roundtable discussions, pre-circulated papers, seminars, electronic postings and physical installations that take us beyond the situation of between-ness toward the generation and practice of viable integrations of history, theory, practice, and activism.

TRANS: A Visual Culture Conference Keynote Speakers


October 19-21, 2005: Ella Shohat, Professor of Cultural Studies, Art and Public Policy and Middle Eastern Studies at New York University.

October 19: Screening of “Forget Baghdad” and discussion with Ella Shohat,”Taboo Memories: Diasporic Iraqi Voices.”
October 20: Ella Shohat Lecture, “Sacred Word, Profane Image: Theologies of Adaptation.”
October 21: Ella Shohat Workshop, “The Culture Wars in Translation.”

November 7-9, 2005: Christopher Pinney, Professor of Anthropology and Visual Culture at University College, London.

November 8: Christopher Pinney Lecture, “The Coming of Photography in India.”
November 9: Christopher Pinney Workshop, “The Social Life of Images and ‘Wavy Meaning’.”

February 1-3, 2006: Marita Sturken, Associate Professor of Culture and Communication at New York University.

February 2: Marita Sturken Lecture, “Teddy Bears, Snow Globes, and the Kitschification of America.”
February 3: Marita Sturken Workshop, “Architectures of Grief and the Aesthetics of Absence.”

February 27-29, 2006: José Esteban Muñoz, chair of the department of Performance Studies at New York University ’s Tisch School of the Arts.

February 27: José Esteban Muñoz Lecture, “The Vulnerability Artist: Latina Performativity and Affect.”
February 26: José Esteban Muñoz, Workshop, “Cruising Utopia.”

April 17-19, 2006: M. Madhava Prasad, Professor of Film and Cultural Studies in the Centre for European Studies, Central Institute of English and Foreign Languages, Hyderabad, India.

April 18: M. Madhava Prasad Lecture, “Contemporary Indian Cinema and the Figure of the Culturally Backward Spectator.”
April 19: M. Madhava Prasad Workshop, “Kings of Democracy?: Understanding Indian Cinema’s Political Agency.”

April 21, 2006: Workshop with David Hickey, free-lance writer of fiction and cultural criticism, and Schaeffer Professor of Modern Letters at the University of Nevada Las Vegas.


September 13-14, 2004: Visiting Speaker Irit Rogoff

September 13: Irit Rogoff Lecture “Of Fear, Of Contact, Of Entanglement”
September 14: Irit Rogoff Workshop “Looking Away-Participating Singularities”

October 14, 2004: Worskhop with Michael Taussig

Michael Taussig Workshop”Color and Heat”

February 11, 2005: Places of Memory: A Visual Culture Faculty Colloquium

February 11, 2005: Book Party for Jill Casid’s new book,“Sowing Empire: Landscape and Colonization”

February 23, 2005: Visual Culture Workshop with Rebecca Solnit

February 25, 2005: Visual Culture Workshop with Alexander Duttman, Professor of Philosophy and Visual Cultures, Goldsmith’s College, London, on Visconti’s “Il Lavoro”

March 30, 2005: Visual Culture Workshop with Philip Ball

April 4-6, 2005: Visiting Speaker John Greyson

April 4, 2005: Screening of “Proteus,” a film by Jack Lewis and John Greyson followed by Q&A with John Greyson
April 5, 2005: John Greyson Lecture “THE QUEEN’S SORE THROAT”
April 6, 2005: John Greyson Workshop “AGIT-PROP FOR A NEW MILLENIUM”


September 26, 2003: Meet New Visual Culture Faculty Member, Preeti Chopra

October 24, 2003: Visual Culture Faculty Research Forum
Presentations by Mary Beltran (Communication Arts), Haodong Cai (Psychology), Linda Essig (Theatre and Drama), Lisa Gralnick (Art), Hong Jiang (Geography), Caroline Levine (English), Mark Nelson (Environment, Textiles, and Design), Tejumola Olaniyan (African Languages and Literature), and Kurt Squire (Curriculum and Instruction).

February 4, 2004: Interfaces: a Visual Culture Faculty Colloquium
Featuring talks by UW Faculty Julian Lombardi, Lisa Nakamura, and Kurt Squire.

February 9-13, 2004: Visiting Scholar Judith Halberstam

February 9: Judith Halberstam Graduate Seminar Visit for Border & Transcultural Studies
February 10: Judith Halberstam Workshop
February 11: Judith Halberstam Lecture, “Ceremonies of Our Present: Photography and Subcultural Lives.”
February 13: Judith Halberstam Undergraduate Class Visit
February 13: Judith Halberstam LGBT event

March 30-31, 2004: Visiting Scholar Rey Chow

March 30: Film Screening of Tsai Ming-liang’s “The River.”
March 31: Rey Chow Workshop, “The Protestant Ethnic and the Spirit of Capitalism.”
March 31: Rey Chow Lecture, “A Pain in the Neck,” An Episode of ‘Incest,’ and other Enigmas of an Allegorical Cinema: Tsai Ming-liang’s ‘The River.'”

April 14-18, 2004: Verbal Performance and Visual Cultures
African Literature Association 30th Anniversary Conference at the Pyle Center, University of Wisconsin-Madison.

April 21, 2004: Sex: A Visual Culture Faculty Colloquium
Featuring talks by UW Faculty Jill Casid, Anne McClintock, and Michael Peterson.


November 8, 2002:, Get to Know New Visual Culture Faculty
Lunch with Jill Casid and Lisa Nakamura.

November 22, 2002: Faculty Research Forum
Terry Boyd, Ksenija Bilbija, Keith Cohen, Nietzchka Keene, Theresa Kelley, Cavalliere Ketchum, Guido Podesta, Cherene Sherrard, Ben Singer, and Lee Palmer Wandel.

February 27- March 1, 2003
Graduate Student Interdisciplinary Conference
“(In)formation: Identity, Community,Performance and Visual Cultures”

March 31, 2003: Lecture by Preeti Chopra
“Images of a Fragmented City: Colonial and Postcolonial Bombay”

April 7, 2003: Lecture by Jon McKenzie
“Look and Feel: The Visuality of Affective Networks”

April 14, 2003: Lecture by John Paul Ricco
“Name No One Man: Rauschenberg’s Erased De Kooning Drawing”


October 26, 2001: Fall Faculty Forum
Presentations on work-in-progress by David Bordwell, Sonya Clark, Henry Drewal, Jo Ellen Fair, Aristotle Georgiades & Gail Simpson, Gregg Mitman, James Moy, David Woodward.

February 28, 2002: Lecture by Lisa Cartwright
“Pictures of Waiting Children: The Visibility of Disability in Adoption Medicine”

March 4, 2002: Lecture by Jan Estep
“Transcendental Twaddle: Art and Saying Wittgenstein”

March 7, 2002: Lecture by Ellen Fernandez-Sacco
“Theatres of Self and Nation: Monticello and Peale’s Museum”

March 11, 2002: Lecture by John Paul Ricco
“The Art of the Consummate Cruise”

March 14, 2002: Lecture by Jill Casid
“Sympathetic Terror: Technologies of Projection, Techniques of Empire”

March 18, 2002: Lecture by Brian Goldfarb
“Sense Ability: Fragments on Media Pedagogy, Digital Prosthetics, and Assistive Technology”

March 21, 2002: Lecture by Lisa Nakamura
“Menu-Driven Identities: Cybertyping and the Work of Race in the Age of Digital Reproduction”

April 1, 2002: Lecture by Malcolm Turvey
“‘Anti-ocularcentrism’ and Modernism”

April 3, 2002: Lecture by Laura Kuo
“Modalities of Advertising: Transnational Feminism and Postmodern Art Activism “


December 1, 2000: First Faculty Research Forum
Presentations on work-in-progress by Noel Carroll, Laurie Beth Clark, Susan Cook, Gail L. Geiger, Kenneth George, Theresa Kelley, Shanti Kumar, James Leary, Jean Lee, Douglas Rosenberg, Ellen Sapega, Janet Silbernagel, Freida High Tesfagiorgis, and Joseph Varga.

February 2, 2001: Second Faculty Research Forum
Presentations on work-in-progress by Sally Banes, Susan D. Bernstein, Beverly Gordon, Michelle Grabner, Nietzchka Keene, Ann Smart Martin, Lynn Nyhart, Patrick Rumble, Jane Schulenberg, and R. Anderson Sutton

February 15, 2001: What is Visual Culture?
Discussion on visuality led by Noel Carroll and Laurie Beth Clark

February 26, 2001: Lecture by Nicholas Mirzoeff
“Intervisuality: Working Out Visual Culture in the Era of Global Capital”

March 5, 2001: Lecture by Erica Rand
“Breeders in a Snow Globe: Looking for Sex at Ellis Island”

March 19, 2001: Ping Chong & Pauline Oliveros
Conversation hosted by Michael Peterson

April 4, 2001: What isn’t Visual Culture?
Discussion on the “other” senses led by Sally Banes and Susan Cook.

April 12, 2001: Seminar with W.J.T. Mitchell and Freida High W. Tesfagiorgis
A discussion of Mitchell’s essays, “What is Visual Culture?” and “What do pictures really want?”

April 12, 2001: Lecture by W.J.T Mitchell
“The Work of Art in the Age of Biocybernetic Reproduction”
Mitchell is a Professor at the University of Chicago, editor of Critical Inquiry, and author/editor of ten books, including Picture Theory and The Last Dinosaur Book.

April 26, 2001: Lecture by Adrian Heathfield
“On Coolness”

May 4, 2001: Third Faculty Research Forum
Presentations on work-in-progress by Kelley Conway, Nicole Huang, Mary Layoun, Michael Peterson, Gene Phillips, Shiela Reaves, Mariama Ross, Diane Sheehan.

May 12, 2001: Visual Culture Party
A chance to socialize informally at the end of the semester.