Mireille M. Lee, assistant professor of the history of art, has been awarded a Visiting Senior Fellowship at the Center for Advanced Study in the Visual Arts (CASVA). Founded in 1979 and housed in the National Gallery of Art’s East Building, CASVA is a research institute that fosters study of the production, use, and cultural meaning of art, artifacts, architecture, urbanism, photography, and film worldwide from prehistoric times to the present. Lee will relocate to Washington, DC, for two months this summer to pursue her research on ancient Greek mirrors.
Take a break from final exams and join us in the VRC next Monday and Tuesday, December 9-10—anytime between 7:30 am and 4 pm—for pancakes and waffles replete with fabulous toppings, fruit juices, and coffee. Our master chef, Chris Strasbaugh, will prepare fresh batches of pancakes and waffles throughout the day for all who cross the threshold of Cohen 134.
The VRC will continue to provide free coffee throughout the exam period, which ends on Saturday, December 14. Students are invited to stay and study in our space or review streaming images on our large monitor.
The Visual Resources Center recently loaded 10,000+ images from The Archivision Digital Research Library into MDID for University access. The Archivision images include Egyptian, Greek, Roman, Medieval, Renaissance, Baroque, 18th and 19th century, Islamic, Asian, and modern architecture, archaeological sites, gardens, parks, and works of public art that span multiple countries and time periods. These high-quality images have broad appeal in teaching the humanities, offering a unique mix of historic and contemporary material. Each site documentation is extensive, providing for in-depth visual research and analysis by students of architecture, landscape architecture, urban planning, archaeology, art and art history.
Among recent images enriching our collection are mosaics from Villa Romana del Casale in Piazza Armerina, Sicily; Ephesus and other monuments of the Roman Empire; Byzantine architecture in Mystras and Venice; major murals of Diego Rivera; the Yungang Grottoes near Datong; major palaces and gardens around Saint Petersburg; two sites in Cambodia: Angkor Wat and the Royal Palace of Phnom Penh, including more than 160 details of the Ramayana frescoes; Frank Gehry’s Millennium Park in Chicago and Walt Disney Concert Hall in Los Angeles; an extensive documentation of the Pergamon Altar in the Pergamon Museum, Berlin, and much more.
*Diego Rivera. The Market, detail from the Secretariat of Public Education murals, 1923-1928, Mexico City, Mexico.
In partnership with Vanderbilt University’s Office of Community, Neighborhood, and Government Relations, “Food for Thought: Visualizing America through Art by African American Artists and Norman Rockwell” is a three-part lecture series held at the Frist Center for the Visual Arts and presented by Vanderbilt professors who are exploring issues about what it means to be an American today.
In the second part of the series on Tuesday, December 2, Rebecca VanDiver, assistant professor of the history of art, and other panelists addressed The Role of Art in Pop Culture Through the Works of Norman Rockwell and 30 Americans, including the rise of marketing and advertising and their influence on American art. A video of the panel discussion is available here.
This series provides the community at large with an opportunity to build challenging intellectual connections to the current exhibitions at the Frist, 30 Americans and American Chronicles: The Art of Norman Rockwell.
*Kehinde Wiley. Equestrian Portrait of the Count Duke Olivares, 2005. Oil on canvas, 108 x 108 inches. Rubell Family Collection, Miami. © Kehinde Wiley.
As the fall semester comes to a close, the Visual Resources Center invites students, faculty, and staff to join us for a free cup of coffee—or two or three—in Cohen 134. Coffee will be available throughout the day for the next three weeks, beginning Monday, December 2. Pour yourself a cup and dash to class or stay for a while and review images streaming across the big screen at the end of our large study table or simply sit down and take some time to relax and enjoy a cup of java. The VRC is open weekdays from 7:00 a.m. to 6:00 p.m.
Acclaimed multimedia artist Sanford Biggers will talk about his work on Wednesday, November 20, at 7 pm in Wilson Hall, Room 126, on the Vanderbilt campus. This event is part of the StudioVU Lecture Series and cosponsored by the Department of Art, Bishop Joseph Johnson Black Cultural Center, and the Program in African American and Diaspora Studies at Vanderbilt University.
A Los Angeles native working in New York City, Biggers creates artworks that integrate film, video, installation, sculpture, drawing, original music and performance. He intentionally complicates such issues as hip hop, Buddhism, politics, identity and art history in order to offer new perspectives and associations for established symbols. Through a multi-disciplinary formal process and a syncretic creative approach he creates works that are as aesthetically pleasing as they are conceptual.
The significance of the artist’s work within contemporary society has been celebrated through solo exhibitions both nationally and internationally, most recently at the Brooklyn Museum, Sculpture Center and Mass MoCA. He has participated in prestigious residencies and fellowships, including the Akademie Schloss Solitude, Stuttgart, Germany; Ujazdowski Castle, Warsaw, Poland; Headlands Center for the Arts, Sausalito, California; ARCUS Project Foundation, Ibaraki, Japan; and the Art in General/ Trafo Gallery Eastern European Exchange in Budapest, Hungary.
He has been a fellow of the Creative Time Global Residency, the Socrates Sculpture Park Residency, the Lower Manhattan Cultural Council World Views AIR Program, the Eyebeam Atelier Teaching Residency, the Studio Museum AIR Program, the P.S. 1 International Studio Program, and the Skowhegan School of Painting and Sculpture residency. His installations, videos, and performances have appeared in venues worldwide, including Tate Britain and Tate Modern in London, the Whitney Museum and Studio Museum in Harlem, New York, and the Yerba Buena Center for the Arts in San Francisco, as well as institutions in China, Germany, Hungary, Japan, Poland and Russia.
Biggers is an assistant professor in Columbia University’s visual arts program and a board member of Sculpture Center, Soho House and the CUE Foundation. He has also taught at Virginia Commonwealth University’s Sculpture and Expanded Media program and was a visiting scholar at Harvard University’s VES Department in 2009.
The lecture is free and open to the public, and parking is available after 4 pm in the Wilson Hall lots and the adjacent lot on 21st Avenue. For more information on this lecture or the StudioVU Lecture Series, call the Department of Art at 615-343-7241.
Elizabeth Moodey, assistant professor of history of art, presented a paper at an Index of Christian Art conference held October 25-26 at Princeton University. The conference, entitled Manuscripta Illuminata: Approaches to Understanding Medieval & Renaissance Manuscripts, focused on illuminated manuscripts and included papers on books ranging from impressive, heavily gilded Ottonian service books to a blockbook narrative version of the Song of Songs.
Moodey’s paper, Variations on Grisaille in a newly acquired Prayerbook (Princeton MS. 223), explored an unpublished prayerbook painted in shades of gray, setting it in the context of better-known grisailles like the Miracles de Notre-Dame leaf from a manuscript made for Philip the Good, now in the Getty Museum. The prayerbook, which was acquired by Princeton this spring, was made for a woman probably in late 15th century Bruges, and includes a portrait of her and her children.
Moodey teaches the history of illuminated manuscripts, the culture of the Burgundian court, and the art of medieval Europe, with an emphasis on materials and technique and questions of patronage. Her book, Illuminated Crusader Histories for Philip the Good of Burgundy (Brepols Publishers, 2012), examines the varieties of history writing and the visual and literary projects initiated at the duke’s court before and after the fall of Constantinople in 1453.