To support a symposium titled, “Rethinking the Histories and Legacies of New York Dada,” which brings together scholars, curators, and artists from the United Kingdom, United States, and Europe to examine the creative and intellectual distinctiveness of New York Dada, probing new idioms and ideas to which it gave rise.
To support the research-and-development phase of a project, conducted by the International Center for the Arts of the Americas, which ultimately makes accessible key primary sources on Latinx art and artists on the web. Through the establishment of agreements with repositories, artists, and artists’ estates holding important primary source material, the International Center for the Arts of the Americas culls key documents—including published and unpublished essays, letters, programmatic statements, newspaper clippings, preparatory notes, and other unpublished sources—in order to digitize and publish them in the ICAA Documents Project site.
To support “Translating Warhol,” a two-day symposium that considers the translations of Andy Warhol’s publications and speech and aims to offer new perspectives on the reception of Warhol abroad and on the transmission of art and ideas from one culture to another. The symposium brings together scholars from Europe and the United States to examine various translations of Warhol’s work as case studies of the complexity of cultural transmission.
To support a study day titled “Scotland and North America,” organized by the Scottish Society for Art History in association with The Hunterian, University of Glasgow. The study day focuses on the topic of artistic exchange between Scotland and North America between the years of 1714 and 1946, and it consists of four sessions, focusing on the themes of transatlantic influences and networks, patronage and collecting, new research on individual artists, and art and education in Scotland and North America.
To support “Mel Bochner on Translation,” a one-day symposium exploring the career and legacy of artist Mel Bochner, paying particular attention to how his work engages with linguistic and translation theories and highlighting the relationship between Bochner’s work and the theories of Jean-Paul Sartre, Jacques Derrida, Roland Barthes, Martin Heidegger, and Walter Benjamin.
To support “Activism and Diaspora: American Art Histories,” a program that brings together scholars from the overlapping fields of diasporic art and American art for a two-day workshop. The program expands the conception of American art to include activist art. It explores activist art produced by Asian American, Latinx, African American, Asian, and Indigenous artists, and also considers the ways in which art by some Asian American artists addresses domestic and global concerns.
To support “Methodologies of Exchange: MoMA’s Twentieth-Century Italian Art Exhibition (1949),” a program that examines the Museum of Modern Art’s 1949 exhibition Twentieth-Century Italian Art and how this shaped American artists’ views of Italian modernism. To study those involved in the MoMA show and those directly affected by its consequences, the program is divided into two main sections: the first half looking at the reception of Italian art and artists in the United States, and the second half focused on American artists.
To support “Art in the Global 18th–20th Centuries at California’s Missions: Expanding ‘American’ Art to Incorporate the Legacy of Conquest,” a two-and-a-half-day program that expands the view of American art to account for the art collections at California’s missions and the effects of conquest on Indigenous makers.
To support “Anni Albers and the Modernist Textile,” a two-day conference that gathers 16 scholars from academic institutions in the United Kingdom, the United States, Chile, Mexico, and Europe to discuss the critical significance of textiles within the modernist project. Focusing on the work of the twentieth- century weaver Anni Albers, the conference examines the afterlife of a Bauhaus weaving aesthetic as it was transformed across transnational networks of dialogue and dissemination.
To support “Untimely Media/Domestic Techniques: The 60s and 70s between New York and Vienna,” a two-day symposium examining how artists working in New York and Vienna in the 1960s and 1970s turned to “untimely media”—such as textile, wallpaper, and outmoded technologies—as well as “domestic techniques,” artistic engagement with intimate spaces that investigated the domestic sphere. Speakers represent methodologies informed by other fields, from the histories of craft to cultures of display and feminist and queer theory.
To support “Once Upon a Time in America,” a program consisting of a one-day conference with art historians, curators, and academics from Europe and the United States and a one-day workshop for undergraduate and graduate students, half spent in dialogue with the conference presenters and half a lightning round of student papers. The gatherings bring together Americanist scholars from North America and Europe in conversation around transatlantic perspectives on new developments in the field of early American studies.
To support “Landscape Art of the Americas: Sites of Human Intervention across the Nineteenth Century,” a three-day program examining landscape art of the Americas produced in the long nineteenth century. Considering landscapes from across the Western Hemisphere, the program explores themes such as Indigenous sites, deforestation and ecology, ports and commerce, modern technology, and women intervening in the land.
