To support the Terra Foundation Research Fellowship in American Photography at the Rijksmuseum in Amsterdam (2020-2022) to spearhead research on works in the museum’s permanent collection. Two fellows will be selected for one year each to conduct in-depth research on selected works, photographers, and/or themes based on the fellows’ individual research.
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.
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 “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 “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 “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 “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 “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 “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 “Image, Copyright, and the Public Domain in the Long Nineteenth Century”, two international symposia co-presented by the Winterthur Museum and Laboratoire de recherches sur les cultures Anglophones, a research unit of Université Paris Diderot. This program examines the changes in the methods of production and the expanded circulation of pictures, raising new questions about the ownership and use of images. Three publications will be produced in conjunction with the symposia.