Join us for a free performance of Fortunat Frölich’s “About Love عن الحب” conducted by Thomas Kim (Chairperson and Assistant Professor of Music, FAAH) and Fortunat Frölich (choR inteR kultuR), and sung by Rima Kcheich (Instructor of Music, FAAH). The performances will take place on April 24 + 25, at 7:30 pm, in the AUB Assembly Hall.
Join us on Wednesday, April 5 at 6:00 pm in Auditorium A, West Hall for a public lecture entitled “The Trouble with Mobility: The Complex History of the So-Called Indian Wedding Chair” by Nancy Um, Associate Professor of Islamic art at Binghamton University, which is part of the AUB Art Galleries and the Department of Fine Arts and Art History’s Jabre Lecture Series in Art History and Curating .
Join us on Thursday, March 30 at 6:00 pm in College Hall, B1 for a public lecture entitled “Decisive Constructions: Art After the Crises of the Image” by Amanda Beech, Dean of Critical Studies at CalArts, which is part of the AUB Art Galleries and the Department of Fine Arts and Art History’s Jabre Lecture Series in Art History and Curating .
Amanda Beech will be visiting AUB from March 25th-April 7th, 2017, as a URB Visiting Scholar, co-hosted by the Department of Fine Arts and Art History and the Department of Philosophy.
See the PDF flyer for more details about the Jabre lecture: Beech Poster
Also join us on Friday, March 31 at 5:00-7:00 pm in College Hall, Auditorium B1 for a public screening of Beech’s video works Final Machine, 2013 and Sanity Assassin, 2010, which will be followed by a conversation with Ray Brassier (AUB, Philosophy) and Angela Harutyunyan (AUB, FAAH). Visit the following for more information about this event: https://www.facebook.com/events/680007578872779/
Hala Auji, FAAH assistant professor of Islamic art & a faculty fellow at AUB’s Center for the Arts and Humanities (CAH), is organizing a two-day workshop on the Ottoman periodical, “Art of the Arabic Periodical: Exploring Questions of Materiality, Readership & Language in 19th Century Ottoman Journals.” The workshop sessions will be held at AUB in Building 37 (CAH) from Nov 28-29.
Join us for (last) conference of Spring 2016, in which Angela Harutyunyan, Associate Professor of Art History, is serving as a panel organizer and discussant (with Sami Khatib), and Octavian Esanu, Assistant Professor of Art History, is presenting a paper:
DO NOT RESUSCITATE: CRITIQUE AND THE UNTRANSLATABILITY OF HISTORY
FAAH-related panel + presentations on Thursday, May 12
17:00 | Panel 1 (Angela Harutyunyan and Sami Khatib): The “Tradition of the Oppressed” and Its Discontents
Discussants: Nadia Bou Ali (AUB), Angela Harutyunyan(AUB), Sami Khatib (AUB)
Panel papers: 1 |Massimiliano Tomba(Padua University): The Task of the Historical Materialist 2 |Jamila Mascat (University of Paris 1 Sorbonne): In Praise of Anachronism. Untimeliness, Contingency and Strategy 3 | Octavian Esanu (AUB): Neoliberal Aesthetics: Governability, Anesthesia and Contemporary Art
Abstract: Following Walter Benjamin’s concept of history, the past is never simply gone; it can never be historicized unless it is fully actualized, recalled – cited in a revolutionary way. However, the undead specters of an unhistoricizable past can only be passed on from below – transmitted through the “tradition of the oppressed,” a discontinuous tradition bound to a partisan experience of untold sufferings. It is only this anachronic, de-subjectified experience that can connect the present with lost struggles of the past. The tradition of the oppressed is both radically singular and universal, counter-temporal (messianic, revolutionary) and counter-spatial (spectral, u-topian). Drawing on Benjamin, the panel raises the question of an “aesthetics of the oppressed” beyond bourgeois (high culture) forms of representation. What happened when the oppressed, at least for a moment or over a limited period of time, overtook the means of production within the domain of bourgeois high culture? Is there an undead inheritance of these past defeated attempts that could inspire a materialist conception of aesthetics today?
“Books in Motion: Exploring Concepts of Mobility in Cross-Cultural Studies of the Book”is a three day conference that explores new perspectives in the study of the book. The conference considers the varied inter-disciplinary approaches to studies of mobility in relation to books, specifically the ways in which these objects traverse spatial, temporal, cultural, and material boundaries. The conference brings together international and regional scholars from the interconnected fields of book history, art history, literary studies, digital humanities, and cultural studies whose research explores the material dimensions, circulation, and collection of books in Middle Eastern/Islamic, African, and Asian contexts. THE CONFERENCE INCLUDES:
LYDIA H. LIU (Columbia University), May 6, 5:30 pm, College Hall B1, AUB
FIVE PANELS devoted to knowledge production, travel and exchange, material transformations, aesthetics and politics, and digital remediation.
ROUNDTABLE on contemporary art and book culture.
POSTER PRESENTATION by students from AUB’s English literature program.
BOOK EXHIBITION held at AUB’s Jafet library, curated by Hala Auji (FAAH, AUB) and Sonja Mejcher-Atassi (English, AUB), which features manuscripts, printed books, digital projects, and examples of book art related to the conference themes.
It is supported by AUB’s Center for Arab and Middle Eastern Studies (CAMES), the Center for Arts and Humanities (CAH), and the Archives and Special Collections Department (ASC), University Libraries, and produced in collaboration with the Orient-Institut Beirut (OIB), Max Weber Foundation.Funding was generously provided by AUB’s Faculty of Arts and Sciences’ Office of the Dean, CAMES, & CAH, as well as the OIB.
Ottoman Print Culture and the Rise of the Image: Everyday Life and the Historical Past in Ottoman Illustrated Journals
Thurs., April 21, 2016 | 6:00 pm | College Hall, B1 | AUB
This lecture is part of a broader project that investigates photography in the Ottoman Empire with particular focus on the illustrated journals of the Abdülhamid era (1876-1909). The aim is to distinguish the status of photography in the Ottoman domain with reference to a broader and variegated environment of medial production, dissemination and reception. Rather than approaching the Ottoman photographic material as discrete objects of pure aesthetic and connoisseurial interest, or taking them as confirmatory evidence of all-pervading ideologies, the study follows and historicizes the traces of these images in the context of infinite, quotidian reproducibility, as they were produced, redeployed, collated with texts, and disseminated in the pages of the illustrated journals. It proposes to see these images as the product of changing medial practices and protocols that extended from the Hamidian archive and gift albums, to newspaper causerie, snapshots, postcards, illustrated textbooks and dime novels. The mechanically reproduced images in question demanded new systems of value and new rhetorical strategies in the course of their deployment, and, as they were spilled out in the Ottoman terrain, they signaled the rise of a changing experience of reading texts and images.
Ahmet Ersoy is Associate Professor at the History Department at Boğaziçi University, Istanbul. His research involves the cultural history of the Late Ottoman Empire with a special focus on visuality and its links with rising discourses of locality and authenticity during a period of westernizing change. He is the author of Architecture and the Late Ottoman Historical Imaginary: Reconfiguring the Architectural Past in a Modernizing Empire (2015), and the co-editor, with Vangelis Kechriotis and Maciej Gorny, of Discourses of Collective Identity in Central and Southeastern Europe (1775-1945), vol. III (2010). His publications include “Ottoman Gothic: Evocations of the Medieval Past in Late Ottoman Architecture,” in Patrick J. Geary and Gábor Klaniczay (eds) Manufacturing Middle Ages: Entangled History of Medievalism in Nineteenth-Century Europe (2013), and “Architecture and the Search for Ottoman Origins in the Tanzimat Period,” in Muqarnas 24 (2007).
Event co-organized by CAMES and the Department of Fine Arts and Art History (FAAH), AUB.
Please contact Hala Auji, firstname.lastname@example.org for more information.
Dr. Venetia Porter, curator of Islamic and contemporary Middle Eastern art at the British Museum, will be delivering a public lecture entitled:
Disasters of War: The Inspiration of Goya
Thurs. April 14 | 5:00-6:30 pm | College Hall, Auditorium B1 | American University of Beirut
Artists of different worlds, Farideh Lashai from Iran, and the Chapman brothers from Britain found inspiration in Francisco Goya’s Los Desastres de la Guerra made between 1810 and 1820 depicting the atrocities of the long war between France and Spain. They engaged directly with Goya’s etchings creating new meanings. This lecture will discuss these two works, why Goya’s Disasters has proved so inspirational across time, and the multi-facetted ways in which war and its effects continue to be depicted by Lebanese and other artists of the Middle East.
Venetia Porter has been a curator at the British Museum since 1989, and works on the collections of Islamic and contemporary Middle Eastern art. Born in Beirut, she studied Arabic and Islamic art at the University of Oxford, and her Ph.D from the University of Durham, was on the history and architecture of medieval Yemen. Her research and publications have ranged across a variety of subjects from Arabic inscriptions to Middle Eastern art. She has curated two major exhibitions at the British Museum: Word into Art: Artists of the Modern Middle East, in 2006, which travelled to Dubai in 2008, and Hajj: journey to the heart of Islam (2012).
This talk is hosted by the AUB Art Galleries and co-organized by the Department of Fine Arts and Art History as part of the Jabre Lecture Series on Art History and Curating. The Jabre Lecture Series is made possible by a generous donation of Philippe Jabre. The series aims to present talks by distinguished professionals, local and international, to promote discussion and consideration of the intersections between art history and curating.
For more information about this lecture, please email Hala Auji at email@example.com
“Esteemed Ornament: An Overlooked Roman Aesthetic Concept and the Ara Pacis Augustae”
Thursday, Feb.25, 12:00-1:30 PM, Building 37 (Center for the Arts and Humanities, AUB)
This talk identifies an overlooked classical conceptual paradigm, used to theorize visual culture in Ancient Rome. It contends that, alongside the Greek-derived ideal of the ‘great artist’, there existed a contemporaneous Roman paradigm that stood in tension with this, and conceptualized visual works, not in terms of their internal dynamics, wrought through an artist’s skill, but rather in relation to their external impact upon the environment in which they were exhibited and the patron who facilitated this. This value was expressed through the language of ‘ornament’. This talk analyses the identification of this concept with both figural and non-figural images, as well as with media ranging from civic architecture to painting, and from sculpture to gardens. Focusing in upon the Ara Pacis Augustae as a chief case in point, it demonstrates how reading this iconic monument with a respect for the ancient value of ornament produces fresh readings and new insights upon the Roman culture of commissioning, producing, and viewing visual aesthetic works.
Nicola Barham is Research Associate in the Department of Ancient and Byzantine Art at the Art Institute of Chicago. She previously held the Andrew W. Mellon Chicago Object Study Initiative Research Fellowship at the Art Institute in 2014-15, and was Chester Dale Fellow at the Center for Advanced Studies in the Visual Arts at the National Gallery in Washington DC from 2013-14. Dr Barham received her PhD from the Department of Art History at the University of Chicago. Her work considers models of aesthetic value that are native to the ancient Greek and Roman worlds, and interrogates their implications for our histories of classical art.