VMPEA: Zhenru Zhou

A Visual Study of the Front Panel of a Tang Dynasty Buddhist Shrine

Zhenru Zhou, Ph.D. Student, Art History

VMPEA: Boqun Zhou

The Mechanical Heart: Analogies of the Lever and Leverage in Early China

Boqun Zhou, Ph.D. Candidate, EALC

VMPEA: ITO Miro

Art as Media is a Message for Universality: Road of Light and Hope: The Eurasian Trail of Wisdom (Σοφια) — between East and West

ITO Miro, Independent artist, author, and producer

VMPEA: GU Zheng

Between Journalism and Propaganda: The Assassination of Song Jiaoren in Minglibao

GU Zheng  顾铮, Professor and Vice-Director of the Research Center for Visual Culture, School of Journalism, Fudan University
Visiting Scholar, Harvard-Yenching Institute

*Note: This talk will be delivered in Chinese

本文尝试检视作为民国初年革命党人主要喉舌的《民立报》对于武昌起义以及之后的重大新闻事件暗杀宋教仁案的视觉处理,探讨他们如何认识照片、尤其是肖像照片在新闻报导与政治宣传中的作用与使用方式。报人与革命党人的身份的重合,使得他们对于照片的使用达到了某种空前的水准,也令新闻与宣传的边界受到挑战,这在“刺宋案”中体现得尤为明显。

VMPEA: Adrian Favell

After the Tsunami: Japanese Contemporary Art since 2011

Adrian Favell, Sainsbury Institute for the Study of Japanese Arts and Cultures, University of Leeds

RAVE: Zsofi Valyi-Nagy

Zsofi Valyi-Nagy, PhD student, Department of Art History

Qualifying Paper, Title TBD

Respondent: Solveig Nelson, PhD candidate, Department of Art History

RAVE: Laura Steward

Laura Steward, Curator of Public Art and Director of the Open Practice Committee, Smart Museum of Art and the Department of Visual Arts

“Complexity for Art Historians: Ann Hamilton Case Study”

Respondent: Jason Salavon, Associate Professor, Department of Visual Arts

RAVE: Brandon Sward

Brandon Sward, PhD student, Department of Sociology

“Identity Specificity’ and the Art of the AIDS Crisis”

Respondent: Maggie Borowitz, PhD Student, Department of Art History

Yves Porter: Cultural Distortions in the Study of Iranian Art

Yves Porter, Aix-Marseille Université

Jeremy Melius: Idolatrous Ruskin

Jeremy Melius, Tufts University, will give a lecture that revisits the relationship between the Victorian critic John Ruskin and his disciple and translator Marcel Proust in order to rethink key aspects of Ruskin’s investment in the durational intensity of works of art.