Programs

During the academic year, the Center organizes scholarly programs that range in size and duration from multiday gatherings to small roundtable discussions. Some are aimed to enhance the Center’s residential community, such as fellows’ presentations, while others enhance the National Gallery’s public programming, such as lectures and symposia. All programs support innovative research in the fields of the visual arts.

The Center supports lectures, symposia, and discussions that are free and open to the public. These programs often are in collaboration with departments across the National Gallery of Art, or with partnering institutions.

Afro-Atlantic Histories/Afro-Atlantic Futures

June 2, 2022
West Building Lecture Hall and live streamed
In conjunction with the exhibition Afro-Atlantic Histories

Co-organized with the Department of Performance Studies, New York University, with support from the Ford Foundation

As a complement to the study day, curatorial teams from the Museu de Arte de São Paulo and National Gallery of Art participated in a panel discussion about Afro-Atlantic Histories. The program was held in both English and Portuguese.

Panelists
Kanitra Fletcher, associate curator of African American and Afro-Diasporic art, National Gallery of Art, and cocurator of Afro-Atlantic Histories US tour
Ayrson Heráclito, cocurator of Afro-Atlantic Histories, Museu de Arte de São Paulo
Hélio Menezes, cocurator of Afro-Atlantic Histories, Museu de Arte de São Paulo
E. Carmen Ramos, chief curatorial and conservation officer, National Gallery of Art

Moderated by Molly Donovan, curator of contemporary art, National Gallery of Art, and cocurator of Afro-Atlantic Histories US tour

Double Vision: Identity and Difference in Modern and Contemporary Art

October 22, 2022
East Building Auditorium
In conjunction with the exhibition The Double: Identity and Difference in Art since 1900

Presentations and conversations explored the exhibition’s themes of doubling in visual practice.

Session I: The Divided and Doubled Self
Smooth Nzewi, The Museum of Modern Art
“Relational vs. Relativity: Twoness in Yoruba Culture and Representation”

James Oles, Wellesley College
“Double Frida, Double Diego”

Lynne Tillman, University at Albany
“Nothing Is the Same”

Discussion moderated by Pamela Lee, Yale University

Performance of Josiah McElheny’s Two Walking Mirrors
Performed by Deviated Theatre
East Building, Concourse

Session II: The Abstract Double
Josiah McElheny, New York, NY
“Choreographing Two Walking Mirrors”

Yve-Alain Bois, Institute for Advanced Study, Princeton
“Barnett Newman’s Promise”

David Getsy, University of Virginia
“Intimate Adjacencies and the Double in Queer Abstraction”

Discussion moderated by Christine Mehring, University of Chicago

Sydney J. Freedberg Lecture on Italian Art

Michelangelo, Raphael, and the Genius Paradox
November 6, 2022
Cammy Brothers, Northeastern University
East Building Auditorium and live streamed

In many respects, Renaissance artists such as Michelangelo and Raphael crafted the image of the creative genius that we still hold today. But if we allow ourselves to look more closely at the artistic practices of these central figures, we find a number of apparent contradictions. Rather than fonts of continuously new and original ideas, springing freely from their heads as we might have been led to imagine, we find that both artists borrowed or stole a great deal from each other, repeated themselves prodigiously, and collaborated widely. Taking examples from painting, architecture, and drawing, the lecture suggests how the works of Michelangelo and Raphael suggest a distinct model for aesthetic invention and exploration.

Celebrating Conservation: A Series of Conversations on Its Past, Present, and Future

November 14–December 5, 2022
Virtual
Cohosted with the Division of Conservation, National Gallery of Art

The National Gallery’s conservation division and the Center cohosted a series of virtual moderated discussions on the depth and breadth of art conservation, its history and myriad collaborations, and its role in preserving tangible and intangible heritage. The program consisted of four sessions that reflect on the state of the field and identify innovative paths forward.

Each session featured three distinguished speakers engaged in an hour-long, live discussion moderated by conservation division staff. Prerecorded talks from all speakers as well as recordings of the live discussions were available for streaming until February 28, 2023.

November 14: “Preserving Our Past: Conservation in America”
Debra Hess Norris, University of Delaware and Winterthur/UD Program in Art Conservation
Soon Kai Poh, The Museum of Modern Art
Matthew Hayes, Conservation Center, Institute of Fine Arts, New York University, and the Pietro Edwards Society for Art Conservation

Moderated by Michelle Facini, senior paper conservator, paper conservation, National Gallery of Art

November 21: “Conserving Collections Now for Future Generations”
Anne-Imelda Radice, Institute of Museum and Library Services and National Endowment for the Humanities
Jane E. Klinger, United States Holocaust Museum
Jennifer Jae Gutierrez, Image Permanence Institute, Rochester Institute of Technology

Moderated by Sarah S. Wagner, senior conservator and department head, photograph conservation, National Gallery of Art

November 28: “Evolving Innovation in 21st-Century Conservation”
Héctor Berdecia-Hernández, Centro de Conservación y Restauración de Puerto Rico
Lora Angelova, The National Archives, UK
Pip Laurenson, University College London

Moderated by Barbara H. Berrie, senior conservation scientist and department head, scientific research, National Gallery of Art

December 5: “What Our Future Holds: Preservation for All”
Pamela Hatchfield, Museum of Fine Arts, Boston (emerita), and Held in Trust
Sanchita Balachandran, Johns Hopkins Archaeological Museum and Johns Hopkins University
Isabel Rivera-Collazo, University of California, San Diego

Moderated by Sue Ann Chui, painting conservator, painting conservation, National Gallery of Art

Wyeth Foundation for American Art Symposium

Staking Claim: Latinx Art and US American Experiences
January 20, 2023
East Building Auditorium and live streamed

Organized in close collaboration with E. Carmen Ramos, chief curatorial and conservation officer, National Gallery of Art, and Adriana Zavala, Andrew W. Mellon Professor and associate professor of History of Art and Architecture and Studies in Race, Colonialism, and Diaspora, Tufts University

Latinx Art and Empire
Introductions by Steven Nelson, Center for Advanced Study in the Visual Arts, and E. Carmen Ramos, National Gallery of Art

Terezita Romo
Adjunct Faculty, Chicana/Chicano Studies, University of California, Davis
“Xavier Martinez and Hernando Villa: Envisioning a Mexican-American Art in California”

Taína Caragol
Curator of Painting and Sculpture and Latino Art and History, National Portrait Gallery, Smithsonian
“Echoes of 1898 in the Works of Latinx Artists”

Kency Cornejo
Associate Professor, Contemporary Latin American and Latinx Art, University of New Mexico
“Central America at Self Help Graphics: Camaraderie and Latinx Art in the Face of Empire”

Presentations followed by a discussion moderated by E. Carmen Ramos, chief curatorial and conservation officer, National Gallery of Art

Intersections and Collaborations
Yasmin Ramirez
Independent Curator
“Mapping the Harlem Renaissance West to East”

Susanna V. Temkin
Curator, El Museo del Barrio
“The Origins, Legacies, and Emancipatory Potential of Amalia Mesa-Bains’s Domesticana”

Robb Hernández
Associate Professor, Fordham University
“Unfinished: The Queer Necropolitics of Homombre LA”

Presentations followed by a discussion moderated by Deborah Cullen-Morales, program officer, Mellon Foundation

Art of Necessity: Juan Sánchez in Dialogue with Adriana Zavala
Juan Sánchez
Visual Artist and Professor, Studio Art, Hunter College, CUNY

Adriana Zavala
Andrew W. Mellon Professor, Center for Advanced Study in the Visual Arts; Associate Professor, History of Art and Architecture and Studies in Race, Colonialism, and Diaspora, Tufts University

The conversation began with a streaming of UNKNOWN BORICUA STREAMING: A Nuyorican State of Mind (2011).

Middle Atlantic Symposium in the History of Art

53rd Annual Sessions
March 3–4, 2023

Cosponsored with the Department of Art History and Archaeology, University of Maryland
University of Maryland / West Building Lecture Hall and live streamed

Since 1971 the Center has partnered with the Department of Art History and Archaeology at the University of Maryland to present this annual symposium that brings together museum and academic communities and provides a platform for the latest research from graduate students in our region.

Friday, March 3
Evening Session
Paul Chaat Smith, Smithsonian National Museum of the American Indian
George Levitine Lecture in Art History
“Weaponizing Nostalgia: Notes on the Absence and Presence of Indians in American Life”

Saturday, March 4
Morning Session
Introduction and session moderated by Steven Nelson, Center for Advanced Study in the Visual Arts

Annie Maloney, Emory University
“Saving Roman Painting: The Antiquarian Reproductions of Pietro Santi Bartoli (1635–1700)”
Introducer: Sarah McPhee

Jordan Hillman, University of Delaware
“Jules-Alexandre Grün: ‘An Enemy of the Authorities’?”
Introducer: Margaret Werth

Maria Puzyreva, University of Pennsylvania
“Hidden in the Landscape: Imperial Propaganda in Tokuriki Tomikichirō’s Wartime Prints”
Introducer: Julie Nelson Davis

Marco Polo Juarez Cruz, University of Maryland
“Entering Muralist Abstraction: Reimaging the Mexican Pavilion at the Osaka World’s Fair (1970)”
Introducer: Abigail McEwen

Afternoon Session
Session moderated by Emily Catherine Egan, University of Maryland

Kyle Marini, Penn State University
“Two-Ply Art History: Parsing Threads of Iconographic Continuity and Rupture in Colonial Inca Embroidery”
Introducer: Amara Solari

Kate Sunderlin, Virginia Commonwealth University
“Medium and Myth in a Southern City: Plaster in the Studio of Edward Virginius Valentine and the Valentine Museum”
Introducer: Tobias Wofford

Kathryn Carney, University of Pittsburgh
“Modernizing the Body at German Hygiene Exhibitions, 1911–1930”
Introducer: Barbara McCloskey

Jessica Orzulak, Duke University
“Transcendent Futurisms: The Photography of Cara Romero”
Introducer: Peter M. Lukehart

The Work in the World: Thinking through Called to Create

March 10, 2023
East Building Auditorium and live streamed
In conjunction with the exhibition Called to Create: Black Artists of the American South

Organized in close collaboration with Harry Cooper, senior curator and head of the department of modern and contemporary art, National Gallery of Art, and Kanitra Fletcher, associate curator of African American and Afro-Diasporic art, National Gallery of Art

Book Reading
Lisa Gail Collins read an excerpt from her forthcoming book Stitching Love and Loss: A Gee’s Bend Quilt.

Artist Conversation
Steven Nelson, dean, Center for Advanced Study in the Visual Arts, moderated a conversation among artists Sanford Biggers, vanessa german, Tau Lewis, Christopher Myers, and Renée Stout.

Musical performance
Artist Lonnie Holley performed songs from his new album Oh Me Oh My.

The Forest with Alexander Nemerov and Philip Kennicott

March 31, 2023
West Building Lecture Hall and live streamed

Alexander Nemerov, Stanford University, and Philip Kennicott, The Washington Post, discussed Nemerov’s newest book The Forest: A Fable of America in the 1830s. A book signing followed the discussion. Nemerov’s 2017 Mellon Lectures formed the basis for The Forest.

James A. Porter Colloquium on African American Art and Art of the African Diaspora

Shaping Space: African American Artists in Public Art and Private Collections
April 14, 2023
Cosponsored with Howard University
East Building Auditorium

Opening Remarks
Steven Nelson, dean, Center for Advanced Study in the Visual Arts; Phylicia Rashad, dean, Chadwick A. Boseman College of Fine Arts, Howard University; and Raimi Gbadamosi, chair, Department of Art, Chadwick A. Boseman College of Fine Arts, Howard University

Program moderated by Melanee C. Harvey, associate professor of art history and chair of the James A. Porter Colloquium, Howard University

Opening Lecture
“Unknown, Unknown: A Provisional Architecture of Black Commemoration”
Mabel O. Wilson, Nancy and George Rupp Professor of Architecture, Planning and Preservation and professor in African American and African Diaspora Studies, Columbia University

Introducer: Dana Goodridge, Howard University undergraduate intern, 2022–2024

Building the Change We Seek: Art and Architecture
Panel introduced and moderated by Sandy Bellamy, lecturer, Howard University

Keith Anderson, interim deputy mayor for planning and economic development, Government of the District of Columbia
Curtis Clay, director of architecture, Bureau of Overseas Buildings Operations, US Department of State
Jay Coleman, artist
Curry Hackett, lecturer, School of Architecture, University of Tennessee
Ronnie McGhee, College of Fellows, American Institute of Architects; lecturer, Department of Architecture, Howard University

UZIKEE: Washington DC’s Ancestral Sculptor
A partial screening of the documentary directed and produced by Doug Harris, 2021

Uzikee Nelson, artist and Porter Colloquium lifetime achievement award recipient

Introducer: Munyang Tengen, Howard University undergraduate intern, 2022–2024

Shaping Space: A Conversation with Keith Morrison
Keith Morrison, artist and Porter Colloquium lifetime achievement award recipient, in conversation with Camille Brown, assistant curator, The Phillips Collection

Introducer: Sacha Reid, Howard University undergraduate intern, 2022–2024

Keynote Artist Program
Melvin Edwards, artist and lifetime achievement award recipient, in conversation with Tobias Wofford, associate professor of art history, Virginia Commonwealth University

Introducers: Taylor Whitman, Howard University, and Salihah Aakil Bey, Howard University

James A. Porter Distinguished Lecture
“Public Art as Community Praxis”
Renée Ater, provost visiting associate professor, Africana Studies, Brown University

Floyd Coleman Distinguished Artist Conversation
Martha Jackson Jarvis, artist and Porter Colloquium lifetime achievement award recipient, in conversation with Njena Jarvis, artist

Conversation moderated by Lauren Glover, public art manager, DC Commission on the Arts and Humanities

Introducers: Yakeh Rider, Howard University, and Marissa Turley, Howard University

The 72nd A. W. Mellon Lectures in the Fine Arts

Vital Signs: The Visual Cultures of Maya Writing
April 16–May 21, 2023
Stephen D. Houston, Brown University
East Building Auditorium and live streamed

Maya writing of ancient Mexico and Central America represents a system of script and picture that never quite split apart yet never quite fused. In clouding such boundaries, text and image confound the idea of representation, and thus question distinctions between written records, depiction, and life itself. Recent decipherments of the script bring unexpected views to the surface, allowing worlds long silent to disclose their secrets.

The lectures were held over six consecutive Sundays in the East Building Auditorium and streamed on YouTube Live. 

The Center organizes small gatherings throughout the year, ranging from study days to thematic seminars.

Afro-Atlantic Histories/Afro-Atlantic Futures

June 1–2, 2022
Study day in conjunction with the exhibition Afro-Atlantic Histories

Co-organized with the Department of Performance Studies, New York University, with support from the Ford Foundation

Participants
Andrea Alvarez, Albright-Knox Art Gallery
Omar Berrada, The Cooper Union
Vivian Crockett, New Museum
Molly Donovan, National Gallery of Art
Keyna Eleison, Escola de Artes Visuais do Parque Lage, Rio de Janeiro
Kanitra Fletcher, National Gallery of Art
Malik Gaines, New York University
Naiomy Guerrero, City University of New York
Saidiya Hartman, Columbia University
Ayrson Heráclito, artist and curator
Jaime Lauriano, artist
Thomas Lax, The Museum of Modern Art
Andre Lepecki, New York University
Diane Lima, curator, writer, and researcher
Fabiana Lopes, New York University
Marcia Loureiro, translator
Erica Malunguinho, Brazilian State Legislature and activist
Michelle Mattiuzzi, performer, artist, writer, and researcher
Hélio Menezes, Universidade de São Paulo
Aline Motta, artist
Paulo Nazareth, Universidade Federal de Minas Gerais
Steven Nelson, Center for Advanced Study in the Visual Arts
E. Carmen Ramos, National Gallery of Art
Will Rawls, artist and choreographer
Rafael RG, artist
Xuxa Rodriguez, Crystal Bridges Museum of American Art
Cameron Rowland, artist
Thiago de Paula Souza, curator and researcher
Rosana Paulino, artist, educator, and curator
Joceval Santos, researcher
Sandra Silva, international relations and policy expert
Denise da Silva, University of British Columbia
Igor Simões, Universidade Estadual do Rio Grande do Sul
Mirna Soares, translator
Renée Stout, artist
Claudia Zapata, The University of Texas at Austin

Predoctoral Seminar

Intercultural Art and Theory
May 31–June 3, 2022
Organized by Nisa Ari, Beinecke Postdoctoral Fellow, 2021–2023

Each year, the Center postdoctoral fellow in their first year of residence designs and directs an intensive weeklong seminar for the predoctoral fellows in residence, including readings, discussions, and visits to local institutions.

Participants
Luke A. Fidler, Paul Mellon Fellow, 2019–2022
Christine Garnier, Wyeth Fellow, 2020–2022
Isabella Lores-Chavez, Samuel H. Kress Fellow, 2020–2022
Mohit Manohar, Andrew W. Mellon Fellow, 2020–2022
Rachel Catherine Patt, David E. Finley Fellow, 2019–2022
Catherine H. Popovici, Ittleson Fellow, 2020–2022
Erhan Tamur, Twenty-Four-Month Chester Dale Fellow, 2020–2022 

Sydney J. Freedberg Dialogue on Italian Ar

Raphael Redux
November 7, 2022
Cammy Brothers, Northeastern University
National Gallery of Art

A discussion of the 2023 Sydney J. Freedberg Lecture on Italian Art, “Michelangelo, Raphael, and the Genius Paradox”

Art Academies: Europe and the Americas, c. 1600–1900

November 17–18, 2022
Organized by Peter M. Lukehart, Center for Advanced Study in the Visual Arts, and Ulrich Pfisterer, Zentralinstitut für Kunstgeschichte, with Oscar E. Vázquez, University of Illinois Urbana-Champaign

These seminars brought together specialists of the academies and schools of art of the 17th through 19th centuries in both Europe and the Americas. In recent decades, art-historical scholarship on artists’ training has focused on the intersectionality, global entanglements, sociocultural significance, and political contexts of the production, distribution, reception, display, and performance of objects, images, and their histories. Yet, research that takes a comparative analysis of the definitions, functions, and differing contexts of institutions of arts training has been almost completely absent.

The Art Academies seminars aimed to make a significant contribution in this direction. Examining academies of art and arts organizations in Europe and the Americas, the program sought to evaluate the ideological and material differences among and within academies. It did so in order to highlight the specific academic dissonances that counter the chorus of publications that either drown out the individual contributions of local institutions or, contrarily, remain silent about the possibility of other—often outside—models. The differences afford us a more nuanced and complex understanding concerning academies that were in fact adapted and shaped as much by local concerns and needs as by international trends across time and oceans.

Keynote Lecture
“Locating the Body of Work: The Place of Pedagogy in Academies of Art”
Oscar E. Vázquez, University of Illinois Urbana-Champaign
East Building Seminar Room and live streamed

Participants
Buket Altinoba, Institut für Kunstgeschichte, Ludwig-Maximilians-Universität München
María Isabel Baldasarre, Ministerio de Cultura de la Nación, Argentina
Émilie Beck Saiello, Centre Norbert Elias
Pablo Berríos González, Santiago, Chile
David Brigham, Historical Society of Pennsylvania
Carolina Brook, Rome
Paul Duro, University of Rochester
Ray Hernández-Durán, University of New Mexico
Jongwoo Jeremy Kim, Carnegie Mellon University
Peter M. Lukehart, Center for Advanced Study in the Visual Arts
Esperanza Navarrete Martínez, Real Academia de Bellas Artes de San Fernando
César Peña, Universidad de los Andes
Trinidad Pérez Arias, Universidad Andina Simón Bolívar
Ulrich Pfisterer, Zentralinstitut für Kunstgeschichte
Christiane Salge, Technische Universität Darmstadt
Vita Segreto, Accademia di Belle Arti di Roma
Ursula Ströbele, Zentralinstitut für Kunstgeschichte
Oscar E. Vázquez, University of Illinois Urbana-Champaign
Daryle Williams, University of California, Riverside

Curating Global Medieval Art: Questioning Paradigms and Perspectives

February 24, 2023
West Building Lecture Hall
In conjunction with the 98th Annual Meeting of the Medieval Academy of America

This roundtable on curating global medieval art brought together curators representing Washington, DC–area collections. Panelists were asked to address what “medieval,” “internationalisms,” and “global” mean to them.  They also spoke about the structural and institutional barriers toward accomplishing an “international” or “global” approach in their curatorial, scholarly, and public-facing work, and considered possible solutions. How might institutions foster collaboration between curatorial departments and empower curators to collaborate with other institutions to present a more “global” view of the medieval period?

Panelists
Ellen Hoobler, The Walters Art Museum
Emma Natalya Stein, National Museum of Asian Art, Smithsonian
Kevin Tervala, Baltimore Museum of Art
Elizabeth Dospěl Williams, Dumbarton Oaks

Moderated by Steven Nelson, Center for Advanced Study in the Visual Arts

The Work in the World: Thinking through Called to Create

March 10, 2023
Study day in conjunction with the exhibition Called to Create: Black Artists of the American South

Organized in close collaboration with Harry Cooper, senior curator and head of the department of modern and contemporary art, National Gallery of Art; Kanitra Fletcher, associate curator of African American and Afro-Diasporic art, National Gallery of Art; and Jennifer Riddell, interpretation manager, National Gallery of Art

Participants
Maxwell Anderson, Souls Grown Deep Foundation
Daphne Barbour, National Gallery of Art
John Beardsley, Washington, DC
Jessica Bell Brown, Baltimore Museum of Art
Julia Burke, National Gallery of Art
Lisa Gail Collins, Vassar College
Lynne Cooke, National Gallery of Art
Harry Cooper, National Gallery of Art
Kanitra Fletcher, National Gallery of Art
Connor Hamm, Smithsonian American Art Museum
Bernard L. Herman, University of North Carolina at Chapel Hill
Amy Hughes, National Gallery of Art
Demo Jeffrey, National Gallery of Art
Leslie King-Hammond, Maryland Institute College of Art
Jay Krueger, National Gallery of Art
LaStarsha D. McGarity, National Gallery of Art
Steven Nelson, Center for Advanced Study in the Visual Arts
Judy Ozone, National Gallery of Art

A. W. Mellon Lectures in the Fine Arts Dialogue

May 1, 2023
Stephen D. Houston, Brown University
72nd A. W. Mellon Lecturer in the Fine Arts

A discussion of the 2023 A. W. Mellon Lectures in the Fine Arts, Vital Signs: The Visual Cultures of Maya Writing

Edmond J. Safra Colloquy

The Catalogue Raisonné: A Social Practice
May 4–5, 2023
Organized by Gail Feigenbaum, Edmond J. Safra Visiting Professor, spring 2023

The Edmond J. Safra Colloquy was designed to bring together thinkers—including art historians, administrators, curators, and emerging professionals—to open an exchange of information and ideas. This year’s Safra Colloquy explored the possibilities and challenges of today’s catalogue raisonné projects.

Keynote Lecture
“Oeuvromania in the Age of Reason”
Antoinette Friedenthal, independent scholar, Potsdam
West Building Lecture Hall and live streamed

Participants
Nisa Ari, Center for Advanced Study in the Visual Arts
Angélica Becerra, Center for Advanced Study in the Visual Arts
Maria Bonta de la Pezuela, National Gallery of Art
Kaira M. Cabañas, Center for Advanced Study in the Visual Arts
H. Perry Chapman, Center for Advanced Study in the Visual Arts
Yiran Chi, National Gallery of Art
Gail Feigenbaum, Center for Advanced Study in the Visual Arts
Davida Fernández-Barkan, Center for Advanced Study in the Visual Arts
Ivan Gaskell, Bard Graduate Center
Elizabeth Gorayeb, Wildenstein Plattner Institute
Kendra Greendeer, Center for Advanced Study in the Visual Arts
Adam Greenhalgh, National Gallery of Art
Anne Helmreich, Archives of American Art
Elizabeth Honig, University of Maryland
Christopher Lakey, Center for Advanced Study in the Visual Arts
Alison Langmead, University of Pittsburgh
Alexandra Libby, National Gallery of Art
Gloria de Liberali, Center for Advanced Study in the Visual Arts
Peter M. Lukehart, Center for Advanced Study in the Visual Arts
Carolyn Greene McKee, National Gallery of Art
Anthony J. Meyer, Center for Advanced Study in the Visual Arts
Nancy Micklewright, Center for Advanced Study in the Visual Arts
Michaela Milgrom, National Gallery of Art
Mary Morton, National Gallery of Art
Laili Nasr, National Gallery of Art
Steven Nelson, Center for Advanced Study in the Visual Arts
Christopher Nygren, University of Pittsburgh
Ellen Prokop, National Gallery of Art
Katy Rogers, Dedalus Foundation
Catherine Southwick, National Gallery of Art
Caitlin Sweeney, Wildenstein Plattner Institute
William Tronzo, University of California, San Diego
Emiko K. Usui, National Gallery of Art
Matthew J. Westerby, Center for Advanced Study in the Visual Arts
Betsy Wieseman, National Gallery of Art
Aaron Wile, National Gallery of Art
Fulvia Zaninelli, Center for Advanced Study in the Visual Arts
Adriana Zavala, Center for Advanced Study in the Visual Arts

Colloquia, presented by Center professors and senior fellows, and shoptalks, given by postdoctoral fellows, predoctoral fellows, and guest scholars, occur throughout the academic year. Colloquia are public programs held in the West Building Lecture Hall. Shoptalks are by invitation.

Colloquia CCCXXXV–CCCXLIII 

September 29, 2022
H. Perry Chapman, Kress-Beinecke Professor
Rembrandt’s Art History: Rivaling Rubens

October 27, 2022
Alessandra Raengo, Paul Mellon Senior Fellow, fall 2022
The Liquidity of the Black Arts

December 1, 2022
Morten Steen Hansen, Ailsa Mellon Bruce Senior Fellow, fall 2022
The Anti-Idol at the Escorial

January 12, 2023
Megan R. Luke, William C. Seitz Senior Fellow
Mother Right: The Prehistory of Modern Sculpture

January 30, 2023
Angela Ho, Samuel H. Kress Senior Fellow
Imagining China in the 17th Century: The Dutch East India Company’s Embassies to Beijing

February 23, 2022
Christopher Lakey, Ailsa Mellon Bruce Senior Fellow, spring 2023
Space and Gold in Late Medieval Painting

March 23, 2023
Sarah Lopez, Paul Mellon Senior Fellow, spring 2023
Architectural History Is Migrant History: Cantera Stone and Construction Labor on Both Sides of the US-Mexico Boundary

April 6, 2023
Rune Nyord, Samuel H. Kress Senior Fellow
In the Catacomb of Metempsychosis: Seeing the Ancient Egyptian Afterlife in the Early 19th Century

April 20, 2023
Marius B. Hauknes, Ailsa Mellon Bruce Senior Fellow
Aquatic Chaos: Images of Cosmic Disorder in Medieval Art

Shoptalks 261–267 

October 20, 2022
Davida Fernández-Barkan, David E. Finley Fellow
A New School of Art: Indigenismo, Internationalism, and Interwar American Mural Painting

November 3, 2022
Rheagan Martin, Samuel H. Kress Fellow
Seeing Through: The Possibility of Translucency in Incunabula

December 8, 2022
Anthony J. Meyer, Andrew W. Mellon Fellow
Sticky Flesh, Folded Skin: The Animate Making of Nahua Religious Leaders

January 5, 2023
Cleo Nisse, Paul Mellon Fellow
Unraveling Canvas: Fabric and Facture in Early Modern Venetian Painting

January 19, 2023
Delphine Sims, Wyeth Fellow
Outcroppings of Black History: Xaviera Simmons’s Utah Photographs

March 2, 2023
Zsofi Valyi-Nagy, Twenty-Four-Month Chester Dale Fellow
The Continuous Line in Vera Molnár’s Computer Graphics

March 30, 2023
Kendra Greendeer, Paul Mellon Guest Predoctoral Fellow
(re)EMERGENCE: Performing Indigenous Feminist Futures