Richard Powell, Duke University,  spoke on Kerry James Marshall for this symposium. He was introduced by James Rondeau, Frances and Thomas Dittmer Chair of Contemporary Art.

This lecture was given as part of a daylong symposium Contemporary Art at the Art Institute of Chicago: Case Studies of Selected Works on View.

Caption: Kerry James Marshall. Vignette #2.75, 2008. Through prior gift of Adeline Yates; Benjamin Argile Memorial, Cyrus Hall McCormick, Alfred and May Tiefenbronner Memorial, Mr. and Mrs. Frank G. Logan Prize, Pauline Palmer Prize, Broadus James Clarke Memorial, Norman Wait Harris Prize, William H. Bartels Prize, Joyce Van Pilsum, Laura T. Magnuson Acquisition, Ann M. Vielehr Prize, and Ada S. Garrett Prize funds; Flora Mayer Witkowsky Award for American Art; Boles C. and Hyacinth G. Drechney and Mr. and Mrs. J.F. Brower Prize funds; The Municipal Art League Prize for Portraiture; Marjorie and Louis Susman, Martin B. Cahn Prize, and Elisabeth Mathews funds.

Theodora Vischer, based at Schaulager Ruchfeldstrasse, Basel, spoke on Robert Gober  for this symposium. She was introduced by James Rondeau, Frances and Thomas Dittmer Chair of Contemporary Art.

This lecture was given as part of a daylong symposium Contemporary Art at the Art Institute of Chicago: Case Studies of Selected Works on View.

Robert Gober. Untitled, 1989–1996. Restricted gift of Stefan T. Edlis and H. Gael Neeson Foundation; through prior gifts of Mr. and Mrs. Joel Starrels and Fowler McCormick, © 1989-96 Robert Gober.

Caroll Dunham, an artist whose paintings and drawings are included in many prestigious collections including the Art Institute of Chicago, speaks on Jim Nutt. He was introduced by James Rondeau, Frances and Thomas Dittmer Chair of Contemporary Art.

This lecture was given as part of a daylong symposium Contemporary Art at the Art Institute of Chicago: Case Studies of Selected Works on View.

Caption: Jim Nutt. Sally Slips Bye-Bye, 1978. Gift of the Robert A. Lewis Fund in memory of William and Polly Levey, © Jim Nutt.

Briony Fer of University College, London, spoke on Eva Hesse for this symposium. She was introduced by James Rondeau, Frances and Thomas Dittmer Chair of Contemporary Art.

This lecture was given as part of a daylong symposium Contemporary Art at the Art Institute of Chicago: Case Studies of Selected Works on View. 

Caption: Eva Hesse. Untitled, 1969. Through prior gift of Arthur Keating, © The Estate of Eva Hesse, Hauser & Wirth Zürich London.

The authorship of the magnificent Spanish-school Saint John in the Wilderness has long been a subject of debate. The painting entered the Art Institute of Chicago collection in 1957 as a work by Diego Velázquez, but some scholars are questioning its attribution to the Spanish master. A recent technical study of the painting—involving X-ray, infrared reflectography (IRR), and pigment and cross-sectional analysis—sheds new light on this question.

Neil MacGregor, director of the British Museum, London, and the chair of World Collections, discusses "Global Collections for Global Cities," tracing the leadership role that the British Museum has taken in such efforts since its origin over 100 years ago.

Inge Fiedler, Conservation Microscopist, discusses the technical study of Georges Seurat's A Sunday on La Grande Jatte—1884, painted between 1884 and 1886.  Using an innovative technique commonly called “pointillism,” Seurat, who preferred the term “chromo-luminarism,” created a masterpiece that still astonishes visitors today.  Learn how it was created from someone who has examined the painting very, very closely.

Presented by Madhuvanti Ghose, Alsdorf Associate Curator of Indian Crossroads of the Art Institute to the Crossroads of Asia, this illustrated lecture of Southeast Asian, Himalayan and Islamic Art, features highlights from the new installation of Asian galleries at the Art Institute.

Internationally renowned archaeologist and MacArthur fellow, Susan E. Alcock, Professor of Classics and the Director for the Joukowsky Institute for Archaeology and the Ancient World at Brown University, discusses pre-modern peoples control and supervision of others. This lecture series presents art historical and archaeological examples drawn particularly from the Mediterranean and the Near East as part of the University of Chicago’s Louise Smith Bross Lecture Series.

4/1/09  “Scanning and Planning: Modern Modes of Watching the Ancient World”
Length:        45:21
File Size:     20.8 MB

4/2/09  “Spying and Crying: Ancient Modes of Watching the Ancient World”
Length:        54:11
File Size:     24.8 MB

Julia Langbein, a Ph.D. candidate at the University of Chicago, looks closely at the caricatures of paintings featured in the Salons, the official art exhibitions in Paris, asking how they functioned as both comic and pictorial criticism of the art of their time.

The Art Institute's growing collection of Amerindian baskets includes rare and little-known treasures. Natalie Fay Linn, a leader in the study of the complex and sophisticated design of this ancient and important art form, discusses highlights of the museum's holdings.

Presented as part of the Community Associates Research and Lecture Series, 2007-2008.

The elaborately decorated mummy case of an ancient Egyptian woman named Wenuhotep was only recently returned to the Art Institute after being on loan for many years. Internationally recognized scholar Emily Teeter, Oriental Institute, reveals new information about this fascinating work of art.

Presented as part of the Community Associates Research and Lecture Series, 2007-2008.

Bruce Boucher, Curator of Sculpture, Medieval to Modern European Paintings and Sculpture, presents a lecture focusing on highlighted treasures in the Art Institute permanent collections.

Art Institute Conservator of Paintings Faye Wrubel offers a brief overview of some favorite projects and discusses the complex and interesting treatment of Henri Toulouse-Lautrec's Ballet Dancers, including a description of the removal of the painting from the original plaster wall and scientific analysis of the materials used.

Francesca Casadio, Andrew W. Mellon Conservation Scientist at the Art Institute of Chicago, leads a talk that is part forensic science, part detective work. Examples of research carried out on selected objects from the collection are given.

At this lecture, art historian and filmmaker Benoy Behl reveals his recent extraordinary photographic views of significant ancient murals in India. He also screened two of his short art films that provide cultural and historical context for stunning works of art, in this case, referring to the confluence of religious beliefs in India centuries ago.

Sheila Canby, curator of Islamic Art at the British Museum, discusses landmark structures built for the Shia Safavid dynasty.

Noted art historian and Mies biographer Franz Schulze offers rare insights into this architectural gem, discussing the key people and dramatic events that have shaped its history.

Susan Benjamin and Stuart Cohen bring to life the world of such legendary Chicagoans as the Armours, McCormicks, Pullmans, and Ryersons, who immortalized their place among the city's elite with elegant residences designed by the likes of Adler, Burnham, Shaw, and Wright.

Joan Arenberg moderates a panel discussion with collector Curt Conklin, artist and critic Michelle Grabner, and gallerist Rowley Kennerk that explores the relationship between artists, art dealers, critics, and collectors and addresses some frequently asked questions about art and art collecting.

Image: Michelle Grabner. 
Untitled, 2007.  Flashe/canvas.  Photo courtesy of Shane Campbell Gallery.

To celebrate the 100th anniversary
of the Art Institute's acquisition of
this masterpiece by El Greco, art
historian Richard Mann tells the
exciting story of the painting's
commission, its stylistic revelations,
and its journey to Chicago.

In celebration of the 400th birthday
anniversary of Rembrandt, art historian
Stephanie Dickey describes the young
genius's grappling with the art of the
past, his irreverent sense of humor,
and his determination to rethink
traditional subject matter.

Dan Brown's novel The Da Vinci Code
has transcended its original role as
a popular thriller become a cultural
talking point. Curator Bruce Boucher
considers Brown's novel not only in
terms of its art-historical content
but also with respect to what it tells
us about contemporary society.