Tuesday Tea Talks Spring 2019
These free programs are presented on the second Tuesday of the month in the East Gallery. Tea and cookies follow each talk
February 12, 3 p.m.
Curatorial Assistant Emma Laube ’17 gives a talk on the exhibition Zao Wou-Ki: Prints in Context, which she organized. She discusses works by the Beijing-born French artist, placing them in conversation with works by Franz Kline, Joan Miró, and Paul Klee. Zao is best known for his lyrically abstract oil paintings; a 1951 painting by Zao titled Landscape entered the AMAM collection in 1957. Laube’s exhibition includes two AMAM prints by Zao, which span 17 years of his long career. She highlights the mediums, techniques, and subject matter used by Zao and other modernists.
March 12, 3 p.m.
Elka Lee-Shapiro ’18, a former student assistant in Asian art, returns for a talk on her exhibition Centripetal / Centrifugal: Calibrating an Asian American Art. She situates the show within broader conversations surrounding Asian American cultural politics and racial representation in U.S. arts institutions. Lecture cosponsored by the Asia America Art Collective, Art History Baldwin Lectures Endowment, and the Alumni in Service to Oberlin College program.
April 9, 3 p.m.
Julia Harbutt ’20 gives a lecture titled Contextualizing Degeneracy: Richard Wagner, Paul Klee, and the Degenerate Art Show. Harbutt explores the role of the term “degeneracy,” used by the Nazis to describe certain music and artwork. She provides context for a painting by Paul Klee titled "The Kettledrum Organ"—once confiscated by Nazis as an example of degenerate art—and how it came to be in the collection of the Allen Memorial Art Museum, where it is currently on view.
May 14, 3 p.m.
Kevin R. E. Greenwood, Joan L. Danforth Curator of Asian Art, discusses Art and Being in the Garden of Ryōan-ji, his multimedia exhibition on the iconic dry landscape garden at the Buddhist temple in Kyoto, Japan. Greenwood gives a brief history of this famous site and debunks the myth—influential among many 20th-century artists—that the garden was intended for Zen meditation. He highlights artists who represented the garden through the lens of modernist abstraction.