Tuesday Tea Talks Fall 2018
On the second Tuesday of the month join us to hear a wide range of gallery talks highlighting works in the permanent collection or in current exhibitions. Following the talk, tea and cookies are provided in the East Gallery and facilitated by the AMAM Guild of volunteers. Starting this fall, talks begin at 3:00 p.m.
September 11, 3 p.m.
Johnny Coleman, Oberlin College Professor of Studio Art and Africana Studies discuss his installation for FRONT International: Cleveland Triennial for Contemporary Art located at St. Mark’s Church in Cleveland and on view through September 30. As a FRONT Madison Residency artist, Coleman created Reflections From Here: Elders of Glenville, forwhich he recorded candid, organic conversations with elders of the Glenville neighborhood on Cleveland’s east side about their memories of and aspirations for the African American community. Join us for Coleman’s talk titled “Reflections Upon the Process.”
October 9, 3 p.m.
Chanda Feldman, Assistant Professor of Creative Writing at Oberlin, gives a poetry reading that responds to the exhibition Radically Ordinary: Scenes from Black Life in America Since 1968. She also reads from her recently published poetry collection, Approaching the Fields, with selections appropriate to the theme of the exhibition.
November 13, 3 p.m.
Kevin R. E. Greenwood, the Joan L. Danforth Curator of Asian Art, discusses his exhibition Worlds Apart: Nature and Humanity Under Deconstruction. Works by three contemporary artists—Yang Yongliang, Sandra Eula Lee, and Yun-Fei Ji—reflect the rapid change experienced in recent decades by people in East Asia, and how perceptions of humanity and nature, history, memory, and sense of place have been fundamentally altered. The talk will discuss the works on view in the exhibition with reference to other works by the three artists.
December 11, 3 p.m.
Curator of Academic Programs Liliana Milkova gives a talk on the self-portrait in the AMAM collection by Michiel Sweerts, a Flemish artist active in both Italy and Northern Europe. This presentation focuses on the meaning invested in the oil pigments used—especially the prominence of the lead-white employed throughout the self-portrait. Despite its known toxicity, lead reigned supreme in art making until the 20th century and Milkova argues that Sweerts’ portrayal activates a different kind of sight that elevates the status of the artist and artistic creation as a whole.