Welcome to Learning from Things

heading north...

posted on 13 Sep 2012 17:09 by Elena Pinto Simon

Ah yes, the annual pizza lunch for the first and second year to get to spend some social time together.

Now orientation is officially over!

The first graduate school fair of the new cycle is tonight at NYU. Next week, I head to Cambridge, Boston and Providence for more fairs. These are always a chance to meet with out-of-town applicants, who want more info about the BGC. (But they also give me a chance to check out some great campus book stores!)
The Fair at NYU is at the Metropolitan Center on 18th Street from 5-8 pm; the BU fair is the 19th at the Sherman Union at BU; and the fair at Brown is the 20th. Both of these are from 5-8 pm. I welcome those in the area to come to these fairs and stop by the BGC table!


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a talk with Ivan Gaskell...

posted on 12 Sep 2012 15:18 by Elena Pinto Simon

Ivan Gaskell joined the BGC faculty in January, 2012, and is Professor and Head of Focus Gallery projects . I had a chance to speak with him during the first week of the new term…

EPS: Hello, Prof. Gaskell, and welcome to your first full year at the BGC! Tell us what you were working on over the summer break.

IG: It’s great to back in the dynamic world of the BGC! I spent the summer on a variety of projects. First, there was some urgent Focus Gallery work, mostly reviewing and editing copy for the next two exhibitions. Then I had a lot of reading and planning to do for my new fall semester seminar, Tangible Things: Observing, Collecting, Sorting. This class emerges from my work on Harvard University’s nearly fifty methodical collections—museums and libraries—over the last ten or more years, but covers a lot of ground that is new to me, from anthropology to zoology. In 2011, I taught a large undergraduate course at Harvard with my fellow historian, Laurel Thatcher Ulrich—our tenth year of teaching together using Harvard’s collections—and we are now preparing a book with three colleagues. The book—also called Tangible Things—is about how Harvard’s collections have been used over the last three hundred years to make knowledge claims. It comprises chapters on sorting things—from paintings to stuffed animals—the ambiguities of categories, and the sparks that fly when things are juxtaposed incongruously. For instance, we exhibited John Singer Sargent’s paint-encrusted palette next to scientific instruments designed for the investigation of color vision. Half of each chapter is a joint effort, while the rest comprises individually written case studies on particular objects. This summer I finished case studies on a dried orchid specimen from Panama, the head of a large bird—a Helmeted Hornbill—from southeast Asia, and an ornament made from iridescent beetle wing cases from the highlands of northeast India. Lots of variety!

EPS: As head of the Focus Gallery, you are in the middle of planning some exciting projects ahead. Can you tell us a little about the next three or four?

IG: With two Focus projects coming into public view each year, the books are full! These are not simply exhibitions, but exercises in a developing a form of academic practice that combines faculty research, teaching, Web and hard copy publishing with exhibiting—all with student participation. The fourth exhibition in the program—The Islands of Benoît Mandelbrot: Fractals, Chaos, and the Materiality of Thinking—opens on September 20 and runs through January 27, 2013. Organized by a visiting assistant professor from Berlin, Nina Samuel, the exhibition and its accompanying publication explore the work of one of the twentieth century’s most influential mathematicians. It takes the BGC into areas of material culture—computer-generated print-outs and models, hand-drawn diagrams, and Polaroid photographs—new to its purview. The result is amazing!

Then next spring, the project led by 2010-12 postdoctoral fellow—a joint appointment with the American Museum of Natural History (AMNH)—Erin Hasinoff comes to fruition. Her topic is the material culture of an AMNH zoological expedition to northern Burma in 1935. She focuses not only ethnographic items collected by the expedition members, but on those many things used by those members themselves and the various local participants, such as the muleteers, whose work enabled the expedition to take place. This is our second collaboration with the AMNH, and two others are in the works.

Gallery assistant curator and former BGC student, Ann Marguerite Tartsinis is producing the first. She is investigating American designers’ use of textiles in the anthropology collections of the AMNH as sources of inspiration in the 1910s and ‘20s. Nicola Sharratt, our 2012-14 postdoctoral fellow with the AMNH, is leading the second. Nicola is an archaeologist, and is developing a Focus project on ancient Andean textiles. Further ahead, Kimon Keramidas, assistant director for the Digital Media Lab, is working on a project on changes over the decades in computer interfaces, called Computing Immediacy. This semester he is teaching a seminar, “Media and Materiality,” that leads into this project. What a rich variety!

EPS: Why are the Focus Gallery projects so important to the work of the students and faculty at the BGC?

IG: My belief is that the way of working represented by the Focus Project—combining faculty research, teaching, Web and hard copy publishing with exhibiting—embeds each of these components into a rich scholarly whole. This practice acknowledges that exhibiting—making arguments with actual things—can be an important aspect of scholarly work, leading to places that remain inaccessible by other means. This practice extends the intellectual range of our faculty in a very pragmatic sense, opening up means of investigation and expression that might otherwise not be available. Students are involved at every turn—in seminars, workshops, tutorials—learning skills from digital media and label preparation to new ways of conceiving and investigating scholarly puzzles. Students become deeply invested in these projects, contributing substantively under the guidance of faculty and specialist staff. Their enthusiasm is infectious!

EPS: You are also convening the Museum Conversations evenings for us this year. Tell us a little about the guests you have planned to come visit.

IG: I have invited two museum scholars to speak this academic year. The innovative archaeologist of Central and South America, Jeffrey Quilter, was recently promoted within the Peabody Museum of Archaeology and Anthropology at Harvard to be its new director. He writes about his excavations in an engaging manner, not confining his accounts to the dry scientific norm. He is concerned with archaeological and anthropological work in a broad context, including how it relates to the consideration of art. In 2006, we jointly organized a conference on how anthropology museums and art museums might work together, and published the proceedings in the journal Res: Anthropology and Aesthetics. He is going to tell us about his recent work in Peru on December 12. On February 13, we are fortunate to be hosting the director of the Ashmolean Museum of Art and Archaeology at Oxford University, Christopher Brown. He will tell us about the renovation and extension of his museum, a huge project that has arguably set the standard for the reconception of university art museums internationally. Both are fine speakers, and I think these will be very lively events.

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photo by Justin Ides


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how to begin

posted on 07 Sep 2012 12:01 by Elena Pinto Simon

Poetry
by Pablo Neruda

neruda.jpg

And it was at that age … Poetry arrived
in search of me. I don't know, I don't know where
it came from, from winter or a river.
I don't know how or when,
no they were not voices, they were not
words, nor silence,
but from a street I was summoned,
from the branches of night,
abruptly from the others,
among violent fires
or returning alone,
there I was without a face
and it touched me.

I did not know what to say, my mouth
had no way
with names,
my eyes were blind,
and something started in my soul,
fever or forgotten wings,
and I made my own way,
deciphering
that fire,
and I wrote the first faint line,
faint, without substance, pure
nonsense,
pure wisdom
of someone who knows nothing,
and suddenly I saw
the heavens
unfastened
and open,
planets,
palpitating plantations,
shadow perforated,
riddled
with arrows, fire and flowers,
the winding night, the universe.

Pablo Naruda

This poem has haunted me most of my adult life.
Its elegance, fluidity, and layered messages have long been an inspiration –
to begin, to start, to start over.

I originally thought it spoke about the confusion of the young trying to create.
But as I grew older it became even more resonant – and realized it was
an anthem about hope and renewal.

Writing is hard. Not writing makes it hard.

And that moment of starting, facing the blank page, can be terrifying , startling,
and then, liberating.

It’s a good poem for the start of a new academic year.

And here we are on an early September morning; most of our classes have now met
once, and we are all poised to begin again, make our own way,
and work for that moment when the heavens unfasten and open, and we stare at the sky,
waiting for arrows, fire, and flowers.


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on your mark

posted on 04 Sep 2012 13:52 by Elena Pinto Simon

First day…..

The day after Labor Day.

The past two weeks have been busy and useful, setting the stage for the work ahead. But this morning the real work – and the fun – begins. This morning it’s Amy Ogata ‘s course on Material Culture of Childhood, and our new post-doctoral fellow, Abby Balbale’s, Survey course on Islamic Art and Material Culture from Early Islam to the Ottoman Period. Later this afternoon, doctoral teaching fellow Erin Eisenbarth will offer her Material Culture of Women in 19th Century America course.

And we’re off!


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Tags: childhood islamicart ottoman


words, words, words

posted on 30 Aug 2012 12:47 by Elena Pinto Simon

“I know a bank where the wild thyme blows,
Where oxlips and the nodding violet grows,
Quite over-canopied with luscious woodbine,
With sweet musk-roses and with eglantine…”
Oberon, A Midsummer Night’s Dream, Act 2, Scene 1
William Shakespeare

These words are almost overwhelming every time I read them or hear them performed. It is a stunning text, from a magical play — a picture drawn from words: rich, visual, evocative, cinematic, and almost intoxicating. Shakespeare is showing off, painting with words, and some four hundred years after they were written, they still make me want to go in search of that secret place.

W%20SHAKESPEARE.jpg

It was a big summer in London. It’s not that our cousins across the pond have a so much better story to tell. It’s that they are such masters at telling – and re-telling, their stories. They use their histories so much better than we do. Included in the summer‘s bounty for London was THE Bard – ending with the spectacular exhibition on Staging Shakespeare now up at the British Museum (and more about this in another post). I’m going through the exhibition catalogue now; it’s dazzling.

The summer started early, however, when the BBC radio ran, over four weeks in the late spring, around Shakespeare’s birthday, Neil MacGregor’s newest object-study lesson: Shakespeare’s Restless World. In this mini-series, tiny in comparison to his now canonical History of the World in 100 Objects, MacGregor takes one object a day from the Museum’s trove of holdings of things from Shakespeare’s time. And using the method he has now honed into an art form in itself, he spends 14 minutes on each,talking about what it would have meant in that time and place. What kind of objects? Well, it includes, a fork, found in the excavation of the Rose Theatre, an apprentice’s cap, a communion chalice from Stratford, a public notice to close the theatres because of an outbreak of plague, a ‘magical’ mirror. Only a portion of the 20 objects would have had enormous value in Shakespeare’s day. Many were ephemera, and it was a miracle they survived at all.

But what a picture MacGregor paints with them all!

You can listen to the podcasts here:
http://www.bbc.co.uk/programmes/b017gm45

But fair warning: this series is highly addictive, and you are likely to be hooked after one podcast. And like Oberon’s intoxicating lines, you may find yourself wanting to spend some time in the late 16th century, hunting for the secret place.


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Tags: britishmuseum history london macgregor shakespeare stratford


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