Call for Papers | Medals and Tokens in Europe
From H-ArtHist (7 September 2016). . .
Art for the Powerful, Multiple Objects: Medals and Tokens
in Europe from the Renaissance to the First World War
Art du puissant, objet multiple: Médailles et jetons en
Europe, de la Renaissance à la Première Guerre mondiale
Institut national d’histoire de l’art, Paris, 30 March — 1 April 2017
Proposals due by 6 November 2016
The medal was revived in the princely courts of fifteenth-century Italy as a commemorative art and quickly adopted by sovereigns across Europe. Medals, tokens, and other metallic objects devoid of fiduciary value became more and more widespread and benefitted from several peaks of popularity in the seventeenth, eighteenth, and nineteenth centuries, as illustrated by the metallic histories of Louis XIV or Napoleon, a format adopted by others as far afield as the Tsar of Russia. Whilst changes in taste led the medal to be seen as in or out of fashion at different moments, it has continued to maintain its essentially commemorative function and has been used to express the ideals of all manner of political regimes from monarchies to republics.
This symposium seeks to explore the specificity of a form of official art that associates image and text, producing objects whose message is also partially conveyed by the hierarchy of values intrinsic to the metals used, from the noblest gold to more modest alloys. As objects that can be reproduced, that are easily portable and largely distributed, their biographies also tend to be quite distinct from that of other types of art objects. An initial specificity is that of the role of the engraver whose function oscillates between that of an artist, an artisan, and an agent of a commissioning power. His artistic practice can be considered in some sense as paradoxical in so much as it is constrained by the conventions of the medium and by the outline of the project which his talent is called on to convey in material form. This opens up to the question of the expressive aims of this official art that seeks to capture and commemorate History as it happens, fortifying the glory of the commissioning party. Indeed, medals and tokens represent the result of the interplay of the different actors who contribute to their elaboration: from the initial idea developed by a commissioning power and affiliated scholars, to the drawing of a model, to the production and diffusion of the multiple editions of the final product. Medals also need to be considered as part of a wide range of visual productions that share a common language dedicated to reinforcing the powers in place. Finally, greater attention needs to be paid to the manner in which these objects (and their models) have circulated, in particular by considering the development of a market for modern and contemporary medals and their status in the make-up of private and public coin collections. This may also be an opportunity to consider the reciprocal influence between the evolution of the taste and interest of collectors and production styles, techniques, and themes through time.
This conference will showcase current research that can provide an alternative to a very dispersed historiography dominated by the genre of the catalogue. We hope that a comparative effort, with cases from across Europe, in a large chronological frame will help to establish an interdisciplinary approach to the production and circulation of medals and similar objects; one that reflects their complex nature and the specificity of their biographies. We welcome perspectives from a range of disciplines and research perspectives including art history, social and political history, numismatics, material culture studies, etc.
Proposal of no more than 400 words should be sent accompanied by a short CV before the 6th of November 2016 to the following address: colloquemedailles2017@gmail.com. Each presentation should aim to be no longer than 20 minutes, and the conference papers will be published. Languages are French and English. The organizing committee will give notice of acceptance by mid December 2016.
Organizing Committee
Felicity Bodenstein, docteur en Histoire de l’art, Kunsthistorisches
Institut, Florenz, Max-Planck-Institut
Thomas Cocano, doctorant en Histoire, EPHE
Ludovic Jouvet, doctorant en Histoire de l’art, Université de Bourgogne/ INHA
Katia Schaal, doctorante en Histoire de l’art, École du Louvre / Université de Poitiers / INHA
Sabrina Valin, doctorante en Histoire de l’art, Université Paris Ouest Nanterre-La Défense
Scientific Committee
Marc Bompaire, directeur d’études, EPHE
Béatrice Coullaré, chargée de conservation, Monnaie de Paris
Frédérique Duyrat, directrice du département des Monnaies, Médailles et Antiques, BnF
Victor Hundsbuckler, conservateur du patrimoine, responsable de la Conservation, Monnaie de Paris
Thierry Sarmant, conservateur en chef, Service historique de la Défense à Vincennes
Philippe Thiébaut, conservateur général du patrimoine, conseiller scientifique, INHA
Inès Villela-Petit, conservatrice du patrimoine, département des Monnaies, Médailles et Antiques, BnF
Institutional Partners
Université Paris Ouest Nanterre La Défense (École doctorale 395, Milieux, cultures et sociétés du passé et du présent – Laboratoire du HAR, Histoire des Arts et des Représentations)
École pratique des hautes études (EPHE)
Monnaie de Paris
Bibliothèque nationale de France (BnF)
Institut national d’histoire de l’art (INHA)
Exhibition | Real Time and Time of Reality: Clocks at the Pitti Palace
Opening this week at the Pitti Palace:
Real Time and Time of Reality: Clocks from the Pitti Palace
Tempo reale e tempo della realtà: Gli orologi di Palazzo Pitti dal XVII al XIX secolo
Palazzo Pitti, Florence, 13 September 2016 — 8 January 2017
Curated by Simonella Condemi and Enrico Colle
Amphora-shaped clock, made in Paris, 1810–20, gilt bronze (Florence: Museo Stibbert)
The exhibition will comprise a significant selection of roughly eighty clocks out of the almost two hundred pieces in the Palazzo Pitti’s collection, testifying to the passage of time for those whose daily lives were played out in the Florentine palace in the 18th and 19th centuries.
The selection of these singular objets d’art will allow visitors to admire the astonishing technical and artistic quality of these timepieces in the various different forms and formats in which they were produced, revealing their duality comprising, on the one hand, an often sophisticated and complex mechanism, and on the other, a case which started out life as a cover for the mechanism but which gradually turned into a work of art in its own right.
Additional information (in Italian) and images are available here»
Exhibition | The Four Continents: Florentine Tapestries
Florentine tapestry after cartoons by Giovanni Camillo Sagrestani, The Continent of America, from a series of The Four Continents, ca. 1730s.
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Opening this month at the Pitti Palace:
The Four Continents: Florentine Tapestries after Drawings by Giovanni Camillo Sagrestani
I Quattro Continenti: Arazzi fiorentini su cartone di Giovanni Camillo Sagrestani
Palazzo Pitti, Florence, 27 September 2016 — 8 January 2017
Curated by Caterina Chiarelli and Daniele Rapino
On display will be four beautiful tapestries woven from cartoons by the painter Giovanni Camillo Sagrestani (1660–1731). It is one of the finest series realized by the Grand Ducal tapestry workshop, signed by the most skillful weavers of that time, among whom Vittorio Demignot (d. 1742), whose apprenticeship took place in Flanders. The Four Continents are represented with extravagant features and creative innovations that reflect the contemporary conception of cultural and historical identities of world lands. Comparable to the finest coeval French examples, their magnificent and elegant composition was largely appreciated: in particular, on the 20th of January 1739, they were used as decorative setup for the triumphal entry into Florence of the new Hapsburg-Lorraine Grand Duke, Francis II, and his wife Maria Teresa, future empress of Austria.
Call for Proposals | History of Collecting Seminars
From The Wallace Collection:
History of Collecting Seminars
The Wallace Collection, London, 2017
Proposals due by 12 September 2016
The seminar series was established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London. In 2017, as in previous years, we plan to organise a series of 10 seminars. We are keen to encourage contributions covering all aspects of the history of collecting, including:
• Formation and dispersal of collections
• Dealers, auctioneers and the art market
• Collectors
• Museums
• Inventory work
• Research resources
The seminars, which are normally held on the 4th Monday of every month during the calendar year, excluding August and December, act as a forum for the presentation and discussion of new research into the history of collecting. Seminars are open to curators, academics, historians, archivists and all those with an interest in the subject. Papers are generally 45–60 minutes long and all the seminars take place at the Wallace Collection between 5.30 and 7pm. If interested, please send a short text (500–750 words), including a brief CV, indicating any months when you would not be available to speak, by 12 September 2016. For more information and to submit a proposal, please contact: collection@wallacecollection.org.
Please note that we are able to contribute up to the following sums towards speakers’ travelling expenses on submission of receipts:
• Speakers within the UK – £ 80
• Speakers from Continental Europe – £ 140
• Speakers from outside Europe – £ 200
Remaining lectures in this year’s schedule include:
26 September: Silvia Davoli, Paul Mellon Centre Research Curator, Strawberry Hill House, The Horace Walpole Collection: Researching the Strawberry Hill Sale of 1842: A Real Baedeker’s Guide of Taste
31 October: Hannah Kinney, DPhil candidate, History of Art, University of Oxford: Con fiducia: Commissioning Copies of Antiquities in Eighteenth-Century Florence
28 November: Jessica Feather, Allen Fellow at the Paul Mellon Centre: Collecting the Modern Aesthetic: Britain at the fin de siècle
All lectures start at 17:30 in the Lecture Theatre. Booking not required.
Nicholas Serota To Step Down as Tate Director
From the Tate press release (8 September 2016). . .
Tate’s Board of Trustees today announced that Nicholas Serota will step down as Director of Tate next year. The process of finding a new director will begin immediately and is being guided by a specially appointed committee of trustees and external advisers including senior artists.
Nicholas Serota, © Hugo Glendinning, 2016
Tate’s Chairman, Lord Browne said: “We have been privileged to have in Nicholas Serota one of the world’s greatest museum directors and a leader for the visual arts on a global stage. Under his leadership Tate has become a preeminent cultural organisation nationally and internationally and one of the most visited in the world. He has championed British art and artists throughout the world while at the same time ensuring that Tate has become a much loved, open and accessible institution for the public. He leaves Tate in a strong position on which to build for the future. We wish him well as he takes on new responsibilities which will be for the benefit of all the arts.”
Nicholas Serota said: “It has been an exciting challenge to work with successive Chairmen, trustees and groups of extremely talented colleagues to develop the role of Tate in the study, presentation and promotion of British, modern and international art. Over the past thirty years there has been a sea-change in public appreciation of the visual arts in this country. Tate is proud to have played a part in this transformation alongside other national and regional museums and the new galleries that have opened across the country in places like Walsall, Margate, Wakefield, Gateshead and Nottingham. Tate has always been fortunate to have enjoyed the support of artists and to have benefitted from the international acclaim for the work of British artists in recent years. I leave an institution that has the potential to reach broad audiences across the UK and abroad, through its own programmes, partnerships and online.”
Nicholas Serota is a champion of visual arts throughout the UK and abroad. During his 28 years at Tate, he has helped to make Tate an organisation respected throughout the world. It was his vision that led to the creation of Tate Modern and the redefinition of the original gallery at Millbank as Tate Britain. He led the creation of Tate St Ives and has also sought to strengthen the role of Tate as a national institution through the further development of Tate Liverpool in taking a leading part in the celebration of the city as European City of Culture in 2008 and by establishing partnerships with galleries across the country through the Plus Tate programme.
During his term the range of Tate’s collection has broadened to include photography and the geographical reach has been extended across the world, taking a more global view. The collection has also been strengthened by major acquisitions of historic British art, including Wright of Derby’s An Iron Forge 1772, Reynolds’s The Archers 1769, Turner’s Blue Rigi 1842 and Constable’s Salisbury Cathedral from the Meadows 1831. Additions to the modern collection have included major works by Bacon, Beuys, Bourgeois, Brancusi, Duchamp, Horn, Mondrian, Richter and Twombly, amongst many others. The contemporary collection has been developed into one of the strongest in the world. He was instrumental in helping to secure the ARTIST ROOMS collection given to Tate and the National Galleries of Scotland by Anthony d’Offay as a collection to be shown across the UK. In the past ten years, he has curated some of Tate’s most acclaimed and popular exhibitions including Donald Judd, Howard Hodgkin, Cy Twombly, Gerhard Richter and Henri Matisse: The Cut-Outs.
He will take up the part-time role of Chairman of the Arts Council on 1 February 2017 and will continue at Tate until later in the year.
Martin Roth To Step Down as V&A Director
From the V&A press release(5 September 2016). . .
Martin Roth, Director of the V&A since September 2011, has announced to staff today he will leave his role in the Autumn after five years in post. Martin has presided over a succession of critically acclaimed exhibitions, most notably David Bowie is and Alexander McQueen: Savage Beauty, achieving record visitor numbers, which last year reached the highest level in the Museum’s 150 year history—as well as the ambitious refurbishment of multiple galleries showcasing the V&A’s world-leading collections, including most recently the new Europe 1600–1815 galleries. He has also overseen major developments including construction of the new Exhibition Road entrance, courtyard and gallery, due to open in 2017, as well as developing significant strategic partnerships in Shenzhen, Dundee and with V&A East in the Queen Elizabeth Park, East London.
Martin Roth, © Victoria & Albert Museum, London.
Under his directorship, Martin has established the new Design, Architecture and Digital Department and spearheaded new and socially responsive programming, from the Disobedient Objects exhibition to the current Engineering Season. He has also forged many innovative new partnerships, not least with the Venice Biennale, World Economic Forum and International Olympic Committee. The Museum was recently awarded Art Fund Museum of the Year 2016, the biggest museum prize in the world, and praised for its “exceptional imagination, innovation and achievement across the previous 12 months.”
Martin Roth said: “It’s been an enormous privilege and tremendously exciting to lead this great museum, with its outstanding staff and collections, and I’m proud to have steered it to new successes and a period of growth and expansion, including new partnerships around the UK and internationally. Our recent accolade as Art Fund Museum of the Year feels like the perfect moment to draw to a close my mission in London and hand over to a new director to take the V&A forward to an exciting future.”
Nicholas Coleridge, Chairman of the Trustees of the V&A said: “Martin’s tenure as Director has been marked by a highly successful period of creativity, expansion and reorganisation of the V&A. He has made a significant contribution to the success of this museum, and the Trustees are immensely grateful for all that he has achieved here. We are now starting the process of looking
for someone to take on the role and are fortunate to have an exceptional team in place to lead its activities and help build its future with the new Director.”
Martin intends to devote more time to various international cultural consultancies and plans to spend more time with his wife Harriet and their children, in Berlin and Vancouver. The V&A’s Board of Trustees will now begin the search to find a new Director.
Call for Papers | ASECS 2017, Minneapolis
Just a reminder that that the due date for ASECS 2017 proposals is next Thursday (15 September). Send them in!
2017 American Society for Eighteenth-Century Studies Conference
Hyatt Regency Minneapolis, 30 March — 2 April 2017
Proposals due by 15 September 2016
Proposals for papers at the at the 48th annual meeting of the American Society for Eighteenth-Century Studies, at the Hyatt Regency Minneapolis, are now being accepted. Proposals should be sent directly to the session chairs no later than 15 September 2016. Along with our annual luncheon and business meeting, HECAA will be represented with the Anne Schroder New Scholars’ Session, chaired by Jessica Fripp. A selection of other sessions that might be relevant for HECAA members is also included here»
Conference | French Royal Furniture by Jean-Henri Riesener
In connection with the exhibition now on view, Waddeson Manor is hosting this conference:
A Closer Look: Spotlight on French Royal Furniture by Jean-Henri Riesener
The National Trust and Waddesdon Manor (Rothschild Collections) Annual Conference
Waddesdon Manor, Buckinghamshire, 20 September 2016
To book a place, please call 01296 653226 between 10am and 4pm. The fee for the day is £25, which includes all catering; the fee can be paid with a debit or credit card. Please let us know if you have any dietary requirements. The nearest railway station is Aylesbury Vale Parkway (5–10 minutes from Waddesdon), and it is advisable to pre-book a taxi from the station to Waddesdon Manor. Another option is Aylesbury Station (10–15 minutes from Waddesdon); as a rule, there are taxis outside the station.
P R O G R A M M E
10:00 Registration and coffee
10:30 Welcome and introduction, Christopher Rowell (Furniture Curator, National Trust) and Pippa Shirley (Head of Collection, National Trust / Waddesdon Manor)
10:40 Riesener at Waddesdon Manor
• Emily Roy (Curator) and Ulrich Leben (Associate Curator), Introduction to the Exhibition and Research Project
• Lindsay Macnaughton (Oxford University Intern), Grammar and the Garde-Meuble de la Couronne: Chests of Drawers by Jean-Henri Riesener, 1774–84
• Juliet Carey (Senoir Curator), A Newly Discovered Portrait of Riesener
11:30 Riesener at the Wallace Collection
• Helen Jacobsen (Head of Curatorial Team, Wallace Collection): The 4th Marquess of Hertford’s Taste for Riesener, 1840–70
• Jürgen Huber (Senior Conservator, Wallace Collection): Riesener Revealed: Documentation and Observation…The Journey So Far
12:00 Rufus Bird (Deputy Surveyor of The Queen’s Works of Art, Royal Collections Trust), George IV and Riesener
12:15 Yannick Chastang (Independent Conservator), Riesener’s Floral Marquetry
12:30 Questions and discussion
13:00 Lunch
14:30 Bertrand Rondot (Chief Curator, Château de Versailles), Versailles, Riesener’s Palace
14.50 Wolf Burchardt (Furniture Research Curator, National Trust), Continental Furniture in National Trust Houses
15:10 Matthew Hirst (Curator, Woburn Abbey), French and Francophile Furniture in the Woburn Abbey Collection
15:30 Miriam Schefzyk (PhD Candidate, Westfälische Wilhelms-Universität Münster & École Pratique des Hautes Études, Paris), Furniture with Porcelain Plaques at Waddesdon Manor
15:45 Carolyn Sargentson (Senior Lecturer in Art History, University of Sussex), A Business Model for Refinement? Riesener’s 1773 Commission for Pierre de Fontanieu
16:05 Questions and discussion
16:30 Tea
16:45 Entry to see the Riesener exhibition and collections
17:30 Wine reception
New Book | The Architecture of Percier and Fontaine
Coming this fall from Routledge:
Iris Moon, The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (New York: Routledge, 2016), 260 pages, ISBN: 978-1472480163, $150.
French architects Charles Percier (1764–1838) and Pierre-François-Léonard Fontaine (1762–1853) became the most celebrated decorators of the French Revolution and achieved success as the official architects of Napoleon Bonaparte. This book explores how Percier and Fontaine created the Empire style and a system of decoration that engaged with the difficult politics of the period. Taking seriously the architects’ achievements in interior decoration, furnishings, theater designs, and publications during the early and most active period of their collaborative practice, their integral role in reestablishing the luxury market in Paris after the Terror, cultivating the taste of a new clientele, and creating sites of power through their interior decorations are explored. From meeting rooms designed to resemble military encampments to gilded imperial thrones that replaced Bourbon fleur-de-lys with Napoleonic bees, the architects moved beyond a Neoclassical idiom in order to transform the symbols of monarchy and revolution into an imperial ideology defined by a contradictory aesthetics. At the heart of Percier and Fontaine’s decorative work and central to grasping the politics of the Empire style is a dialectical tension between the search for a monumental architecture of permanence and the reliance upon portable, collapsible, and mobile forms. Percier, Fontaine and the Politics of the Empire Style will contribute new interdisciplinary perspectives on the relationship of the decorative arts and architecture with the political culture of post-revolutionary France and how interior decoration engendered a new awareness of time, memory, and identity.
Iris Moon is a visiting assistant professor in the School of Architecture at Pratt Institute. She specializes in eighteenth and nineteenth-century European art, architecture, and the decorative arts.
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C O N T E N T S
List of Illustrations
Acknowledgements
Introduction: Finding Revolutionary Architecture in the Decorative Arts
1 Visionary Friendship at the End of the Ancien Régime
Clean Sheets and Water Magic
Architects in Training
Roman Fever
Solo Missions
An Etruscan Friendship
2 Propulsion and Residue: Constructing the Revolutionary Interior
Rome à Rebours
Staging Antiquity and Austerity
Revolutionary Rearrangements
Seek, Record, Destroy
The Eternal Return of Luxury
3 The Recueil de décorations intérieures: Furnishing a New Order
Paper Studios
Furnishing Techniques
Strategies of Redaction
Consuming Desires
Writing Against Fashion
Between the Lines
Empire Styles
4 The Platinum Cabinet: Luxury in Times of Uncertainty
Pastoral Pastimes
Incorruptible Precision
Fast Times in Consulate Paris
Haunting Season
5 Tent and Throne: Architecture in a State of Emergency
Après Coup
Fantasies of the Ideal Villa
A Permanent Work in Progress
Little Pleasures
The Moving Bivouac
Political Theology
Divorcing the Past
Coda: Revolutionary Atonement
Exhibition | Character Mongers
James Gillray, High Change in Bond Street, ou, La Politesse du Grande Monde, published March 27th 1796 by H. Humphrey, etching with hand coloring (The Lewis Walpole Library, 796.03.27.01+).
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From The Lewis Walpole Library:
Character Mongers, or, Trading in People on Paper in the Long 18th Century
The Lewis Walpole Library, Farmington, CT, 10 October 2016 — 27 January 2017
Curated by Rachel Brownstein and Leigh-Michil George
In the course of the long eighteenth century—the Age of Caricature, and of The Rise of the Novel—the British reading public perfected the pastime of savoring characters. In a flourishing print culture, buying and selling likenesses of people and types became a business—and arguably an art. Real and imaginary characters—actual and fictional people—were put on paper by writers and graphic artists, and performed onstage and off. The exigencies of narrative, performance, and indeed of community conspired to inform views of other people—friend and foe, fat and thin—as tellingly, characters. “For what do we live,” Jane Austen’s Mr. Bennet would ask rhetorically in 1813, “but to make sport for our neighbours and laugh at them in our turn?”
This exhibit will feature images by William Hogarth, James Gillray, Thomas Rowlandson, Thomas Patch, Edward Francis Burney, Francis Grose, and G.M. Woodward, excerpts from novels by Jane Austen, Frances Burney, Henry Fielding, and Laurence Sterne, and examples of graphic collections published by Matthew and Mary Darly and Thomas Tegg that marketed caricature as entertainment.
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Public Talk | Eating People
Rachel Brownstein (Professor Emerita, Brooklyn College and The Graduate Center, CUNY)
The Lewis Walpole Library, Farmington, CT, Wednesday, 16 November 2016, 7:00pm
Offered in collaboration with the Farmington Libraries. Advance registration required.
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Graduate Student Seminar | Character and Caricature
Rachel Brownstein (Professor Emerita, Brooklyn College and The Graduate Center, CUNY)
The Lewis Walpole Library, Farmington, CT, Friday, 18 November 2016
Caricature relies on a double take: you recognize both the person represented and the artist’s critical, comic view, register both the familiar and the strange. Basic to what E.H. Gombrich called “the cartoonist’s arsenal” is the contrast between extremes, differences in scale (fat and thin, short and tall) that define a character in relation to another (the thing it is not). Pairings proliferate, sometimes by accident, always by design.
History has a hand in the process. The fathers of Charles James Fox and William Pitt were also political rivals, and Fox in fact was plump and Pitt skinny. But as Simon Schama imagines it, the artist James Gillray, commissioned in 1789 to produce a formal portrait of Pitt, could not but see him with a caricaturist’s eye, as “angular where Fox was sensual, repressed where Fox was spontaneously witty, … the upper lip stiff as a board, where both of Fox’s were fat, shiny cushions.” Schama speculates, “How could he resist? He didn’t. The ‘formal portrait’ looked like a caricature, or at the very least a ‘character.’” Is the one a version of the other?
Coming with different questions from different disciplines, we will consider caricatures by Gillray and others, bringing fresh perspectives to the questions they raise about the relation of caricature to character and to being ‘a character,’ as well as to the trick of contrast, to historical context, and to point of view.
The program is open by application. Preference will be given to graduate students. For further details contact Cynthia Roman, cynthia.roman@yale.edu. Yale Shuttle to and from New Haven. Accommodation at the Library’s Timothy Root House may be available at no charge upon inquiry.
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Talk with Edward Koren
Edward Koren (Cartoonist, The New Yorker Magazine)
Sterling Memorial Library Lecture Hall, New Haven, 13 December 2016, 5:30pm
“In my cartoon drawings, I like getting things right… What captures my attention is all the human theater around me. I can never quite believe my luck in stumbling upon riveting minidramas taking place within earshot (and eyeshot), a comedy of manners that seem inexhaustible. And to be always undercover makes my practice of deep noticing more delicious. I can take in all the details as long as I appear inattentive—false moustache and dark glasses in place. All kinds of wonderful moments of comedy happen right under my nose…”
On Cartooning, by Edward Koren
Edward Koren’s iconic images record the comedy of manners in society and politics that have captured his attention for decades. In this talk, he will reflect on his career as a New Yorker artist, and on the many and diverse influences that have contributed to the development of his thinking and drawing.
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The Art of Observational Satire: A Conversation
Rachel Brownstein and Edward Koren, moderated by Cynthia Roman
Beinecke Rare Book and Manuscript Library, New Haven, Friday, 14 December 2016, 2:00pm
Edward Koren, a long-time cartoonist, and Rachel Brownstein, a literary scholar, will reflect on the enduring tradition of social satire. Space is limited. Please register in advance.
Note (added 17 October 2016) — The original posting incorrectly listed the 13 December talk as scheduled for mid-afternoon. My apologies for any confusion –CH.
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