Enfilade

Study Day | Women and Architecture

Posted in conferences (to attend) by Editor on February 25, 2019

From the study day flyer:

Genres & Espaces « Pas de politique, pas de chien, pas de femme »
Le Musée du 11 Conti – Monnaie de Paris, 22 March 2019

Cette journée-débat proposée par l’ENSA Paris-Malaquais, le 11 Conti-Monnaie de Paris et AWARE (Archives of Women Artists Research & Exhibition), ambitionne de réunir et promouvoir les travaux de chercheur.se.s, mais aussi des associations, collectifs, publications et enseignements dans les ENSA, proposant tout.e.s une réflexion inclusive. De la construction de l’histoire des femmes architectes à une conception féministe de l’espace à toutes ses échelles, la journée propose de s’interroger sur la place actuelle du genre dans l’enseignement de l’architecture et quelle place doit lui être faite demain.

9.30  Accueil
• Camille Morineau (directrice des collections et expositions du 11 Conti – Monnaie de Paris, présidente d’ AWARE)
• Luc Liogier (directeur de l’École nationale supérieure d’architecture Paris-Malaquais)

10.00  Introduction
• Bérénice Gaussuin

10.20  Histoire de femmes architectes
Modération: Anne-Marie Châtelet
• Arlette Auduc (Comité d’histoire du ministère de la Culture) et Anne-Marie Châtelet (ENSA Strasbourg, EA3400 Arche) de la revue Livraisons d’Histoire de l’Architecture, Femme et architecture
• Sarah Feriaux-Rubin (ENSA Belleville), Simone Galpin, femme effacée de Wogenscky
• Dominique Amouroux (Fondation Marta Pan-André Wogenscky), Marta Pan

11.30  Du genre en ville
Modération: Lucile Biarrotte (Université Paris-Est, Lab’Urba)
• Giulia Custodi (École de Géographie de Paris, LAA), Cartographies des approches genrées dans les villes européennes: Entre le mainstreaming et le féminisme diffus
• Chris Blache et Pascale Lapalud (Genre et ville), Pourquoi et comment le genre change l’urbanisme
• Lucile Biarrotte (Université Paris-Est, Lab’Urba), L’infusion d’approches genrées dans l’urbanisme parisien: Métaphore d’une propagation aux échelles organisationnelles et individuelles

Déjeuner

14.30  Projection du film Les dites cariatides, Agnès Varda (1984, 13 minutes).

14.45  Du genre en architecture
Modération: Stéphanie Dadour (ENSA Grenoble, MHA evt, ACS)
• Flore Gustin et Yen Bui (ENSA Marnes-la-Vallée), Présentation de l’intensif sur le genre ENSA Marnes-la-Vallée (Fanny Lopez, enseignante responsable)
• Sophie Orlando (ENSA Villa Arson, situations post), Modernismes saphiques, espaces non-hétéronormés: Subjectivités, sensualité et politiques de la couleur
• Stéphanie Dadour, Architecture et féminisme: De la théorie critique à l’action in Revue Malaquais

16.30  Madame l’architecte
Modération: Olivier Chadoin (ENSAP Bordeaux, PAVE-Centre Émile Durkheim)
• Giulia Zonca et Dorota Slazakowska (ENSA Paris-Malaquais), Who runs the world? Chronologie réflexive d’un intensif féministe
• Rossella Gotti et Anne Labroille (MéMO), Présentation du Mouvement pour l’Équité dans la Maîtrise d’Œuvre (MEMO)
• Stéphanie Bouysses-Mesnages (ENSA Nantes, EA3400 Arche), Les premières femmes inscrites à l’Ordre des architectes d’Ile-de- France

18.30  Fin de la journée-débat

Cantor Art Center Acquires Works by Kaphar and Suh

Posted in museums, today in light of the 18th century by Editor on February 25, 2019

From the Cantor Arts Center press release, via Art Daily:

Titus Kaphar, Page 4 of Jefferson’s ‘Farm Book’, January 1774, Goliath, Hercules, Jupiter, Gill, Fanny, Ned, Sucky, Frankey, Gill, Nell, Bella, Charles, Jenny, Betty, June, Toby, Duna (sic), Cate, Hannah, Rachael, George, Ursula, George, Bagwell, Archy, Frank, Bett, Scilla, ? , 2, 2018; oil on canvas on support panel (Stanford: Cantor Arts Center / © Titus Kaphar).

With the recent acquisition of the painting, Page 4 of Jefferson’s ‘Farm Book’, January 1774 . . ., by Titus Kaphar, and the monumental hanging sculpture, Cause & Effect, by Do Ho Suh, the Cantor Arts Center at Stanford University has added two significant works to its collection that reference how forced and unforced global migration transform personal and cultural identity.

The acquisition of these works supports the vision of Susan Dackerman, the John and Jill Freidenrich Director of the Cantor, to bring the museum firmly into the 21st century through acquisitions, exhibitions, and programs that feature concerns relevant to the everyday lives of students and other visitors. “I think art, artists, and art history have the potential to challenge a culture’s preconceived notions of itself and enlighten us to other ways of understanding the world,” she said. “Having these art works at the museum will enable us to have conversations about difficult topics from multiple points of view.”

Page 4 is what Kaphar calls a ‘visual reparation’ and belongs to a series of tar portraits imagining enslaved sitters as freed men and women. By representing them in historical dress reflective of a status above the one they lived, Kaphar visually frees his sitter from enslavement. The face of the subject is obscured by the use of tar, which suggests the sitter’s invisibility. “Kaphar’s artistic practice actively engages with art history in order to investigate its representational inequities, with regard to both what is represented, and who is doing the representing,” said Aleesa Alexander, assistant curator of American art.

In the case of Page 4, the painting was created with specific reference to Thomas Jefferson’s ‘Farm Book’, which contains lists of Jefferson’s slaves, many identified only by their first names. The full title of the painting is Page 4 of Jefferson’s ‘Farm Book’, January 1774, Goliath, Hercules, Jupiter, Gill, Fanny, Ned, Sucky, Frankey, Gill, Nell, Bella, Charles, Jenny, Betty, June, Toby, Duna (sic), Cate, Hannah, Rachael, George, Ursula, George, Bagwell, Archy, Frank, Bett, Scilla, ? , 2. While Kaphar’s style references the traditional genre of portraiture, his methods of addressing the canvas’s surface—through cutting, nailing, and covering his figures with tar—is decidedly contemporary. “Given that Stanford was also built on a farm, and that the Stanfords employed Chinese laborers, having this piece in our collection will generate interesting parallels worthy of exploration and discussion,” said Alexander. Page 4 is the first work by Kaphar to enter the Cantor’s collection and will be on display in the exhibition The Medium Is the Message: Art since 1950 February 23–August 18, 2019.

Do Ho Suh, Cause & Effect, with Suh’s Screen in the background, as installed at the Cantor Arts Center.

Cause & Effect is composed of hundreds of small, colorful, acrylic figures, which form a monumentally-scaled, cone-shaped chandelier suspended from the ceiling and reaching almost to the floor. The interconnectedness of the figures, which sit upon each other’s shoulders, suggest the weight and inescapability of one’s history. Suh’s work, which often references domestic architecture and decoration, questions cultural and aesthetic differences between his native Korea and his adopted homes in the United States and Europe. “Adding this visually compelling and complex work to our collection will allow us to continue to have important discussions about transnational identity and how we comprehend the past while living in the present,” Dackerman said.

Cause & Effect is a bold and important work, signaling the Cantor’s commitment to exhibit more works of contemporary art by artists from Asia,” said Padma D. Maitland, Patrick J. J. Maveety Assistant Curator of Asian Art. This is the first work by Suh to be added to the Cantor’s collection and is on display with two other works by the artist in the exhibition Do Ho Suh: The Spaces in Between.