#HumanitiesontheEdge

Ángel García

Apr 24, 2018

Humanities on the Edge Review: Bridget R. Cooks

At the center of Professor Bridget R. Cooks’ lecture, “Black Artists and Activism: Harlem on My Mind, 1969,” was the projected photograph and cover of her book, Exhibiting Blackness: African Americans and the American Art Museum. A curated endeavor—Cooks staged the photo which features her parents looking upon works of art, her own ghost-like image walking through the gallery, and a museum guard standing in the corner—she explained that this kind of curation was critical: she

Humanities on the Edge Preview: Bridget R. Cooks

Gabi Kirilloff

Apr 17, 2018

Humanities on the Edge Preview: Bridget R. Cooks

In 1969, under the direction of curator Allon Schoener, the Metropolitan Museum of Art opened an exhibition titled Harlem on My Mind: Cultural Capital of Black America, 1900-1968, which aimed to represent the cultural history of Harlem. The exhibit was comprised of photographs (which at the time were not considered to be fine art) that depicted the people and buildings of Harlem. Despite being the first exhibition of African-American art at the museum, the exhibit did not inc

Seeing '68: HotE Review, "No Intenso Agora" ("In the Intense Now")

Dillon Rockrohr

Feb 13, 2018

Seeing '68: HotE Review, "No Intenso Agora" ("In the Intense Now")

Last Friday evening, February 9th, João Moreira Salles visited the Mary Riepma Ross Media Arts Center to screen his new documentary film essay No Intenso Agora (In the Intense Now). Following the screening of the film—which was presented as a part of the Ross’s Norman A. Geske Cinema Showcase as well as the Humanities on the Edge lecture series—Salles appeared for a Q&A with the audience. No Intenso Agora combines archival footage, both professional and found amateur footage,

Humanities on the Edge Preview: João Moreira Salles’ "No Intenso Agora" ("In the Inte

Rachel Cochran

Feb 6, 2018

Humanities on the Edge Preview: João Moreira Salles’ "No Intenso Agora" ("In the Inte

Continuing the theme of this academic year’s Humanities on the Edge speakers, João Moreira Salles addresses images and aftermath of revolution in his documentary film No Intenso Agora (In the Intense Now). The film uses archival found footage--as well as footage taken by Salles’s own mother on a tour through Maoist China in 1966--in order to explore the many faces of revolution in the late 1960s, and particularly the 1968 revolutionaries of Paris and Prague. In his review of

Ángel García

Oct 24, 2017

Poetic Flight: HotE Review, Ronald Judy

“Humanity can progress of its own accord” were the last words of Professor Ronald Judy’s lecture, “Restless Flying from Haiti to Tunisia: What is ‘After Revolution’ Anyway?” I begin this review with the conclusion of Dr. Judy’s lecture solely for this reason: after-revolution is just the beginning point of imagining the full capacity of our humanity. At the heart of this year’s Humanities on the Edge series is the concept of “Post Revolutionary Futures." The second lecture of

Restless Imagination: HotE Preview, Ronald Judy

Dillon Rockrohr

Oct 10, 2017

Restless Imagination: HotE Preview, Ronald Judy

The Humanities on the Edge lectures for this academic year take on the question of “Post-Revolutionary Futures.” If Timothy Brown’s recent lecture on the events of 1968 and the Russian Revolution laid the historical groundwork for asking the question, “Is revolution still possible?,” next week’s lecture by Ronald Judy promises to approach this question in terms of the very conditions of imagining revolution and what may follow it. On Thursday, October 19th, at 5:30pm in the S

Humanities on the Edge Preview: Timothy Scott Brown

Gabi Kirilloff

Sep 26, 2017

Humanities on the Edge Preview: Timothy Scott Brown

Timothy Scott Brown’s latest book, West Germany and the Global Sixties: The Anti-Authoritarian Revolt, 1962-1978, discusses the complex web of political, social, and cultural factors that contributed to the anti-authoritarian movement in West Germany during the 1960’s. Typically associated with the German Student Movement, the critical conversation surrounding the West German Protests of ‘68 often revolve around the widespread desire for social change and dissatisfaction with

Humanities on the Edge Preview: Kirsten Pai Buick

Emily Dowdle

Apr 12, 2017

Humanities on the Edge Preview: Kirsten Pai Buick

In a recent interview with BURNAWAY, Kirsten Pai Buick explains what she means by the problem of art history’s black subject, stating that she means problem in “two ways.” First that “problem” designates the artist as someone who is not a white male -- that to be a non-white non-male artist is to be expected to “reproduce your identity very simply in your art.” This is to say that the white male is a blank-canvas (so to speak) that is allowed to execute the “mind, hand and ge

Our So-Called Progress: Humanities on the Edge Review, Alexandre Da Costa

Daniel Clausen

Mar 7, 2017

Our So-Called Progress: Humanities on the Edge Review, Alexandre Da Costa

On an evening between the old travel ban and the new one, more than forty days and forty nights after having bid farewell to the first African American, bi-racial president, Alexandre Da Costa continued the conversation on “Post-Racial Futures?” (emphasis on the question mark) with his lecture “Towards a Hemispheric Critique of the Post-Racial.” Public praise for the post-racial, Da Costa explained, is a rhetorical and conceptual smoke screen. It hinges on a strategy of obfus

The Post-Racial Ideology: HotE Preview, Alexandre Da Costa

Dillon Rockrohr

Feb 28, 2017

The Post-Racial Ideology: HotE Preview, Alexandre Da Costa

About two or three years ago, I joined a couple of my friends from high school to have dinner with our old American history teacher. This is a man we respected as an exemplar of good character, an intelligent man who had provoked us those years ago to think critically in new ways about the issues that have shaped our country and the debates that formed our American structures and institutions. The conversation that night, however, felt strangely alien to me despite how predic

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