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DTSTART:20240310T070000
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DTSTART:20231105T060000
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UID:event.910540.www.amherst.edu
DTSTART;TZID=America/New_York:20240524T143000
SEQUENCE:0
TRANSP:TRANSPARENT
DTEND;TZID=America/New_York:20240524T160000
LOCATION:Stirn Auditorium\, Mead Art Museum
SUMMARY:Konstantin Akinsha\, \"Who stole Ukrainian art? A Short Survey of\n
 Modernism in Ukraine\"
CLASS:PUBLIC
DESCRIPTION:Please join us for a talk by Konstantin Akinsha\, curator of th
 e new\nMead exhibition “The Juncture: Ukrainian Artists in Search of\nMo
 dernity and Identity.” The short life of Ukrainian modernism\nreflects t
 he tragic events of the history of Ukraine in the 20th\ncentury. As works 
 by Ukrainian modernists were discovered decades\nlater\, they were often l
 abeled as “Russian” and interpreted\nthrough a Russian cultural framew
 ork. After the fall of the USSR\, the\nWestern all-inclusive conception of
  Russian avant-garde was\nappropriated by the Russian propaganda machine a
 nd turned into an\nimperialist tool. Conversely\, the objective of Ukraini
 an art\nhistorians is the reclaiming of Ukrainian art appropriated by\nRus
 sians. In the situation of a fierce Ukrainian-Russian kulturkampf\,\nthe l
 ecture will shed light on the validity of Ukrainian claims and\nthe Russia
 n response to them.\n\nKONSTANTIN AKINSHA is among the foremost scholars a
 nd curators of\nRussian and Ukrainian Art. He studied at the Shevchenko Ar
 t School in\nKyiv\, Ukraine and in 1986 completed a Masters in Art Histor
 y at the\nMoscow State University in Russia. He obtained his Candidate of 
 Art\nHistory at the Research Institute of Art History in Moscow in 1990\,\
 nand started a PhD at the University of St Andrews\, Scotland in 2005.\nTh
 roughout his career\, he has been curator at the Kyiv Museum of\nWestern a
 nd Oriental Art\, Kyiv\, Ukraine\, Moscow correspondent for\nARTnews\, con
 tributing editor for ARTnews magazine\, New York\, as well\nas a Research 
 Fellow at both the Germanisches Nationalmuseum\,\nNuremberg\, Germany and 
 Bremen Kunstverein\, East European Institute of\nBremen University\, Breme
 n\, Germany. From 1999-2000 he was also Deputy\nResearch Director Art and 
 Cultural Property\, Presidential Advisory\nCommission on Holocaust Assets 
 in the United States\, Washington\, DC.\nIn 2006 he became the European Co
 rrespondent for ARTnews magazine in\nBudapest\, and in 2007 he also became
  a Eugene and Davmel Shklar Fellow\nat the Ukrainian Research Institute of
  Harvard University.\n\nSince the start of the full-scale Russian invasion
  of Ukraine\, he has\nbeen documenting the destruction of its cultural her
 itage and has been\nwriting for such publications as The Wall Street Journ
 al and for his\nown website. In 2022\, he developed the traveling exhibiti
 on _In the\nEye of the Storm: Modernism in Ukraine\, 1900-1930s_\, which o
 ffers a\npanoramic view of Modernism in the region and provides an opportu
 nity\nfor museums in Europe to support the safekeeping of works from\nUkra
 inian museums endangered by the Russian invasion. _In the Eye of\nthe Stor
 m_ has been on display throughout Europe\, at the\nThyssen-Bornemisza Nati
 onal Museum in Madrid\, the Museum Ludwig in\nCologne\, the Royal Museums 
 of Fine Arts of Belgium in Brussels\n(2022-2023)\, the Belvedere Museum in
  Vienna\, and the Royal Academy of\nArts in London (2024). In 2024\, he cu
 rated the exhibition \"The\nJuncture: Ukrainian Artists in Search of Moder
 nity and Identity\" at\nthe Mead Art Museum at Amherst College\, bringing 
 together rare works\nby three of the leading Modern Ukrainian artists: Ole
 ksandr Bohomazov\n(1880—1930)\, Alexander Archipenko (1887—1964)\, and
  Vasyl Yermilov\n(1894—1968).\n
DTSTAMP:20240505T233344Z
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BEGIN:VEVENT
UID:event.911061.www.amherst.edu
DTSTART;TZID=America/New_York:20240531T090000
SEQUENCE:0
TRANSP:TRANSPARENT
DTEND;TZID=America/New_York:20240531T100000
LOCATION:Webster Hall\, 202
SUMMARY:Curators Talk: Art in Doubt\, Part 2
CLASS:PUBLIC
DESCRIPTION:Please join us for a talk by Maria Timina\, curator of Russian 
 and\nEuropean Art\, on the exhibition \"Art in Doubt: A Critical Examinati
 on\nof the Thomas P. Whitney Collection\, Part 2.\" \n\nThis is an exhibi
 tion about suspected fakes and possible forgeries\,\nabout works that caus
 e us to doubt history\, experts and art itself. It\nis about doubt as an e
 ssential part of art attribution\, while it is\nalso about how knowledge c
 an transform skepticism into assurance. With\na focus on the Thomas P. Whi
 tney Collection\, a collection of over six\nhundred objects housed at the 
 Mead Art Museum\, “Art in Doubt”\nmarks the first scholarly presentati
 on of dubious works of Russian and\nSoviet modern art in the United States
 . In two parts\, the exhibition\ncontinues throughout the 2023-24 academic
  year. Part 1 featured\nexclusively artworks of disputed authenticity—th
 ose with imaginary\nhistories of ownership\, unreliable authenticity certi
 ficates\,\nmisleading signatures\, and fabricated artist biographies. Part
  2\noffers a wider range of artworks whose authenticity has been\nquestion
 ed\, some of which are highly dubious and some of which now\nappear to be 
 genuine.\n
DTSTAMP:20240505T233344Z
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