Through La Fábrica—the Madrid-based publishing house he also directs, journalist Alberto Arnaut aims to incite a cultural debate in Matador, or in his own words a “campo de batalla” (battlefield) for ideas in all genres. The work of painters, sculptors, photographers, novelists, poets, playwrights, essayists, philosophers, architects, filmmakers, actors, chefs, musicians, fashion designers, and more adorn the pages of the lavish folio-size issues. Published annually since 1995 beginning with the letter A, the publishers are committed to completing 28 issues in 2022 when they reach the letter Z.
It is difficult to describe what takes place in Matador until you put your hands on an issue. Other than the dimensions, no issue is alike and each takes on a distinct theme. The magazine is predominantly visual with an emphasis on creators from the Iberoamerican world such as artists Miguel Barceló, Luis Gordillo and Eduardo Chillida; photographers Francesc Català-Roca, Xavier Miserachs, Ramón Masats; and filmmakers Bigas Luna and Gonzalo Suárez. However, contributions from all the continents establish an international dialogue. The words of contemporary fiction writers such as Javier Marías, Juan Goytisolo, Elena Poniatowska, and Juan Villoro engage with the deceased such as Rafael Alberti, Clarice Lispector, José Saramago and others. The texts of French theoreticians Hélène Cixous and Paul Virilio and the Department of Spanish Portuguese’s own Alex-Saum Pascual can also be encountered in Matador.
This year, the Art History/Classic Library was able to acquire all issues to date (A-T) as a joint purchase with the Romance Languages Librarian and is now one of only three libraries in California with a full-run and subscription.
Mapping as Research: Trevor Paglen in conversation with Julia Bryan-Wilson
and book launch
Tuesday, April 24 at 5:00 pm
Osher Theater, Berkeley Art Museum and Pacific Film Archive, UC Berkeley
To celebrate his first comprehensive artist monograph, Trevor Paglen (UC Berkeley Geography PhD and 2017 MacArthur “genius” fellow) will discuss his work with ARC Director Julia Bryan-Wilson. Paglen’s work relentlessly pursues what he calls the “unseeable and undocumentable” in contemporary society. Blending photography, installation, investigative journalism, and science, Paglen explores the clandestine activity of government and intelligence agencies, using high-grade equipment to document their movements and reveal their hidden inner workings. The new publication includes a survey text by Bryan-Wilson and presents over two decades of Paglen’s groundbreaking work, making visible the structures and technologies that impact our lives.
Please note: Paglen will be signing books after the discussion.
Trevor Paglen is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. Trevor Paglen’s work is included in the collections of the Metropolitan Museum of Art; the San Francisco Museum of Modern Art; the Smithsonian American Art Museum; the Whitney Museum of American Art; Berkeley Art Museum; the Solomon R. Guggenheim Museum, New York; Victoria and Albert Museum, London; and the Nevada Museum of Art. He has launched an artwork into distant orbit around Earth in collaboration with Creative Time and MIT, contributed research and cinematography to the Academy Award-winning film Citizenfour, and created a radioactive public sculpture for the exclusion zone in Fukushima, Japan. He is the author of five books and numerous articles on subjects including experimental geography, state secrecy, military symbology, photography, and visuality. Paglen’s work has been profiled in the New York Times, the New Yorker, the Economist and Art Forum. He is a 2017 recipient of the MacArthur Foundation Award.
Paglen holds a B.A. from UC Berkeley, an MFA from the Art Institute of Chicago, and a Ph.D. in Geography from UC Berkeley.
Julia Bryan-Wilson is Professor of Modern and Contemporary Art at the University of California, Berkeley. Her research interests include questions of artistic labor, feminism, queer theory, fabrication/production, performance, visual culture of the nuclear age, photography, and textile handicraft. She is the author of Art Workers: Radical Practice in the Vietnam War Era (U California Press, 2009), Art in the Making: Artists and their Materials from the Studio to Crowdsourcing (with Glenn Adamson, Thames & Hudson, 2016), and Fray: Art and Textile Politics (U Chicago, 2017). She is the editor of Robert Morris: October Files (MIT, 2013), and she has co-edited two special issues of journals: “Visual Activism” for the Journal of Visual Culture (with Jennifer González and Dominic Willsdon) and “Time Zones: Durational Art and its Contexts” for Representations (with Shannon Jackson). With Andrea Andersson, Bryan-Wilson co-curated the exhibition Cecilia Vicuña: About to Happen, which travels to the Berkeley Art Museum in fall 2018. She is currently writing a book about Louise Nevelson.
Image: Trevor Paglen, Untitled (Reaper Drone), 2010, C-Print, 48 × 60 in. (121.92 × 152.40 cm), Courtesy of the Artist, Metro Pictures New York, Altman Siegel San Francisco.
Thank you to everyone who attended our successful event on Tuesday, February 13th, showcasing many of the Library’s treasures from around campus:
Students, faculty, staff, and members of the public enjoyed seeing rare and special collection items from collections such as: the Bancroft Pictorial Collections; Artists’ books from the Environmental Design Library and the Bancroft Library; prints from the Graphic Arts Loan Collection at Morrison Library; media resources from the Media Resources Center; image collections from the Visual Resources Center in the History of Art Department and the College of Environment Design; and many more!
Art + Feminism + Race + Justice Wikipedia Edit-a-Thon
Drop in any time, stay as long as you like!
Tuesday, March 6, 12:00pm-5:00pm
Wikimedia’s gender trouble is well-documented. While the reasons for the gender gap are up for debate, the practical effect of this disparity is not: content is skewed by the lack of female participation. This represents an alarming absence in an important repository of shared knowledge. Let’s change that! Drop by the A+F Wikipedia Edit-a-Thon, learn how to edit Wikipedia and make a few changes of your own! This year, we’re partnering with the American Cultures program and expanding the scope to highlight the theme of race and justice. We are now calling it the Art+Feminism+Race+Justice Wikipedia Edit-a-thon.
People of all gender identities and expressions welcome.
Bring a laptop.
Drop in for half an hour or stay for the whole afternoon.
No editing experience necessary; we’ll provide training and assistance.
Optional: Training sessions at 12:30 & 2:30.
Get a headstart! Create an editing account ahead of time.
Refreshments will be provided.
RSVP (encouraged, but not required)
A Cal ID card is required to enter Moffitt. The Library attempts to offer programs in accessible, barrier-free settings. If you think you may require disability-related accommodations, please contact us.
CFP deadline December 1, 2017.
A one-week training workshop (March 25-31, 2018) at UCSC on photogrammetry for early-stage graduate students. Participants in this workshop will gain intensive hands-on experience in the techniques and processing workflow for photogrammetric recording for cultural heritage projects, presented within the context of a critical engagement in discussions of the politics of digital knowledge production. Click here for more information: ARC Photogrammetry Workshop Call UCSC.
CFP deadline January 19, 2018.
Scholars from a wide range of fields are invited to submit proposals for research projects investigating Ed Ruscha’s “Streets of Los Angeles” archive—including, but not limited to digital humanities, cultural geography, architecture, art history, photography, and visual culture. Interdisciplinary approaches and team-based projects are particularly encouraged. Selected researchers would collaborate with Getty Research Institute (GRI) staff as part of a larger research-technology project, which seeks to digitize and make publicly-accessible a portion of the archive in innovative ways. The goal is to publish resulting scholarship at the close of the project. For more details, click here.
CFP deadline Janurary 5, 2018.
This Getty Foundation supported workshop will support interdisciplinary teams focused on the hard questions of Digital Art History as a discipline, a set of methods, and a host of technical and institutional challenges and opportunities.
Participants will gather from June 4-16, 2018 in Venice, Italy at Venice International University, with follow-up activities taking place over the course of the 2018-19 academic year, and leading into a follow-on gathering in Summer of 2019 that will operate as a writing and digital publication workshop, building upon work done over the course of the year by the project teams and in collaboration with our wider network.
CFP deadline January 16, 2018.
Digital Humanities Advancement Grants (DHAG) support digital projects throughout their lifecycles, from early start-up phases through implementation and long-term sustainability. Experimentation, reuse, and extensibility are hallmarks of this grant category, leading to innovative work that can scale to enhance research, teaching, and public programming in the humanities.
This program is offered twice per year. Proposals are welcome for digital initiatives in any area of the humanities.
Are you an undergraduate student who is curious about the research process? Would you like to hear about the experience of one of your peers? Join us Wednesday, November 8th for a talk by Gabriella Wellons, undergraduate in Art History.
Ancient Graffiti and Emulation of Moche Mural Wall Paintings
Wednesday, November 8th, 12:10-1:00pm
Moffitt Library, Fourth Floor