BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//ical@bgc.bard.edu//NONSGML kigkonsult.se iCalcreator 2.16.12//
METHOD:PUBLISH
X-WR-CALNAME:Bard Graduate Center
X-WR-CALDESC:
X-WR-RELCALID:f
X-WR-TIMEZONE:America/New_York
BEGIN:VEVENT
UID:event_1584@www.bgc.bard.edu
DTSTAMP:20260510T213438Z
DESCRIPTION:Following the recent refurbishment of the Michael C. Rockefelle
 r Wing at the Metropolitan Museum of Art\, Bard Graduate Center invites le
 ading scholars to discuss some of the challenges and opportunities for int
 ernational museums in presenting the arts and cultures of the Pacific. Dr.
  Maia Nuku (Evelyn A. J. Hall and John A. Friede Curator for Oceanic Art i
 n the Metropolitan Museum)\, who coordinated the reinstallation of the gal
 leries of Oceanic art\, will moderate. Taking the new exhibition as a star
 ting point\, the panelists will raise issues about art and architecture an
 d discuss the rich conceptual values that inform the distinctive visual ou
 tput and built environment produced by Indigenous Pacific and Islander com
 munities who live and work in the vast region known as Oceania. Challenges
  include overcoming cultural unfamiliarity and the persistence of stereoty
 pes\, confronting the consequences of past and present colonialism\, and a
 ddressing the resilience of Oceanic identities in what Tongan scholar Epel
 i Hau‘ofa called “Our Sea of Islands.”An Indigenous Arts in Transition Eve
 nt.Healoha Johnston is an art historian living in Kaiwiki\, Hawai‘i. She i
 s director of cultural resources and curator for Hawaiʻi and Pacific arts 
 and culture at Bishop Museum. Johnston’s exhibitions and research projects
  explore connections between historic visual culture and contemporary art 
 with a particular focus on the sociopolitical underpinnings that inform th
 ose relationships. She served as chief curator and curator of the arts of 
 Hawaiʻi\, Oceania\, Africa\, and the Americas at the Honolulu Museum of Ar
 t\, worked in contemporary art galleries and NOAA’s Pacific National Monum
 ent program\, and the Smithsonian Institution as part of the American Wome
 n’s History Initiative and Asian Pacific American Center before joining Bi
 shop Museum.Fred Myers\, professor of anthropology (retired) at NYU\, is a
  sociocultural anthropologist who has been doing research with Pintupi-spe
 aking Indigenous people in Australia since 1973 on their relationships to 
 land\, structures of sociality\, and their art and its circulation. His wo
 rk explores the significance of art and material culture as a point of art
 iculation\, a mediation between the values and expectations of Indigenous 
 people and institutions of the outside world. He has written three monogra
 phs\, Pintupi Country\, Pintupi Self: Sentiment\, Place and Politics among
  Western Desert Aborigines (1986)\; Painting Culture: The Making of an Abo
 riginal High Art (2002)\; and Six Paintings from Papunya: A Conversation (
 with Terry Smith\, 2024). Edited volumes that explore some crucial fields 
 of cultural production include The Traffic in Culture: Refiguring Anthropo
 logy and Art (coedited with George Marcus\, 1995)\; The Empire of Things (
 2001)\;  Experiments in Self-Determination: Histories of the Outstation Mo
 vement in Australia (coedited with Nicolas Peterson\, 2016)\; The Differen
 ce that Identity Makes (with Tim Rowse and Laurie Bamblett\, 2019)\; and T
 he Australian Art Field: Practices\, Policies\, Institutions (coedited wit
 h T. Bennett\, D. Stevenson\, and T. Winikoff\, 2020). Myers has received 
 grants from the National Endowment for the Humanities\, the John Simon Gug
 genheim Memorial Foundation\, and the American Council of Learned Societie
 s\, among others.Albert L. Refiti’s research centers around the Moananui (
 Polynesian) and broader Oceania notions of space and time (vā/wā). His tim
 e at Bard Graduate Center focuses on archival data and living testimony ab
 out building forms and practices\, to complete a book that traces common e
 lements and establishes a baseline for properly articulating the historic 
 and current links between Moananui buildings and contemporary architectura
 l practice. To that end\, the research aims to establish a genealogy of Mo
 ananui and Oceanic buildings to distill the common ancestry of building de
 signs and the practices of expert artisans\, such as tufuga\, kahuna\, and
  tōhunga. This extends and consolidates a record of the distribution of Oc
 eanic built forms and their use to identify factors that contribute to con
 temporary renaissances in Indigenous architecture in the region. Refiti is
  the coeditor of The Handbook of Contemporary Indigenous Architecture (Spr
 inger\, 2018)\; Pacific Spaces: Translations and Transmutations (Berghahn\
 , 2022)\; and The Concept of Vā: Relationality\; Time and Space in the Pa
 cific and Beyond (ANU Press\, forthcoming). The fellowship will culminate 
 in the production of a manuscript for a book titled Cosmogonic Artefacts: 
 Spatial Exposition of Pacific Architecture.Maia Nuku Born in London of Eng
 lish and Māori (Ngai Tai) descent\, Dr. Maia Nuku is Evelyn A. J. Hall and
  John A. Friede Curator for Oceanic Art at the Metropolitan Museum of Art\
 , New York. Nuku’s doctoral research focused on eighteenth-century collect
 ions of Polynesian art\, and she completed two collaborative postdoctoral 
 fellowships at the University of Cambridge in England (2008–14) researchin
 g Oceanic art collections alongside Pacific artists and practitioners. At 
 the Met\, Nuku has evolved a curatorial approach that centers Indigenous P
 acific perspectives\, grounding the presentation of visual arts in the uni
 que conceptual and cosmological connections that make art from Oceania so 
 compelling. Her exhibition The Shape of Time: Art and Ancestors of Oceania
  traveled to the Museum of Art Pudong in Shanghai (June 1–Aug 20\, 2023) a
 nd the National Museum of Qatar in Doha (Oct 23\, 2023–Jan 15\, 2024). Nuk
 u has just overseen a major reinstallation of the Oceania galleries at the
  Met\, which showcase the creativity of Indigenous Pacific artists from th
 e eighteenth century to the present through the lenses of global history\,
  Indigenous storytelling\, and Pacific oratory and performance.Object Labs
 At BGC\, we use an object-centered approach to advance the study of the de
 corative arts\, design history\, and material culture. Join our student ed
 ucators before select public events to learn about some of the objects in 
 BGC’s Study Collection. Each week we will showcase three objects carefully
  selected from the collection\, which includes over 4\,000 objects in a va
 riety of media.October 22 and 29\; November 5\, 12\, and 19\; December 338
  West 86th Street\, 5–6 pmFounded in 2011\, the BGC Study Collection suppo
 rts student research by providing opportunities for hands-on close examina
 tion of objects. Learn more about the BGC Study Collection here.
DTSTART;TZID=America/New_York:20251112T180000
DTEND;TZID=America/New_York:20251112T170000
SUMMARY:Bard Graduate Center: Exhibiting Oceania
END:VEVENT
END:VCALENDAR