MoMA Talks: Panel Discussions and Symposia

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 "In Transit: Fantasy Coffins between Ghana, the Art Market, and Museums" Roberta Bonetti, University of Bologna and l'Ecole des Hautes Etudes en Science Sociales, Paris

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 "(un)Lived Situations: Memórias Íntimas Marcas" Wendy Morris, Institute for Research in the Arts, University of Leuven, Belgium

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 "In Transit: Fantasy Coffins between Ghana, the Art Market, and Museums" Roberta Bonetti, University of Bologna and l'Ecole des Hautes Etudes en Science Sociales, Paris

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 "(un)Lived Situations: Memórias Íntimas Marcas" Wendy Morris, Institute for Research in the Arts, University of Leuven, Belgium

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 "From Local to Global: Recovering Gabriel Orozco's Naturaleza recuperada" Jennifer Josten, Yale University

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 Discussion Moderator: Zdenka Badovinac, Director of Moderna Galerija (Museum of Modern Art), Ljubljana, Slovenia Larissa Buchholz, State University of New York at Stony Brook Daniel R. Quiles, Graduate Center, City University of New York Jennifer Josten, Yale University

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 "From Local to Global: Recovering Gabriel Orozco's Naturaleza recuperada" Jennifer Josten, Yale University

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 Discussion Moderator: Zdenka Badovinac, Director of Moderna Galerija (Museum of Modern Art), Ljubljana, Slovenia Larissa Buchholz, State University of New York at Stony Brook Daniel R. Quiles, Graduate Center, City University of New York Jennifer Josten, Yale University

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Keynote: Friday, April 28 "De-Flattening Contemporary Global Art" Professor Wu Hung, The Harrie H. Vanderstappen Distinguished Service Professor of Art History, East Asian Languages and Civilizations; Chief Curator of the 2006 Gwangju Biennale; Director, Center for the Art of East Asia; and Consulting Curator, Smart Museum of Art.

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 "Some Aspects of the South American Question: Tucumán Arde's Bid for an Argentine Public Sphere" Daniel R. Quiles, Graduate Center, City University of New York

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Keynote: Friday, April 28 "De-Flattening Contemporary Global Art" Professor Wu Hung, The Harrie H. Vanderstappen Distinguished Service Professor of Art History, East Asian Languages and Civilizations; Chief Curator of the 2006 Gwangju Biennale; Director, Center for the Art of East Asia; and Consulting Curator, Smart Museum of Art.

World Art | Art World: Changing Perspectives on Modern and Contemporary Art The Museum of Modern Art's Second Annual Graduate Symposium In the past few decades, the art world has seen unprecedented growth and globalization. These developments are apparent in a number of areas: new and larger museums and cultural institutions; a thriving market of galleries, art fairs, and biennials around the world; new press outlets for the dissemination of art criticism, marketing, and education through traditional and new media; increased attention, research, and art that addresses non-Western subject matter; and the professionalization of artists, museum administrators, and curators through emerging MA, MFA, and PhD programs. How do critics and scholars comprehend the significance of both local and international artistic activity? What traditional and new tools for analysis do they use? Art historian James Elkins has recently written that the prospect of world art history raises questions about the discipline's limits and future. Indeed, Western art history's traditional methods, assumptions, and parameters of research have been under debate for at least the last four decades. This symposium sought papers that drew on a variety of disciplines and approaches to address histories of world art and emerging trends in the contemporary art world, while focusing on specific works or projects. Symposium: Saturday, April 29 "Some Aspects of the South American Question: Tucumán Arde's Bid for an Argentine Public Sphere" Daniel R. Quiles, Graduate Center, City University of New York

Pioneering Modern Painting: A Symposium on Cézanne and Pissarro Saturday, September 10, 2005 9:30 a.m-4:00 p.m. Held in conjunction with the exhibition Pioneering Modern Painting: Cézanne and Pissarro. The Truth in Painting "Poldex" Paul Smith, Professor and Chair of History of Art, University of Warwick, Great Britain "This Great Argument" T. J. Clark, George C. and Helen N. Pardee Professor of Art History, University of California at Berkeley

Pioneering Modern Painting: A Symposium on Cézanne and Pissarro Saturday, September 10, 2005 9:30 a.m-4:00 p.m. Held in conjunction with the exhibition Pioneering Modern Painting: Cézanne and Pissarro. The Legacy of Cézanne and Pissarro "Collaborations in Contemporary Art" Brett Littman, Deputy Director, P.S.1 Contemporary Art Center, and art and design critic

Pioneering Modern Painting: A Symposium on Cézanne and Pissarro Saturday, September 10, 2005 9:30 a.m-4:00 p.m. Held in conjunction with the exhibition Pioneering Modern Painting: Cézanne and Pissarro. Roundtable Moderated by Joachim Pissarro, curator, Department of Painting and Sculpture, The Museum of Modern Art, and organizer of the exhibition.