10th Annual Art History Graduate Student Symposium: “Re-producing the Original: The Copy’s Role in the History of Art” April 17-18, 2014.

Symposium Schedule:
Thursday, April 17
Keynote Address, 177 Lawrence Hall, 6-7pm
Winnie Wong, University of California, Berkeley
Title: “Van Gogh on Demand: Valorizing the Copy in the Age of China”

Bio for keynote speaker Winnie Wong:
Professor Winnie Wong’s talk will draw largely from the content of her first book, Van Gogh on Demand: China and the Readymade (U Chicago Press 2014), which is a study of Dafen village, China, the world’s largest production center for oil-on-canvas painting. Wong’s work examines conceptual art, propaganda, skill, craft and performance in Dafen, and evaluates the postmodern valorization of creativity and appropriation in globalist artistic discourses. Wong’s research is concerned with the history and present of artistic authorship, with a focus on interactions between China and the West. Her theoretical interests revolve around the critical distinctions of high and low, true and fake, art and commodity, originality and imitation, and, conceptual and manual labor, and thus focuses on objects and practices at the boundary of these categories.

Reception (in conjunction with the Student Art Show), LaVerne Krause Gallery, Lawrence Hall, 7-8pm

Friday, April 18

Student Presentations:
Gerlinger Alumni Lounge, 1468 University Street

9:30-11AM: History of the Copy

Presenters in the first session explore a theoretical approach to copying throughout its long history. In particular consideration will be given to the theories of Pliny, Vasari, Winckelmann, and Barthes. These presentations will touch on the relationship between modern scholarship concerning the copy and its application to Roman art, and the relationship of contemporary drawing to mechanical reproduction.

Nicole Budrovich, Department of Art History, University of California, Davis
Title: “The Art of the Copy: Evaluating Replications in Roman Art”

Joshua Unikel, Department of Visual Studies, University of Buffalo
Title: “On Becoming A Human Xerox Machine

11:10-12:10PM: Postmodern Copies

Presenters in the second session will consider issues central to postmodern copies of Western masterpieces. In particular this panel will discuss the relationship between trompe l’oeil and contemporary sculpture, and the copy’s ability to make culture a commodity object.

Greta Suiter, Department of Art History, George Mason University
Title: “Trompe l’oeil and Vik Muniz’s Verso series: The back of the canvas as an original copy”

Megan Cekander, Department of Art History, University of Oregon
Title: “Making the Sacred Profane? The Last Supper series of Andy Warhol”


Lunch (lunch for presenters will be served in Gerlinger Alumni Lounge

1:15-2:45PM: Cross-Culture Perspectives

Presenters in the third session will question the nature of copying and artistic originality by exploring the subject within a cross-cultural context. In particular these presentations will highlight disparities in the appropriation of Western style and the subversion of mainstream artistic canons by modern and contemporary artists whose works draw influence from non-western traditions.

Cristina Morandi, Department of Art History, Rutgers University
Title: “The Originality of Semyon Faibisovich: Interpretation and Subjectivity in his Hyperrealist works”

Zachary Forstrom, Department of Art History, University of St. Thomas
Title: “The Fragmentation of Space: Chinese Painting and Phantom Landscapes”

Stephanie Chadwick, Department of Art History, Rice University
Title: “Jean Dubuffet’s Doubles: The Portraits of Antonin Artaud and the Balinese Theater”