PODCAST: Moving a Hundred-Year-Old Series Online: Getty’s Corpus Vasorum Antiquorum. JAMES CUNO: Hello, I’m Jim Cuno, President of the J.
Paul Getty Trust. Welcome to Art and Ideas, a podcast in which I speak to artists, conservators, authors, and scholars about their work. DESPOINA TSIAFAKIS: The CVAs are very limited numbered volumes, only in libraries. So someone had to go to the library; it was not really easy to use them. With this now, people can use it anytime. Ancient Art Podcast. What Would James Baldwin Do?. Classics and the Dream of White Europe.
James Baldwin, author and civil rights activist, has recently re-emerged in American life.
Not in the Frederick Douglass sense of someone “who’s done an amazing job and is getting recognized more and more,” but rather in his own words, gloriously preserved by Raoul Peck’s Oscar nominated documentary, I Am Not Your Negro (2017). Peck based the film’s narration on Baldwin’s own writings, including notes from his unfinished work, Remember this House, a personal account of the lives and violent deaths of Martin Luther King, Jr., Medgar Evers, and Malcolm X.
The end product is, as the LA Times noted, “like Baldwin … unadulterated, uncompromising and unapologetic.” Although Peck has emphasized the decade-long search for the right format to use in bringing Baldwin’s words to life, the movie asserts its relevance for audiences today by juxtaposing historic footage of riot police and demonstrations with that of more recent events, such as the protests at Ferguson. An Investigation of Black Figures in Classical Greek Art. Pitcher (Oinochoe) in the Form of the Head of an African, about 510 B.C., attributed to Class B bis: Class of Louvre H 62.
Terracotta, 8 7/16 in. high. The J. Paul Getty Museum, 83.AE.229. Digital image courtesy of the Getty’s Open Content Program In ancient Greece, men often escaped their daily grind to socialize at a symposium, or formalized drinking party. Pitcher (Oinochoe) in the Form of the Head of an African, with the label that accompanies it in Athenian Vases (Gallery 103) at the Getty Villa This head-shaped wine pitcher invites numerous questions. The term “black” is unsuitable, because it transports our modern color politics into antiquity; the Trans-Atlantic slave trade has permanently mangled any attempt to use this color objectively.
Black Figures in Classical Greek Art. Pitcher (Oinochoe) in the Form of the Head of an African, about 510 B.C.E., attributed to Class B bis: Class of Louvre H 62.
Terracotta, 8 7/16 inches high (The J. Paul Getty Museum, 83.AE.229. Digital image courtesy of the Getty’s Open Content Program) The Ancient Greek World. Reflections: David Saunders on Ajax and Achilles. JAMES CUNO: Hi, I’m Jim Cuno, president of the J.
Paul Getty Trust. As we all adapt to working and living under these new and unusual circumstances, we’ve asked curators from the Getty Museum and Getty Research Institute to share short reflections on works of art they’re thinking about right now. We’ll be releasing new recordings on Tuesdays over the next few weeks. I hope you’ll find these stories about our daily lives—from laundry on the line to a dog at a scholar’s feet—thought provoking, illuminating, and entertaining. DAVID SAUNDERS: Hi there, my name is David Saunders. Normally its on view at the villa. Ajax and Achilles are the leading heroes of the Greek army. Corpus Vasorum Antiquorum, Fascicule 10. Ancient Greece: Myth, Art, War: Vase Painting in Classical Athens on Apple Podcasts. Pottery is the single biggest category of evidence we have from the classical world – there is nothing we have more of.
Much of it is fragmentary coarseware, but other vases were decorated. Thousands of vases painted in the black and red figure techniques were made in Athens between the seventh and fourth centuries BC and exported all over the Greek world. In this lecture Dr Gillian Shepherd looks at the basics of Athenian vase painting: shapes, techniques and dating. Vases with scenes of myth and everyday life are invaluable sources for analysing ancient society – for example, the scenes of everyday life give us a picture of Greek activities and what perishables such as furniture and textiles looked like.
But can we take these at face value? ▶ Classical Education and Democracy: Exhibition One of Our Ancient Group Material. Whose Canon?
Bringing Iphigenia and Plato Closer to Home [T]he canon, that transparent decanter of Western values – Henry Louis Gates, Jr. “Whose Canon is it, anyway?” , in Group Material Democracy (Education and Democracy section), p. 72. Dominant ideologies, usually with a nationalistic streak, have used the classical canon as a propaganda machine—primarily through our education systems. The Belgian writer Suzanne Lilar (1901-1992) was a lawyer by training, not a classicist or a philosopher, but she was convinced that it was important to get to grips with Platonic philosophy. I’m the man you think you are: Personal and Professional If the concept of knowledge for knowledge’s sake is accepted by people other than tenured academics, perhaps every idealistic program or youth program won’t be judged solely by whether it helps people get jobs.
Nothing Left to Lose: Fighting and Freeing the Curriculum As Bertolt Brecht once wrote: “The classics are already dead.