{"id":6553,"date":"2025-05-19T12:05:41","date_gmt":"2025-05-19T19:05:41","guid":{"rendered":"https:\/\/arthistory.ucr.edu\/?p=6553"},"modified":"2025-05-19T12:05:41","modified_gmt":"2025-05-19T19:05:41","slug":"2025-brink-carrott-forster-hahn-lecture-series","status":"publish","type":"post","link":"https:\/\/arthistory.ucr.edu\/2025-brink-carrott-forster-hahn-lecture-series\/","title":{"rendered":"2025 Brink Carrott Forster-Hahn Lecture Series"},"content":{"rendered":"

2025 Brink Carrott Forster-Hahn Lecture Series<\/span><\/h2>\n

Join Us on Wednesday, May 28, 2025 at 5:30pm in ARTS 333<\/span><\/strong><\/h3>\n
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\"\"<\/a>Sarah Salisbury, 2024 Barbara B. Brink Travel Award
\n<\/span>Monumental Meetings: Locating Indigenous Monumentality at the Four Corners
\n<\/em><\/strong>Since 1875, the Four Corners Monument sits isolated at the northeast corner of the sovereign Navajo Nation, where it marks the convergence of four U.S. states \u2014 Arizona, Utah, Colorado, and New Mexico. Over the past hundred fifty years, the monument has increasingly become a popular tourist destination, though it appears solely to celebrate its colonial cartography. In 2010, however, something unique happened. The Navajo Nation and the Ute Mountain Tribe, with assistance from various federal agencies, completed a total redesign of the monument. Its newly enlarged complex now situates a medley of forms that inscribe Indigenous values to the cadastral landmark. Therefore, it now appears the monument convenes two systems of culture \u2014 Indigenous American and Western-US settler-colonial \u2014 altering the commemorative significance of the Four Corners Monument.<\/p>\n<\/div>\n

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Elizabeth Carleton, 2024 Richard G. Carrott Travel Award
\n<\/strong><\/span>Perfecting Galileo: Collaborations Between Artist and Astronomer in 17th-Century Europe
\n<\/em><\/strong>My dissertation evaluates three responses to Galileo\u2019s lunar representations: Claude Mellan\u2019s 1637 lunar engravings; Johannes Hevelius\u2019s 1647 lunar atlas, Selenographia: sive, lunae descriptio; and Giovanni Battista Riccioli\u2019s 1651 Almagestum novum. Each of these projects represents a different type of collaboration between artist and scientist in the early modern period. In revisiting seventeenth-century selenography, I hope to enhance our understanding of the intellectual landscape of early modern Europe. The Carrott Grant enabled me to travel to Paris to conduct primary source research at the Biblioth\u00e8que nationale de France and the Paris Observatory.<\/p>\n<\/div>\n

Homer Arnold, 2024 Fran\u00e7oise Forster-Hahn Travel Award
\n<\/strong><\/span>Enabling the Enablers: Carp and the NEA
\n<\/em><\/strong>This talk examines how the Los Angeles arts production team Carp utilized loopholes and new grant categories created by the N.E.A. to fund their exhibitions during the long 1970s. While there is a canonized history of the \u201cdematerialized\u201d art object, there is a lesser-studied history of those who empowered artists in these pursuits, and an even lesser-known history of the funding that enabled this vaporization. Carp is a prime example of these understudied areas. To assist artists in the creation of public, ephemeral, and peripatetic artworks, Carp needed to stand at the complex intersection of art, the public, and money. As they succeeded in their fundraising, their projects became successful confrontations to pressing social issues while maintaining the DIY spirit of that decade. However, their success still depended on funding, showing that art in that era was tied to government and economic policies, even though artists often claimed otherwise.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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2025 Brink Carrott Forster-Hahn Lecture Series Join Us on Wednesday, May 28, 2025 at 5:30pm in ARTS 333 Sarah Salisbury, Read More →<\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[166,103],"tags":[],"class_list":["post-6553","post","type-post","status-publish","format-standard","hentry","category-lecture-series","category-news-and-events"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/posts\/6553","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/comments?post=6553"}],"version-history":[{"count":1,"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/posts\/6553\/revisions"}],"predecessor-version":[{"id":6555,"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/posts\/6553\/revisions\/6555"}],"wp:attachment":[{"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/media?parent=6553"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/categories?post=6553"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arthistory.ucr.edu\/wp-json\/wp\/v2\/tags?post=6553"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}