Winter 2015 Events

Opening Day Celebration
Saturday, January 17, 2-5pm
Northwestern art history faculty member and curator of the exhibition Rob Linrothe will provide an overview of Collecting Paradise: Buddhist Art of Kashmir and Its Legacies. Linrothe will address two sets of themes underpinning the exhibition—first, travel, trade, and artistic exchange across the Himalayas between the 7th and 17th centuries; and second, how and why works like those in the exhibition have been collected by Himalayan Buddhists and by Westerners, and the consequences of their respective approaches. His presentation will be followed by a conversation between him and Sonya Rhie Quintanilla, the George P. Bickford Curator of Indian and Southeast Asian Art at the Cleveland Museum of Art.


An Evening with Toulouse-Lautrec
Wednesday, January 21, 5pm
A special evening organized around the exhibition Toulouse-Lautrec Prints: Art at the Edges of Modernity will begin with a lecture by Northwestern art history professor S. Hollis Clayson who curated the show with 13 undergraduate students. Clayson will provide an overview of Lautrec’s career (Lautrec Invents Wicked Paris) and introduce the exhibition, after which, each student will give a brief presentation of her/his individual research.


Curator’s Gallery Talk
Wednesday, January 28, 6pm
Join Northwestern art history faculty member and
exhibition curator Rob Linrothe for a guided view of Collecting Paradise. He will be introducing the exhibition’s five main sections and directing visitors’ attention to relationships in the themes and styles of works from Kashmir and the Western Himalayas. For those who are interested, this will be followed by a tour of Collecting Culture: Himalaya through the Lens, a companion exhibition in the Alsdorf Gallery in which some of the primary Western collectors are featured.

The History of a Border-Crossing Lineage in Central and South Asia: The Radhu Family
Wednesday, February 4, 6pm
Dr. Siddiq Wahid, a historian of Central Asian and Tibetan political history and a Senior Fellow at the Centre for Policy Research in New Delhi, will trace the history of the Western Himalayas through the eyes of his family’s experience. The Radhu family, to which Wahid belongs, is arguably a microcosm of the experience of frontier peoples negotiating the integration of tradition within a modern world. The case will illustrate what happens to frontier populations that are wrapped around lines drawn in faraway capitals and called “borders.”


Music in the Galleries
Thursdays in February, 4-5pm
Organized by the Block Museum’s Student Advisory Board, informal performances by Northwestern student musicians and musical ensembles, inspired by Eastern and Western musical traditions, will permeate the museum’s galleries.


Early Art of Kashmir
Tuesday, February 10, 6pm
Dr. Madhuvanti Ghose, Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan, and Islamic Art at the Art Institute of Chicago, will discuss the art of Kashmir prior to the period covered by Collecting Paradise as a way of contextualizing the exhibition. She will speak about the impact of Gandharan art on the origins of an indigenous Kashmiri style of art from the 5th century to the period where Collecting Paradise picks up the narrative.

Kashmir and the Development of Tibetan Buddhism
Wednesday, February 18, 6pm
Director of Tibetan Studies at the Ecole Pratique des Hautes Etudes in Paris and Numata Visiting Professor of Buddhist Studies at the University of Chicago’s Divinity School, Matthew T. Kapstein will address aspects of the history of Buddhist philosophy and literature in Kashmir and their legacy in Tibet, providing historical and cultural context to the objects on display in the exhibition.


Department of Art History’s Elizabeth and Todd Warnock Lecture Series: The Politics of Forms and Forces
Wednesday, February 25, 5pm
Power relations lie at the core of normative representations. Renowned filmmaker, writer, and composer Trinh T. Minh-ha will address the way that reality, in its social and historical dimension, is not a material for artistic reflection or political commitment. Rather it is what powerfully draws one to cinema and yet, it cannot be captured without dissolving itself in its fragile essence when one approaches it without subtlety and vulnerability.