Drop by the Gallery April 7, 8, and 9 to see Will Wilson (Diné [Navajo], the 2020 Happy and Bob Doran Artist in Residence at the Gallery, at work in the Jan and Frederick Mayer lobby. Wilson will be making tintype portraits of members of the Yale community and developing them in his portable darkroom.
Drop by the Gallery April 7, 8, and 9 to see Will Wilson (Diné [Navajo], the 2020 Happy and Bob Doran Artist in Residence at the Gallery, at work in the Jan and Frederick Mayer lobby. Wilson will be making tintype portraits of members of the Yale community and developing them in his portable darkroom.
Drop by the Gallery April 7, 8, and 9 to see Will Wilson (Diné [Navajo], the 2020 Happy and Bob Doran Artist in Residence at the Gallery, at work in the Jan and Frederick Mayer lobby. Wilson will be making tintype portraits of members of the Yale community and developing them in his portable darkroom.
The Yale Japanese American Students Union and Asian American Cultural Center invite the Yale community to commemorate the 78th anniversary of President Roosevelt’s signing of Executive Order 9066, which led to the incarceration of 120,000 Americans of Japanese descent in U.S. concentration camps during World War II. Yale’s 2020 Day of Remembrance will feature a fireside chat with Mr. Frank Sato, former Inspector General of the Departments of Transportation and Veterans Affairs. At age 13, Mr.
Join us for a talk by photographer Will Wilson (Diné [Navajo]), the 2020 Happy and Bob Doran Artist in Residence at the Gallery, who will speak about Indigenous self-determination, place, and culture. Wilson will discuss his work with tintype photography and his collaborative project Critical Indigenous Photographic Exchange (CIPX), which responds to the widely circulated ethnographic photography of Native Americans beginning at the turn of the 20th century, among other ongoing projects.
Reckoning with “The Incident”: John Wilson’s Studies for a Lynching Mural features the preparatory works made for John Wilson’s Mexico City fresco, which is no longer extant. Through a hands-on fresco exercise led by Yale School of Art students Mariel Capanna, Africanus Okokon, and José de Jesus Rodriguez, this workshop introduces participants to the ancient technique of painting with earth pigments into wet plaster and considers fresco painting as a vehicle for embodied remembrance of this lost mural. Space is limited.
The Jackson Institute for Global Affairs, in partnership with the nonprofit Justice for Kurds, will present a special screening of the film, “Sisters in Arms,” an inspiring portrait of an international women’s brigade who joins forces with the Kurds to rescue the Yazidis and defeat fanaticism.
It is now more than twenty-five years since the publication of the landmark volume, Postwar Japan as History, edited by Andrew Gordon. How does the field of postwar Japanese history look today? How are historians and other social scientists engaging with each other’s work on this period? This workshop will explore these questions with Eiko Maruko Siniawer, professor of history at Williams College, whose recent book, Waste: Consuming Postwar Japan, makes the case for “thinking about the entirety of postwar Japan as one coherent and cohesive period.” William W.
Join us for a lecture on a “post-human” framework for aesthetic philosophy, color, beauty, and evolution, delivered by Richard O. Prum, the William Robertson Coe Professor of Ornithology, Department of Ecology and Evolutionary Biology, Yale University, and Curator of Ornithology and Head Curator of Vertebrate Zoology, Yale Peabody Museum of Natural History. The lecture is followed by a conversation between Prum and James Prosek, B.A. 1997, artist, writer, and naturalist. Presented in conjunction with the exhibition James Prosek: Art, Artifact, Artifice.
Wayne Hsiung focuses his activism on exposing cruelty and rescuing animals in factory farms, leading to a “domestic terrorism” investigation by the FBI. He currently faces 16 felony charges in 4 criminal cases and will go on trial in mid 2020. His work has been featured in WIRED, The New York Times, and The Intercept.
