Lectures

Speaker: Lesley Poling-Kempes, Writer and Historian, Author of "Ladies of the Canyons". Friday Morning Docent Lecture presented on April 21, 2017.

How the Combination Results in Enhanced Interested and Understanding Relating to The San Diego Museum of Art's Exhibition, The Art of Music.

"Exploring Female Representation in the Collection of The San Diego Museum of Art"

Distinguished panelists from across the country will contextualize the Museum's exhibition on 14th century tapestries. Dr. John Marciari is the Curator of European Art and the Head of Provenance Research at The San Diego Museum of Art. He is responsible for the planning and implementation of the iteration of The Invention of Glory at the Museum. Dr. Barbara von Barghahn is Professor of Art History at George Washington University in Washington D.C. Since receiving her Ph.D at New York University, Dr. von Barghahn has been a prolific writer, contributing texts to many important art historical publications and authoring multiple books, including Age of Gold, Age of Iron: Renaissance Spain and Symbols of Monarchy. Her talk is titled "Defining the Perfect Prince in an Age of Chivalry: Portugal's Moroccan Campaign and the Pastrana Tapestries." From Jan van Eyck's Ghent Altarpiece commemorating the 1415 conquest of Ceuta to Flemish tapestries that documented the 1471 taking of Tangier, this lecture will consider: "portraits of power" in the context of chivalric ideals; the imaging of triumph in the clash of arms; the palatine display of tapestries as a visual chronicle of a contemporary epic; and the fame accrued from Portuguese expeditions to North Africa which initiated an age of navigation and a transformation of the medieval world picture. Will Chandler is an Independent Curator and the owner of Chandler Art Consulting Services. A former Curator of Decorative Arts at SDMA, in the 1980s he directed the conservation of the Museum's early 18th Century "Pillage" tapestry from the "Second Art of War Series." His presentation will illustrate the circumstances and techniques that led to this tapestry's creation, its expressions of continuity with the Pastrana Tapestries and of the artistic changes that followed them, and the variety of ways in which it has been interpreted since its arrival in San Diego in 1926.

Cataloging the Collection: From Reginald Poland and the Putnam Sisters to Punchmarks and Provenance with John Marciari, PhD

Cataloging the Collection: From Reginald Poland and the Putnam Sisters to Punchmarks and Provenance with John Marciari, PhD

Yo-Yo Ma investigates the relationship between music and visual art. In this film, the talented cellist plays the music of Bach in a virtual prison based on the Carceri, the imaginary prisons found in the etchings of Giovanni Battista Piranesi. Along the way, audiences hear from architect Moshe Safdie and others while learning of Piranesi's only built church project, the Santa Maria del Priorato. The exhibition, Piranesi, Rome, and the Arts of Design, includes a complete set of the prison etchings as well as an innovative 3-D video projection based on them. Before the film, Dr. John Marciari, Curator of European Art and Head of Provenance Research, will give a lecture about the haunting, nightmarish world of Piranesi's prisons, architectural fantasies that demonstrate the dark side of Piranesi's imagination. Prefiguring the dark imagining of the Romantic era, the Carceri are thought to have been the later model for everything from M.C. Escher's designs, to the city of Fritz Lang's Metropolis, to the moving staircases of Harry Potter's Hogwarts. www.TheSanDiegoMuseumofArt.org Video produced by Balboa Park Online Collaborative

Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center More is More: Piranesi and Design Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi "invented" not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy. John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University Piranesi's "Speaking Ruins:" Fragment and Fantasy Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, "Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying." Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy. Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century. www.TheSanDiegoMuseumofAr

Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center More is More: Piranesi and Design Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi "invented" not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy. John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University Piranesi's "Speaking Ruins:" Fragment and Fantasy Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, "Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying." Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy. Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century. www.TheSanDiegoMuseumofAr

Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center More is More: Piranesi and Design Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi "invented" not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy. John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University Piranesi's "Speaking Ruins:" Fragment and Fantasy Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, "Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying." Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy. Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century. www.TheSanDiegoMuseumofAr

Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center More is More: Piranesi and Design Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi "invented" not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy. John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University Piranesi's "Speaking Ruins:" Fragment and Fantasy Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, "Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying." Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy. Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century. www.TheSanDiegoMuseumofAr

Friday Morning Lecture & Tour Series: Behind the Picture Looking in Depth at Paintings from the Spanish and Italian Collections of The San Diego Museum of Art February 15, 2013 James S. Copley Auditorium Nigel McGilchrist, Art Historian, will look at paintings in the Museum's Spanish and Italian collection, focusing on the methods by which they were crafted and painted and the way their visual design was conceived. This exploration will reveal insights into the times, minds, and hands of those who created them. Sponsored by The San Diego Museum of Art Docent Council. www.TheSanDiegoMuseumofArt.org Video produced by Balboa Park Online Collaborative

Pae White January 30, 2013 Artist Pae White is represented in Behold, America! by Hobo Woods/Tears of Vietnam (1999). White is an internationally-renowned artist based in Los Angeles and her work, which often involves the refashioning of unexpected materials, has been included in a number of high profile exhibitions at institutions including the Whitney Museum of American Art and the 2009 Venice Biennale. Her recent activities include a public art project for the Gloucester Road underground station in London during the Olympics and a proposal for a redevelopment project on the North Embarcadero in San Diego. www.TheSanDiegoMuseumofArt.org Video produced by Balboa Park Online Collaborative

Phyllis Granoff, Lex Hixon Professor of World Religions, Yale University Professor Granoff will explore remarkable examples of Indian art, and argue that aesthetic appreciation was a central factor in the development of images of worship in the Jain religion. Sponsored by the Committee for the Arts of the Indian Subcontinent and the Asian Arts Council www.TheSanDiegoMuseumofArt.org Video produced by Balboa Park Online Collaborative

Dr. Sonya Quintanilla, Curator, Indian and Southeast Asian Art, The Cleveland Museum of Art, will explore a variety of ways in which Buddhists across Asia used the physical remains associated with deceased holy men to sanctify works of art and monuments. The bodily remains, however tiny, of an extraordinary person can function to empower a monument to become a place of sanctity and the goal of pilgrimage. Texts describe the possession of relics as the cause for war among kings and the object of worship in heaven itself. Relics, however, were also the very things that made Buddhist monuments impure in the context of an orthodox Hindu society. This lecture will explore the ways early Buddhists in India responded to this dilemma, by ensuring that relics were mixed with costly substances and contained in reliquaries that would never have actually been seen. Comparative examples from Southeast Asia, Tibet, and China, as found in the Museum's collection and current exhibitions, will also be shown as the outgrowth of India's early traditions. The Friday Morning Lecture & Tour Series, happening the third Friday of each month, focuses on works on view in the Museum. All lectures are followed by docent-led tours. Sponsored by The San Diego Museum of Art Docent Council. Corporate Sponsors: GS Levine Insurance Services, Inc. and Ace Private Risk Services www.TheSanDiegoMuseumofArt.org Video produced by Balboa Park Online Collaborative

January 4, 2013 Jericho Brown reading www.TheSanDiegoMuseumofArt.org Video produced by Balboa Park Online Collaborative

Using Maya Angelou's poem, Still I Rise, as a starting point, Dr. Amy Galpin, Associate Curator, Art of the Americas, will examine modern and contemporary portraiture created by American artists, with an emphasis on work created in the last twenty years. Learn more about portraits from the colonial period to present on view in Figures, the section of Behold, America! at The San Diego Museum of Art. The collaborative exhibition, opening at three Museums on November 10 is divided between Figures, Frontiers at the Museum of Contemporary Art San Diego, and Forms at the Timken Museum of Art. The Friday Morning Lecture & Tour Series, happening the third Friday of each month, focuses on works on view in the Museum. All lectures are followed by docent-led tours. Sponsored by The San Diego Museum of Art Docent Council. Corporate Sponsors: GS Levine Insurance Services, Inc. and Ace Private Risk Services www.TheSanDiegoMuseumofArt.org Video produced by Balboa Park Online Collaborative

Looking at the interaction between politics and creativity during the first half of the 20th century, Cornelia Feye, Athenaeum Music and Arts Library School of the Arts and Arts Education Director, will put into context works on view in The Human Beast. German art experienced an extraordinary surge of creativity in the years before World War I and throughout the Weimar Republic. In 1905 Ernst Ludwig Kirchner founded the expressionist movement Die Brücke together with like-minded artists in Dresden. In Munich Wassily Kandinsky started the Blaue Reiter with Paul Klee, Franz Marc and August Macke in 1911. Artists like Käthe Kollwitz, Emil Nolde, Max Beckmann and Otto Dix were associated with the movement. Several started to teach at the Bauhaus School and their influence grew beyond Germany - until the Nazi regime put an end to all avant-garde arts by declaring them "degenerate" and confiscating thousands of artworks in museums and private collections all over Germany. This lecture will look at the interaction between politics and creativity during this time period. Series ticket packages are available for the entire Friday Morning Lecture & Tour Series. To purchase a series package, please call our Box Office at 619-696-1947. Sponsored by The San Diego Museum Art Docent Council www.TheSanDiegoMuseumofArt.org Video produced by The Balboa Park Online Collaborative

Dr. John Marciari, Curator of European Art and Head of Provenance Research, will discuss the making of The Human Beast. Topics will include the recent Kondon-Giesberger bequest of 48 works of art that form the foundation for this exhibition, the Grant and Walbridge collections from which pieces are also on view, and a behind the scenes discussion of how the exhibition was pulled together.

Distinguished panelists from across the country will contextualize the Museum's exhibition on 14th century tapestries. Dr. John Marciari is the Curator of European Art and the Head of Provenance Research at The San Diego Museum of Art. He is responsible for the planning and implementation of the iteration of The Invention of Glory at the Museum. Dr. Barbara von Barghahn is Professor of Art History at George Washington University in Washington D.C. Since receiving her Ph.D at New York University, Dr. von Barghahn has been a prolific writer, contributing texts to many important art historical publications and authoring multiple books, including Age of Gold, Age of Iron: Renaissance Spain and Symbols of Monarchy. Her talk is titled "Defining the Perfect Prince in an Age of Chivalry: Portugal's Moroccan Campaign and the Pastrana Tapestries." From Jan van Eyck's Ghent Altarpiece commemorating the 1415 conquest of Ceuta to Flemish tapestries that documented the 1471 taking of Tangier, this lecture will consider: "portraits of power" in the context of chivalric ideals; the imaging of triumph in the clash of arms; the palatine display of tapestries as a visual chronicle of a contemporary epic; and the fame accrued from Portuguese expeditions to North Africa which initiated an age of navigation and a transformation of the medieval world picture. Will Chandler is an Independent Curator and the owner of Chandler Art Consulting Services. A former Curator of Decorative Arts at SDMA, in the 1980s he directed the conservation of the Museum's early 18th Century "Pillage" tapestry from the "Second Art of War Series." His presentation will illustrate the circumstances and techniques that led to this tapestry's creation, its expressions of continuity with the Pastrana Tapestries and of the artistic changes that followed them, and the variety of ways in which it has been interpreted since its arrival in San Diego in 1926.

Distinguished panelists from across the country will contextualize the Museum's exhibition on 14th century tapestries. Dr. John Marciari is the Curator of European Art and the Head of Provenance Research at The San Diego Museum of Art. He is responsible for the planning and implementation of the iteration of The Invention of Glory at the Museum. Dr. Barbara von Barghahn is Professor of Art History at George Washington University in Washington D.C. Since receiving her Ph.D at New York University, Dr. von Barghahn has been a prolific writer, contributing texts to many important art historical publications and authoring multiple books, including Age of Gold, Age of Iron: Renaissance Spain and Symbols of Monarchy. Her talk is titled "Defining the Perfect Prince in an Age of Chivalry: Portugal's Moroccan Campaign and the Pastrana Tapestries." From Jan van Eyck's Ghent Altarpiece commemorating the 1415 conquest of Ceuta to Flemish tapestries that documented the 1471 taking of Tangier, this lecture will consider: "portraits of power" in the context of chivalric ideals; the imaging of triumph in the clash of arms; the palatine display of tapestries as a visual chronicle of a contemporary epic; and the fame accrued from Portuguese expeditions to North Africa which initiated an age of navigation and a transformation of the medieval world picture. Will Chandler is an Independent Curator and the owner of Chandler Art Consulting Services. A former Curator of Decorative Arts at SDMA, in the 1980s he directed the conservation of the Museum's early 18th Century "Pillage" tapestry from the "Second Art of War Series." His presentation will illustrate the circumstances and techniques that led to this tapestry's creation, its expressions of continuity with the Pastrana Tapestries and of the artistic changes that followed them, and the variety of ways in which it has been interpreted since its arrival in San Diego in 1926.

Dr. John Marciari, Curator of European Art and Head of Provenance Research for The San Diego Museum of Art gives a lecture on cataloging the Museum’s Permanent Collection. May 18, 2012 Cataloging the Collection: From Reginald Poland and the Putnam Sisters to Punchmarks and Provenance

In celebration of the special exhibitions now on view at The San Diego Museum of Art, join our Curator of Asian Art, Sonya Quintanilla, who will introduce and moderate the presentations and discussions by a panel of distinguished speakers from around the world, including: Naval Krishna, Joint Director of the Bharat Kala Bhavan, Banaras Hindu University, Varanasi, India, who will share his decades of experience with the painting collections of the Maharajas as they relate to the works from the Museum's Edwin Binney 3rd Collection. Khen Rimpoche Geshe Kachen Lobzang Tsetan, Abbot, Tashi Lhunpo Monastery in Exile, Bailakuppe, India will address questions of the place of devotional Buddhist art in Museum contexts in anticipation of an upcoming Tibetan shrine display. Keith Wilson, Associate Director of the Sackler Gallery and Curator of Ancient Chinese Art, Smithsonian Institution, Washington, D.C. will present his research on cave temples of China and share his experiences as a lead organizer of the exhibition now on view, Echoes of the Past.

In celebration of the special exhibitions now on view at The San Diego Museum of Art, join our Curator of Asian Art, Sonya Quintanilla, who will introduce and moderate the presentations and discussions by a panel of distinguished speakers from around the world, including: Naval Krishna, Joint Director of the Bharat Kala Bhavan, Banaras Hindu University, Varanasi, India, who will share his decades of experience with the painting collections of the Maharajas as they relate to the works from the Museum's Edwin Binney 3rd Collection. Khen Rimpoche Geshe Kachen Lobzang Tsetan, Abbot, Tashi Lhunpo Monastery in Exile, Bailakuppe, India will address questions of the place of devotional Buddhist art in Museum contexts in anticipation of an upcoming Tibetan shrine display. Keith Wilson, Associate Director of the Sackler Gallery and Curator of Ancient Chinese Art, Smithsonian Institution, Washington, D.C. will present his research on cave temples of China and share his experiences as a lead organizer of the exhibition now on view, Echoes of the Past.

In celebration of the special exhibitions now on view at The San Diego Museum of Art, join our Curator of Asian Art, Sonya Quintanilla, who will introduce and moderate the presentations and discussions by a panel of distinguished speakers from around the world, including: Naval Krishna, Joint Director of the Bharat Kala Bhavan, Banaras Hindu University, Varanasi, India, who will share his decades of experience with the painting collections of the Maharajas as they relate to the works from the Museum's Edwin Binney 3rd Collection. Khen Rimpoche Geshe Kachen Lobzang Tsetan, Abbot, Tashi Lhunpo Monastery in Exile, Bailakuppe, India will address questions of the place of devotional Buddhist art in Museum contexts in anticipation of an upcoming Tibetan shrine display. Keith Wilson, Associate Director of the Sackler Gallery and Curator of Ancient Chinese Art, Smithsonian Institution, Washington, D.C. will present his research on cave temples of China and share his experiences as a lead organizer of the exhibition now on view, Echoes of the Past. http://www.sdmart.org/art/exhibit/echoes-past http://www.sdmart.org/art/exhibit/dyeing-elegance

As part of this year's spectacular Art Alive exhibition, the Museum presents a Floral Lecture where guests will have the opportunity to hear Bella Meyer, the granddaughter of French artist Marc Chagall, offer her take on flower bouquets in her grandfather's work.

In conjunction with the exhibition: Walk from the Sun Photographs of Southern California by Scott B. Davis November 19, 2011 - March 02, 2012 While Davis (who uses a specialized shorthand in which he forgoes capitalization) is inspired by the topography of various parts of the United States, he frequently uses Southern California as his muse. Taken at night with a large-format camera, certain photographs of Southern California document iconic aspects of the region including the Hollywood sign and the bright lights of Los Angeles. Other works in this exhibition offer surprising takes on the area with moody and enigmatic looks at seemingly abandoned highways, parking lots, and buildings. Currently based in San Diego, davis received a BFA in Photography from the University of New Mexico and his works have been well received in solo exhibitions on both the East and West Coasts. Walk from the Sun marks the artist's first solo exhibition at a museum. http://www.sdmart.org Produced with Balboa Park Online Collaborative / www.bpoc.org