“A History of Black Diaspora Artists in Italy as Prompt: Early Modern Questions, Contemporary Decolonial Currents." American Association for Italian Studies (AAIS) Conference, Fort Worth, May 18–20.
"Linee di fuga (Flight Lines): On Paper Media and the Construction of Images in the Work of Francesco Simeti." College Art Association (CAA) Conference, New York, Feb. 15–18.
"Theatre as Catapult: Staging Revolutionary Worlds in the Work of Pistoletto and Lo Zoo." The American Association for Italian Studies (AAIS) Conference, Bologna, May 29–June 1.
"Postcolonial Retrofuturism: Alessandro Ceresoli’s Linea Tagliero Prototypes." College Art Association (CAA) Conference, virtual, Feb. 10–13.
“Porta d’Europa: Monuments, Interventions, and Migration on Lampedusa.” “Italian Borderlands: Restrictions, Breaches, Encounters” Conference, John D. Calandra Italian American Institute, Queens College, City University of New York, Apr. 24–25 (Paper accepted. Conference canceled due to Coronavirus).
“Ghosts for the Present: Interventionist Practices and Postcoloniality in Contemporary Italian Art.” 108th College Art Association (CAA) Conference, Chicago, Feb. 12–15.
“Wu Ming’s Postcoloniality: Collectivism and Countercultural Aesthetics for Contemporary Italy.” Winthrop-King Institute International Conference, “Does ‘la lutte continue?’ The Global Afterlives of May ’68,” Florida State University, Tallahassee, Florida, Mar. 28–30.
“Presenze: Italian Avant-Gardism and Art Discourse in Late 1950s Turin.” AAIS Conference, Wake Forest University, Winston Salem, North Carolina, Mar. 14–16.
“Porta d’Europa: Art and Activism in Italy in the Age of the European Migration Crisis.” Winthrop-King Institute Conference, “European Migrations: Infrastructures of Mobility, Confinement, and Hospitality in the E.U,” Florida State University, Tallahassee, Florida, Feb. 22.
“Minor Productions: The Work of Michelangelo Pistoletto, 1965–1970.” 106th College Art Association (CAA) Conference, Los Angeles, Feb. 21–24.
“Productive Plagiarism: Michelangelo Pistoletto and Vettor Pisani’s Plagio, 1970–1976.” The Center for Italian Modern Art Study Day, “Post-It: Reconsidering the Postmodern in Italian Art and Performance since 1965,” New York City, New York. Feb. 13–14. [Program]
“Anachronic Casts: The Sculpture of Giulio Paolini in the Years of Lead, 1968–1982.” The American Association for Italian Studies (AAIS) Annual Conference, Louisiana State University, Baton Rouge, Louisiana, Apr. 21–23.
“Beyond Somalia Anno Uno: Somali Narrative Film in Postcolonial East Africa.” 104th College Art Association (CAA) Conference, Washington, D.C., Feb. 3–6.
“Figure as Model: The Early Work of Michelangelo Pistoletto.” The American Association for Italian Studies (AAIS) Annual Conference, University of Colorado, Boulder, Mar. 26–28.
“‘Somaliwood,’ Ohio: Somali Cinema as Diasporic Phenomenon.” Fifteenth International Triennial Symposium on African Art, Arts Council of the African Studies Association (ACASA), UCLA, Mar. 23–27.
“Splitting the Present: Gordon Matta-Clark’s Photo-Collages.” Twelfth Annual University of Southern California Department of Art History Graduate Student Symposium, University of Southern California, Los Angeles, California, Mar. 8.
“The Psychological Experience of the World in Perspective: Albertian Theory, Brunelleschian Optics, and the Humanist Body.” First Annual Stanford University Graduate Conference in French and Italian, Stanford, California, May 6–7.
Panels Organized and Chaired
Co-curator with Elizabeth Giorgis of the American Association for Italian Studies (AAIS) 2023 Executive Committee Conference Series: "'A Feeling of Freedom': Toward a New Italianist Art History." Two panels: 1) "The Power of the Visual: Post- and Decolonial Approaches in Italianist Art History" and 2) Lessons on Italy from Africanist Art History (co-curated with Elizabeth Giorgis, The Africa Institute, Sharjah). Invited curator.
Panel organizer and chair, "'Italianicity is not Italy': Questioning Italian Art History." 109th College Art Association (CAA) Conference, New York, Feb. 10–13. Sponsored by the Italian Art Society (forthcoming).
"'Una Visione Globale': Arte Povera's Worlds." Four-part lecture series curated by Tenley Bick for Magazzino Italian Art Foundation, March 21–May 2, 2020. Event link: https://www.magazzino.art/events/%E2%80%9Cuna-visione-globale%E2%80%9D-arte-povera%E2%80%99s-worlds. Recorded Q&As: On Ezio Gribaudo with Victoria Surliuga (Mar. 21), with Valérie Da Costa on Pino Pascali (Apr.4), on Michelangelo Pistoletto with Adrian Duran (following my own lecture) (Apr. 21).
Session organizer, CAA-composed panel, “Social Practice and the Politics of Artistic Intervention Today.” 108th College Art Association (CAA) Conference, Chicago, Feb. 12–15.
Panel organizer and chair, “Processi italiani: Examining Process in Postwar Italian Art,1945–1980.” 106th College Art Association (CAA) Conference, Los Angeles, Feb. 21–24. Sponsored by the Italian Art Society.
Panel organizer and chair, “African Arts and Italian Colonialism: A Missing Africanist History.” 104th CAA Conference, Washington, D.C., Feb. 3–6. Sponsored by the Arts Council of the African Studies Association (ACASA).
Panel organizer and chair, “Unattended Figures: Revisiting Figuration in Postwar Italian Art, 1945–1980.” The American Association for Italian Studies Annual Conference, University of Colorado, Boulder, Mar. 26–28. Sponsored status: Italian Art Society.
Chair, “Current Studies in African Film,” organized by Doran Ross. Fifteenth International Triennial Symposium on African Art, Arts Council of the African Studies Association (ACASA), UCLA, Mar. 23–26.
“Reading the Remnant,” 43rd UCLA Department of Art History Graduate Student Symposium, Hammer Museum, Westwood, Calif., Oct. 24 (Co-Organized).
"Perspectives on Italian Contemporary Art and Migration." Department of Classical and Modern Languages and Literatures, Texas Tech University, Lubbock, Texas (forthcoming, spring).
“Ghosts for the Present: Interventionist Art and Postcoloniality in Contemporary Italy.” Edwin L. Weisl Lectureship in the Arts, sponsored by the Robert Lehman Foundation, Department of Art and Art History, Carleton College, Northfield, Minnesota, May 5. (Presented online instead of in person due to COVID-19.)
“Michelangelo Pistoletto’s Comizi (1965–1966): Pop, Protest, and Politics in Early Arte Povera.” Magazzino Italian Art Foundation, in the lecture series, “Una visione globale”: Arte Povera’s Worlds, cur. Tenley Bick. Apr. 18. (Online due to COVID-19.)
Friends of the Humanities Speaker, "The Value of Extremely Poor Work: Pistoletto for Today." University of Louisiana, Lafayette, March 3.
“Figures of Protest: Figural Politics in and around Michelangelo Pistoletto’s Comizi (1965–66).” Lecture and research seminar, Rome Contemporary Series, Bibliotheca Hertziana, Rome. Scientific organization by Maria Bremer and Marica Antonucci. June 6.
“Collectivism in Context: Examining Unity in the Works of the Atelier Populaire.” Museum of Fine Arts, Florida State University, in conjunction with the exhibition 68:18. Student Protest in Print. Feb. 19.
Joseph Beuys and Arte Povera: The Value of Poor Work.” Presented at the Los Angeles County Museum of Art (LACMA), Los Angeles, California, January 13, to the Docent Council in conjunction with the exhibition Joseph Beuys: The Multiples, curated by Stephanie Barron and Eckhart Gillen (LACMA, 2009–10). Commissioned lecture.
© Tenley Bick, PhD 2022