Gallery Conversations

Concerning the Erotic 
Thursday, November 14, 7:30 pm
 (during Museum Nights: Creative Vibe) 
Bob Mueller, Associate Professor of Printmaking will discuss the direct link between the material and philosophical genesis of the work, delving deeper into erotic theory as the wellspring of idea in the contemporary landscape. Mueller will explore print as the physical manifestation of a search for completion. This conversation is offered in conjunction with the 53rd SA+AH Studio Faculty Art Exhibition.


Pushing the Boundaries of Painting and Drawing
Sunday, November 17, 3 pm

Three SA+AH painting/drawing faculty — Professor Richard Heipp, Associate Professor Ron Janowich and Associate Professor Julia Morrisroe — will present and discuss the similarities and differences in their studio practice addressing, their concepts, process, and use of technology. This conversation is offered in conjunction with the 53rd SA+AH Studio Faculty Art Exhibition.



André Kertész: Budapest | Paris | New York
Sunday, January 12, 2020, 3 pm

In a lecture that offers an intimate and personal look, Curator Robert Gurbo interweaves the artist André Kertész’s work and self-portraits into the timeline of his complicated life story.  

From his pioneering work in Hungary (1912 -1925), through his influential work during Paris’s artistic heyday (1925- 1936), right up to his final days in New York (1936 -1985), Kertész’s photographs display an ability to infuse personal narrative and design into a documentary style that was uniquely his own. Kertész (1894-1985) created deceptively simple images of everyday life that reflected his own state of mind, and questioned his very existence and his relationship to the world around him.   

Robert Gurbo has contributed numerous essays to catalogs and magazines; is author of three books on Andre Kertész and coauthor of Andre Kertész, the catalog that accompanied the 2005 National Gallery retrospective. He worked with Kertész over the last 7 years of his life, and, as Curator of the André Kertész Estate, has spent the last 40 years studying his archive.

This lecture is supported by the UF Center for European Studies, The Andre & Elizabeth Kertesz Foundation, Inc. and the Harn Museum Docent Enhancement Fund. 


Panel Discussion

Artist as Researcher: Visualizing Knowledge in the Americas
Thursday, January 23, 2020, 6 pm 


  • Esther Gabara Associate Professor of Romance Studies, Duke University
  • Jennifer Josten Associate Professor, Modern and Contemporary Art, University of Pittsburgh
  • Sérgio B. Martins, Professor, Pontifical Catholic University of Rio de Janeiro

This panel is presented in conjunction with the exhibitions Accumulate, Classify, Preserve, Display on the archive and work of artist Roberto Obregón at University Gallery and the Harn Museum of Art.



Harn Eminent Scholar Chair in Art History (HESCAH) Lectures

Achroma vanitas, Animal image: Roberto Obregón and the Return of Nature in Venezuelan Art
Thursday, November 14, 6 pm
(during Museum Nights)
Speaker: Luis Pérez-Oramas, Independant Scholar and Director Instituto Roesler
This lecture on the work of Venezuelan artist Roberto Obregón is presented in conjunction with the following exhibitions at the University of Florida: Accumulate, Classify, Preserve, Display: Roberto Obregón Archive from the Carolina and Fernando Eseverri Collection at University Gallery, and Accumulate, Classify, Preserve, Display: Works by Roberto Obregón from the Carolina and Fernando Eseverri Collection at the Harn Museum of Art.


The Anxiety of Disruption: Women Artists and Creativity
Thursday, February 20, 2020, 6 pm

Reception to follow. 
Speaker: Carol Becker, Dean of Columbia University School of the Arts
This lecture inaugurates the series “Art’s Inclusive Histories: In Celebration of the 100th Anniversary of Women’s Suffrage.” For Spring 2020, HESCAH commemorates the centennial by featuring gender and/or women-centered research with an eye to its intersectional, transnational and intergenerational complexity in the arts. Dean Becker launches the series with her reflections on gender and anxiety, women and creativity. 


Louise Nevelson's Palace
Thursday, March 12, 2020, 6 pm
(during Museum Nights)
Reception to follow. 
Speaker: Julia Bryan-Wilson, Professor of Modern and Contemporary Art at University of California, Berkeley
Professor Julia Bryan-Wilson lectures on the work of Louise Nevelson, the Ukrainian-American sculptor whose career intersected with the feminist art movement. Her talk focuses particularly on Mrs. N’s Palace (1964-77), Nevelson’s largest sculpture. Comprised of some hundred found objects, painted black, the work echoes both public monument and intimate, domestic environ.


Gendering Abolition in the Eighteenth Century or How Black Female Figures Embodied Freedom
Monday, March 23, 2020, 6 pm

Reception to follow.
Speaker: Anne Lafont, Professor, EHESS, l’Ecole des hautes études en sciences sociales, Paris
The talk will address the issues of representation in the rare examples of black female figures during the long 18th Century. The point will be to question how, in the colonial iconography, their bodies were, or not, connected to the female personification of ideas through european art's allegorical tradition and how, in this perspective, violence was, or not, involved in the visualization of slavery and emancipation in the French revolutionary images. 


Afro-Atlantic, Neo-Romantic: Reflections on Rotimi Fani-Kayode
Thursday, April 16, 2020, 6 pm

Reception to follow.
Speaker: Kobena Mercer, Professor of History of Art and African American Studies at Yale University
Nigeria-British artist Rotimi Fani-Kayode (1955-1989) created his entire oeuvre in the six years between his 1983 return to the UK after studying in New York and his HIV-related death in London 1989. How should be best understand the timeless nature of his photographs, which are as freshly challenging today as they were over thirty years ago? Taking into account Fani-Kayode's writings and those of his life-partner, Alex Hirst, this lecture explores the different understanding of temporality in 'classical' and 'romantic' traditions as a background to weighing up which concept fits best for understanding Fani-Kayode's commitment to cross-cultural aesthetics--is it hybridity, syncretism or transculturation?