8:30 AM

Breakfast for tour participants at The Standard Hotel, Rooftop terrace

9:30 AM -1 PM         

A City in Search of Sources

Bradbury Building, 1893

George H. Wyman

304 South Broadway

Herald Examiner Building, 1915

Julia Morgan

1111 South Broadway

Million Dollar Theater, 1918

Albert C. Martin; William L. Woollett

307 South Broadway

Los Angeles Public Library, 1925

Bertram Goodhue with Carleton M. Winslow

630 West 5th Street

Mayan Theater, 1927

Morgan, Walls & Clements

1040 South Hill

Los Angeles Theater, 1931

S. Charles Lee

615 South Broadway

Union Station, 1934-39

John and Donald B. Parkinson; J.J. Christie, H.L. Gilman; R.J. Wirth; E.W. Hoak

800 North Alameda Street

Box Lunch on the plaza in front of the LA Public Library

1:30 –4:30 PM

The City as Moving Image: Wilshire Goes West

Ambassador Hotel, 1921

Myron C. Hunt

3400 Wilshire Boulevard

Bullock’s Wilshire,  1928

John and Donald  B. Parkinson; Jock Peters

3050 Wilshire Boulevard

Chapman Market, 1928-29

Morgan, Walls & Clements

NW Corner of 6th and Alexandria

Wiltern Theater (formerly Pellissier Building), 1930-31

Morgan, Walls & Clements

3790 Wilshire Boulevard at Western

Broadway (formerly Coulter’s) Department Store, 1938

Stiles O. Clements

SE Corner of Hauser and Wilshire

Dominguez-Wilshire Building, 1930

Morgan, Walls & Clements

5410 Wilshire Boulevard

Buck House, 1934

R.M. Schindler

SW Corner of 8th Street and Genesee Avenue

4:30 PM

Arrive Los Angeles County Museum of Art

5 PM

Conference registration, kick-off reception and informal visit to museum collections introduced by curators Patrice Marandel and Mary Levkoff

7:30 PM

Keynote:  Kevin Starr, State Librarian Emeritus and University Professor, USC  “Modernity and the Imagined Past: Defining Los Angeles”

8:45 AM

Coffee and pastries

9:15 AM

Welcome and Introductory Remarks

9:30 – Noon

Session 1, “What Makes Antiquity so Different, so Appealing? Issues and Debates”

Co-Chairs:

Malcolm Baker, Department of Art History, University of Southern California

Thomas DaCosta Kaufmann, Department of Art and Archaeology, Princeton University

Appropriation, imitation, revival and reproduction are familiar terms for describing the uses made by many cultures of the artifacts produced by other, earlier cultures. These terms and the concepts they suggest are as applicable to the adaptation of Indian styles in nineteenth-century England as to the use of antique motifs in Renaissance Florence. They are also employed in discussions of the “classic” in other cultures, as well as transculturally. Nonetheless, the idea of appropriation and revival within art historical discourse very often carries with it the notion of the afterlife of the antique. While this is part of a far wider response to the classical, is there something about the art of Greece and Rome that encourages and prompts its appropriation and adoption as a norm so frequently in European art?  Are there blind spots that have allowed us to view the classical past without seeing the whole picture?

Speakers:

Kathleen Christian, University of Pittsburgh,

“Antiquarianism as a preparation for death”

Curie Virag, University of Toronto,

“Returning to the place beyond: Artistic expression and the concept of Fugu in Eleventh-century China”

Konrad Ottenheyn, Utrecht University,

“ex patriiis  erroribus expurgandis. Constantijn Huygens’s quest for the ‘true’ principles of architecture in 17th-century Holland”

Christoph Frank, Forschungszentrum Europäische Aufklärung,  Potsdam,

“Inventing a Fourth Rome: The aesthetic strategies and hybrids of Catherine II of Russia”

Agnieszka Tomaszewicz, Wroclaw University,

“The idea of the “antique” house in nineteenth-century architecture”

Commentary: Jeanette Kohl, Institut für Kunstgeschichte, Leipzig

Noon

Lunch and informal visits to collections

1:30- 2 PM

Roy Ritchie, The Huntington Library

2 - 4:30 PM

Session 2, “Gardens of Contemplation, Delight and Desire”

Co-Chairs:

Edward Harwood, Department of Art and Visual Culture, Bates College.  

Therese O'Malley, Center for Advanced Study in the Visual Arts, National Gallery of Art.

This session explores the idea of the villa garden in the ancient world and its reinterpretation in the modern period, taking the Getty Villa and Henry Huntington's villa estate as inspiration. Central to an understanding of both is an enduring dialogue that privileges the villa as a site for restorative, rural retreat, while, at the same time, assuming its necessary proximity to an active urban center. The complexity of the villa idea through time draws richly from this apparently contradictory, but interpretatively essential, embrace of both the city and the country. Over centuries, interpretations of ancient villa gardens have been built upon fragments of mythic history and contemporaneous ideologies, in addition to, and at times even in conflict with, an ever growing body of archaeological evidence. This session addresses the history and historiography of ancient villa gardens and their imaginative reconstructions through the reiteration, and reconfiguration, of form and meaning from antiquity to the present. 

Speakers:

Hanns Hubach, Kunsthistorisches Institut, Zurich,

“Towards an iconology of the Hortus Palatinus: Mount Parnassus, Etas Augusti and the dawn of a Golden Age”

Jerzy Miziolek, Institute of Archaeology, Warsaw University,

“Pliny’s villa at Laurentinum viewed by Count Stanislas K. Potocki”

Luke Morgan, Monash University,

“The legibility of landscape: Pliny the Younger’s villa gardens and the Hortus Palatinus”

Diana Spencer, Institute of Archaeology and Antiquity, University of Birmingham Edgbaston,

“Thoughts in a garden: exploring philosophies of identity in the gardens of Statius and Pliny”

Katharine Temple von Stackelberg, Trinity College, Dublin,

“Representing the Roman Villa Garden: Inspiration, transgression and legitimization in Europe and America”

6 PM

Dinner reception at University of Southern California’s School of Cinema/Television, Lucas Hall

7:30 PM

Lecture by classics professor Maria Wyke, University of Reading, “Filmic Representations of Antiquity” with screening of Giulio Cesare (1914)

8:45 AM

Coffee and pastries

9:15 AM

Welcome, Kenneth Lapatin, Assistant Curator of Antiquities, Getty Villa

9:30 - Noon

Session 3, “The Body in Antiquity and Modern Imagination”

Co-Chairs:

Peter Holliday, California State University, Long Beach

Richard Meyer, University of Southern California

As the principal motif in the visual arts of classical antiquity, the human body provided a fundamental vehicle for formal and aesthetic exploration, ethical and religious enquiry, and the dissemination of ideology.  Attempts to resuscitate antiquity's fascination with the body have continually resurfaced in Western art, literature, philosophy, and culture from the early modern period through postmodernism. This session explores the modern longing to come to grips with ancient concepts--and images--of the body.  How did classical themes and motifs become the embodiment of aesthetic, political, or erotic ideals at particular historical moments from antiquity to the present day?

Speakers: 

Introduction: Peter J. Holliday, California State University, Long Beach

Terry Kirk, The American University of Rome "Winckelmann in the Garden"

Dominic Janes, Birkbeck College, University of London, “The British Museum and the sexual imagination in Victorian England"

Page duBois, University of California, San Diego, "Broken bodies; Pederasty and polytheism"

Bryan E. Burns, University of Southern California, "'images of her lived actions': Reviving the Minoan body"

Linda Nochlin, Institute of Fine Arts, New York University, "Aby Warburg's Nachleben and contemporary women artists"

Commentary:  Richard Meyer, University of Southern California

Noon  

Lunch

1:30 – 2 PM

Lecture by Richard Neer, “A Journey to Malibu with Ingrid Bergman, or, Confronting the Classical in Modern Museums”

2 – 4:30 PM    

Session 4, “Ancient Site/Modern Museum”

Co-Chairs:

Dana Arnold, Professor of Architectural History and Head of Research, School of Humanities, University of Southampton,

Diane Favro, Professor, Department of Architecture and Urban Design, University of California at Los Angeles

The potent exchange between ancient architecture and the modern museum is largely muted in the contemporary discourse.  Consideration of this nexus is critical at a time when divisions are broadening between disciplines, institutions, and nations.  For instance, the portability of architecture, in fragments or in its entirety, across countries and continents provokes the questioning of its relationship to the construction of national memories.  The increasing number of expansive archaeological zones, heritage parks of transported buildings, and digital recreations of ancient environments is further challenging the definition of the museum.  Indeed, the display of large buildings and environments in a traditional museum setting transforms architecture into an art work that ‘opens a world’. But what is our experience of this ‘world’ and what is the role of the optic of the modern museum through which we view the architecture of the past?

Speakers:

Suna Güven, Middle East Technical University, Ankara,

“Constructing the space of myth: The iconic prominence of the monumental Trojan Horse”

Alona Nitzan-Shiftan, Technion, Haifa, Israel,

“The politicized gaze: Ancient site and museum architecture at the foot of Temple Mount”

Shelley Hornstein, York University, Canada,

“Captive dispersal, or, Curating the Holy Land in picture postcards”

Ann Marie Yasin, University of Southern California,

“The Museology of Rome's Early Christian Churches”

Ewan Branda, University of California at Los Angeles [PhD student],

“The archaeological park as mediated landscape”

Commentary:  Simon Goldhill, University of Cambridge

5 – 5.45 PM

Remarks on the new Getty Villa by architect Jorge Silvetti

6 PM

Reception hosted by the Getty and informal tours of the collections and two exhibitions, Antiquity & Photography and The Getty Villa Reimagined, with commentary by their respective curators, Claire Lyons and Wim de Wit.