2024

Visit vanessa german’s Gray Center Fellowship Exhibition: At the end of this reality there is a bridge—the bridge is inside of you but not inside of your body. Take this bridge to get to the next _______, all of your friends are there; death is not real and we are all dj’s. The exhibition features a new body of monumental rose quartz and precious gemstone sculptures as part of a multi-disciplinary installation developed during her 2023‒2024 Fellowship with the Richard and Mary L. Gray Center for Arts and Inquiry supported by the Joyce Foundation.

Have you ever wondered how UChicago faculty and graduate students research and document ancient objects? In this rare behind-the-scenes tour, you will explore the Tablet Collection of the Institute for the Studies of Ancient Cultures (ISAC) Museum, housing more than 6,000 inscribed objects from ancient Iraq and beyond. You will learn about the materiality of writing on clay, see our photographers at work, and chat with our experts, cataloging everything from the Epic of Gilgamesh to daily receipts. The tour will highlight objects typically not on display as

Engage with the Smart Museum of Art through a guided exploration of the newly commissioned installation Give the Drummer Some!, by South Side artist Robert Earl Paige, and the institution’s 50th anniversary exhibition, which traces the layered, sometimes hidden histories that have made up the Smart’s history. Drawn from the permanent collection, the exhibition presents more than 100 works from across the breadth and depth of the Museum’s holdings, including paintings, works on paper, sculpture, and archival materials.

To commemorate 50 years of collecting photography at the Smart Museum of Art, we invited renowned UChicago Professor Emeritus Joel Snyder to discuss noteworthy objects, artists, and inquiries in the field of photography since 1974. The program features an intimate presentation of photographs from the museum’s permanent collection, displayed in the Feitler Center Education Study Room (ESR).

Asked what the primary goal of their teaching and research is, many music scholars, and ethnomusicologists in particular, may answer simply: “to do good in the world.” The goodness that motivates music scholars, however, is anything but simple. Rather it takes shape as intersecting experiences of knowledge and practice in the humanities. It is the pursuit of those experiences that leads scholars to empower musical practice through the force of moral imperative. Philip V. Bohlman joins with members of the "New Budapest Orpheum Society" and special guest, Asst. Prof.