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SUMMARY:MSP25 Capstone Presentations
DESCRIPTION:Wednesday\, April 15 from 4:00 – 8:00 pm \nEldersveld Room\, 5670 Haven Hall \nPresentations for the evening are as follows: \n4:00 pm – “A Conservation and Collections Management Plan for the Howell Opera House” \nPresented by Lisandri Kola\, Ali Mohsin\, Dana Salama \nHost institution: Howell Opera House (Livingston Arts Council) \n  \n5:00 pm – “Recovering McDougall-Hunt: Memories\, Oral Histories\, and Community-Building in Bailey Park\, Detroit” \nPresented by Jamal Dillman-Hasso\, Ashton Rodgers\, Vivian Vega \nHost institution: Bailey Park Neighborhood Development Corporation (with UM’s Ginsberg Center) \n  \n6:00 pm – “Exhibiting 150 Years of Doctoral Research at Michigan” \nPresented by Deborah Pomeranz\, Naomi Yu \nHost institution: UM’s Rackham Graduate School \n  \n7:00 pm – “Putting the Freer House Back on the Map: Recentering Michigan in Charles Lang Freer’s Global Network” \nPresented by Ying Cui\, Madeline Hennessey\, Volkan Topal \nHost institution: Charles Lang Freer House (Wayne State University) \n  \nThese Capstone Projects are sponsored by the Bailey Park Neighborhood Development Corporation (with UM’s Ginsberg Center)\, the Charles Lang Freer House (Wayne State University)\, the Howell Opera House (Livingston Arts Council)\, and UM’s Rackham Graduate School.  \nThank you for your support of the UM Museum Studies Program. \n  \nMSP25 Capstone Flyer
URL:https://ummsp.rackham.umich.edu/tribe-event/msp25-capstone-presentations-2/
LOCATION:Haven Hall\, Eldersveld Room\, 505 S. State Street\, Ann Arbor\, 48109
CATEGORIES:Student Presentation
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DTSTART;TZID=America/Detroit:20260417T120000
DTEND;TZID=America/Detroit:20260417T130000
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SUMMARY:Do We Need to Decolonize Holocaust Museums?
DESCRIPTION:Presentation by Erica Lehrer\, PhD\, MSP04; Professor of History at Concordia University (Montreal\, Canada); Winter 2026 Institute Fellow\, UM Frankel Institute for Advanced Judaic Studies \nHatcher Library Gallery Lab\, Room 100H \nA central issue animating and transforming the museum sector today is the call to decolonize. This appeal began with Indigenous activists\, whose communities have been overwhelmingly hurt by the museum sector’s history and status quo. Museums of mass violence – Holocaust museums\, paradigmatic among them – have been largely exempt from decolonial critiques. As products of 20th and 21st-century social justice mandates and often created at the behest of survivor communities\, they seem at first glance not to be obvious targets for such scrutiny. Yet\, Holocaust museums are not free from entanglements with state power nor from inherited traditions and infrastructures of museum practice with their attendant biases\, exclusions\, and silences. This talk explores the potential value of decolonial museum theories and practices for Holocaust museums to renew and expand their social justice mandates. \n  \n \nEvent flyer
URL:https://ummsp.rackham.umich.edu/tribe-event/do-we-need-to-decolonize-holocaust-museums/
LOCATION:Hatcher Graduate Library
CATEGORIES:Museums at Noon
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DTSTART;TZID=America/Detroit:20261012T173000
DTEND;TZID=America/Detroit:20261012T193000
DTSTAMP:20260820T213937Z
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SUMMARY:Penny Stamps Speaker Series - Aanikoobijigan film screening at Michigan Theater
DESCRIPTION:The Museum Studies Program is proud to co-sponsor the Penny Stamps Speaker Series – Aanikoobijigan film screening at Michigan Theater (603 E. Liberty Street\, Ann Arbor). \nTrapped in museum archives\, Ancestors bend time and space to find their way home. History\, spirituality\, and the law collide as tribal repatriation specialists fight to return and rebury Indigenous human remains\, offering a revealing look at the still-pervasive worldviews that justified collecting them in the first place.\nThe film Aanikoobijigan [ancestor/great-grandparent/great-grandchild] documents the emotional and vital work of MACPRA (Michigan Anishinaabek Cultural Preservation and Repatriation Alliance). This alliance\, made up of repatriation specialists representing all Michigan tribes\, fights to bring their Ancestors and funerary objects home from settler colonial institutions like museums\, libraries\, and archives. Adam and Zack Khalil’s monumental and formally daring film follows the pressing struggle to rebury Indigenous human remains that have been held in sterile storage\, laying bare the history of Indigenous collections and the battle to recognize and enforce the laws intended to facilitate their repatriation to the communities they were originally stolen from. Using an essayistic approach alongside vérité portraits\, the film celebrates the courageous individuals who carry out this hard and emotionally draining labor of return.\n—Sundance Film Festival \nAanikoobijigan [ancestor/great-grandparent/great-grandchild] directors Adam and Zack Khalil are members of the Sault Ste. Marie Tribe of Chippewa Indians. They are co-directors and co-editors of the feature documentary INAATE/SE/ [it shines a certain way. to a certain place./ it flies. falls./] (2016) which premiered as the closing night film of the Museum of Modern Art’s Doc Fortnight Film Festival\, and the experimental documentary short The Violence of a Civilization without Secrets (2017) which premiered at Sundance. The Khalils are core contributors to New Red Order\, a public-secret society which calls attraction toward indigeneity into question\, yet promotes this desire\, and enjoins potential non-Indigenous accomplices to participate in the co-examination and expansion of Indigenous agency. \nAdam Khalil is an artist whose practice attempts to subvert traditional forms of image-making through humor\, relation\, and transgression. A co-founder of COUSINS Collective\, Khalil’s work has been exhibited or screened at the Museum of Modern Art\, Sundance Film Festival\, New York Film Festival\, Tate Modern\, HKW\, Walker Arts Center\, Lincoln Center\, Palais de Tokyo\, Kunsthal Charlottenborg\, Creative Time\, Toronto Biennial 2019\, Whitney Biennial 2019\, Sharjah Biennial 15\, Counterpublic Triennial 2023\, among other institutions. Khalil is the recipient of various fellowships and grants\, including a 2021 Creative Capital Award\, a 2020 Herb Alpert Award\, a Jerome Artist Fellowship\, the Gates Millennium Scholarship\, and honors from Sundance Art of Nonfiction and Cinereach. \nZack Khalil is a filmmaker and artist whose work centers Indigenous narratives in the present—and looks towards the future—through the use of innovative nonfiction forms. Khalil also works professionally as a video editor\, most recently co-editing Alison O’Daniels feature film The Tuba Thieves (2023)\, which premiered at Sundance. Khalil’s own work has been shown at the Museum of Modern Art\, Sundance Film Festival\, New York Film Festival\, CPH: DOX\, HKW\, Walker Arts Center\, Kunsthal Charlottenborg\, Creative Time\, Toronto Biennial 2019\, Whitney Biennial 2019\, 59th Venice Biennale\, Sharjah Biennial 15\, and Counterpublic Triennial 2023\, among other institutions and festivals. Khalil is the recipient of various fellowships and grants\, including a Jerome Hill Artist Fellowship\, a Sundance Art of Nonfiction grant\, and the Gates Millennium Scholarship. \nFollowing the Penny Stamps Speaker Series screening of Aanikoobijigan at the Michigan Theater on October 12\, a reception and Q&A will take place from 6:30-8:30 p.m. at Stamps Gallery (201 S. Division St.). Filmmakers Zack and Adam Khalil\, with special guests\, will speak in reflection on their film and process. \nIn partnership with the U-M Native American Graves Protection and Repatriation Act Office\, U-M Museum of Anthropological Archeology\, U-M Matthaei Botanical Gardens & Nichols Arboretum\, U-M Department of Film\, Television\, and Media\, the U-M Inclusive History Project\, the U-M Department of Anthropology\, UM Museum Studies Program\, and the U-M Stamps Gallery. \nSeries presenting partners: Detroit PBS\, ALL ARTS\, and PBS Books. Media partner: Michigan Public.
URL:https://ummsp.rackham.umich.edu/tribe-event/penny-stamps-speaker-series-aanikoobijigan-film-screening-at-michigan-theater/
LOCATION:Michigan Theater\, 603 E. Liberty St.\, Ann Arbor\, MI\, 48104\, United States
CATEGORIES:Other
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DTSTART;TZID=America/Detroit:20261023T160000
DTEND;TZID=America/Detroit:20261023T173000
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SUMMARY:In the Shadow of the Empire: Calcutta’s Victoria Memorial and its Cast of Moving Statuary
DESCRIPTION:Presentation by Tapati Guha-Thakurta \nOctober 23 at 4:00 pm \nEldersveld Room\, 5670 Haven Hall (505 S. State Street\, Ann Arbor) \nWith a focus on Calcutta’s landmark monument – the most grandiose of the memorials to the Queen of all the ones built across the British imperial territories – this lecture addresses the theme of the end of empire through the persistence and proliferation of the genre of civic public statuary\, its shifting cast of characters\, and its movements across time and space. It is on the grounds of the Victoria Memorial – in the lingering shadows of a bygone empire – that a brood of imperial statues have found a safe haven\, quietly living out their post-imperial lives of oblivion in a time and place where the empire is long gone but its hauntings remain.  In the recent past\, we have seen how such hauntings of the past can suddenly return to a body of long-standing statues of American Confederate leaders\, slave owners and imperialists\, bringing on them the wrath of anti-white supremacist protests that began to rage across Western cities and universities during 2020. What the Black Lives Matter movement did was to return attention in India to the long-forgotten specimens of colonial statuary\, mostly hidden away in remote locations of our cities – raising the issue again\, after over 75 years of Independence\, of their rights to remain in the spaces where they still stand. The afterlives of these relics of empire is a central theme of this lecture\, as it explores various moments in the travels\, dislocations and relocations of Calcutta’s imperial statues\, while charting a small parallel history of Indian statue-making over these transitional decades of the last years of British rule and the coming of Independence. \n  \nTapati Guha-Thakurta was educated at Presidency College\, Calcutta University\, and the University of Oxford. She is currently an Honorary Professor of History at the Centre for Studies in Social Sciences\, Calcutta (CSSSC) and was its former Director from 2012 to 2017. She has written widely on the art and cultural history of modern India\, and has held several visiting fellowships abroad. Her three main books are The Making of a New ‘Indian’ Art: Artists\, Aesthetics and Nationalism in Bengal (Cambridge University Press\, 1992) and Monuments\, Objects\, Histories: Institutions of Art in Colonial and Postcolonial India (Columbia University Press\, and Permanent Black\, 2004)\, and In the Name of the Goddess: The Durga Pujas of Contemporary Kolkata (Delhi: Primus Books\, 2015). She has also had a parallel career as exhibition curator and archivist\, and has helped build a large digital image archive on the visual cultures of modern and contemporary Bengal at the CSSSC. She has co-edited three anthologies of essays – Theorising the Present: Essays for Partha Chatterjee (Delhi: Oxford University Press\, 2011); New Cultural Histories of India: Materiality and Practices (Delhi: Oxford University Press\, 2013); and How Secular is Art? On the Politics of Art\, History and Religion in South Asia (Cambridge University Press\, 2023). Among her other professional work is the preparation of a dossier on the Durga Pujas of Kolkata for the Ministry of Culture\, Government of India\, which has brought to the festival the coveted UNESCO inscription under its List of the Intangible Cultural Heritage of Humanity in December 2021.
URL:https://ummsp.rackham.umich.edu/tribe-event/in-the-shadow-of-the-empire-calcuttas-victoria-memorial-and-its-cast-of-moving-statuary/
LOCATION:Haven Hall\, Eldersveld Room\, 505 S. State Street\, Ann Arbor\, 48109
CATEGORIES:Lectures
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