The Rachofsky Collection Graduate Symposium 2023 at The Warehouse Dallas is organized around the theme of The Event with keynote speaker Dr. Jo Melvin, Professor of Fine Art & Feminisms, University of Arts London. Based on the ideas of British artist John Latham and the Least Event—the smallest moment or action after zero—this symposium will look at different artists that resonate with Latham’s work through their ideas of time-space, the event, and the moment of creation in art and performance. Graduate students will present their research on John Latham, Giulio Paolini, and Shinro Ohtake, with focus on works within The Rachofsky Collection. DETAILS Graduate presentations will begin at 2pm, followed by keynote presentation at 4pm. Detailed schedule below. The symposium will take place in The Warehouse Library. Guests are encouraged to come early for lunch and to view the current exhibition, Room by Room: Concepts, Themes, and Artists in The Rachofsky Collection. RSVP to caitlin@thewarehousedallas.org SCHEDULE 12–2pm  Lunch and Open Galleries 2–4pm   Graduate Presentations and Q&A 4–5pm   Keynote Presentation by Dr. Jo Melvin and Q&A

KEYNOTE SPEAKER | Dr. Miguel de Baca, Senior Program Officer, Getty Foundation MODERATOR | Dr. Anna Lovatt, Associate Professor of Art History at SMU The Rachofsky Collection hosts the 2022 graduate symposium with Southern Methodist University graduate art and art history students presenting on the theme of Affective Minimalism, related to the current exhibition Tender Objects: Emotion and Sensation after Minimalism, curated in collaboration with SMU Department of Art History. The term Affective Minimalism announces this symposium’s intention to challenge the enduring presumption that Minimalist works are inherently dispassionate, objective, and nonreferential. While several artists did indeed react against the autobiographical exuberance found in the previous decade’s Abstract Expressionist works, for some, to create art linked to Minimalism’s tenets did not mean sensitive engagement with audiences had to be erased. The subtleties that these artists captured through reduced forms and seemingly objective practices instead enable the activation of fleeting, indefinable emotional responses from viewers. The term “affect” has been used by theorists including Sara Ahmed, Brian Massumi, and Silvan Tomkins to address those aspects of experience that resist verbal articulation, including sensations, atmospheres, and emotions. The affective, as described by Gregory J. Seigworth and Melissa Gregg, is, at its most anthropomorphic, “the name we give to those forces — visceral forces beneath, alongside, or generally other than conscious knowing, vital forces insisting beyond emotion….”  It marks a body’s encounter with and belonging to the world.

For the second annual Graduate Symposium, The Rachofsky Collection invited three graduate students or recent graduates to present their research on postwar Japanese artist, Jiro Takamatsu. Following the graduate presentations, writer and curator Douglas Fogle presented his keynote presentation titled “The Skin of the World.”

For the inaugural Graduate Symposium, The Rachosky Collection invited four graduate students or recent graduates to present their research on artists from Postwar Japan, Postwar Korea, and Postwar Italy—three focuses of the collection. The presentations covered artists Seung-taek Lee, Piero Manzoni, Giuseppe Penone, and Hitoshi Nomura. Following the graduate presentations, Dr. Ming Tiampo presented her keynote presentation titled “Curating Global Art History: Topologies of Display.”