Spring 2019 saw Art History’s newest faculty member, Professor Tenley Bick, actively engaged in publishing, lecturing, and contributing to exhibitions. She participated in two MoFA exhibitions in February, beginning with 68:18 Student Protest in Print, at which she presented “Collectivism in Context: Examining Unity in May 1968,” a talk on the visual ephemera of student protest movements in 1960s France. Dr. Bick also co-curated the second iteration of Stored: Changing Views of Works from our Permanent Collection, a multi-cycle exhibition at the MoFA with Interior Architecture and Design Professor Yelena McLane. The first installation opened in January as MoFA’s permanent collection spaces underwent renovation. The curators of Stored were given the opportunity to arrange, rearrange, and change viewpoints on some of the “biggest” works in the collection.
On February 22 the Winthrop-King Institute hosted an international, interdisciplinary conference, European Migrations: Infrastructures of Mobility, Confinement, and Hospitality in the E.U, in which Dr. Bick presented “Porta d’Europa: Art and Activism in Italy in the Age of the European Migration Crisis.” The conference, which explored the history and increasingly hostile policies of European migration, featured speakers from abroad, including independent photographer Eric Leleu and Danish Research Foundation fellow Carolina Sanchez Boe, as well Helen Solterer from Duke University and faculty and graduate students from several FSU departments. Bick also participated in the Winthrop-King Institute international conference “‘Does la lutte continue?’ The Global Afterlives of May ’68” on March 28–29, in which she presented new research in her paper, “Wu Ming’s Postcoloniality: Collectivism and Countercultural Aesthetics for Contemporary Italy.”
Dr. Bick’s most recent article, “What Goes Around Comes Around: Myth and Male Trauma in Somali Diasporic Cinema,” is forthcoming in a spring 2019 issue of Third Text. Also in March, Dr. Bick gave the talk “Presenze: Italian Avant-Gardism and Art Discourse in Late 1950s Turin,” relating to her book project on Pistoletto, at the American Association for Italian Studies conference at Wake Forest University.
Finally, Dr. Bick has been invited to speak at the Bibliotheca Hertziana at the Max Planck Institute for Art History in Rome on June 6, where she will be presenting research from her Pistoletto project as part of the Hertziana’s “Rome Contemporary” Research Initiative and seminar series.