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Representation and Resistance: Scholarship Centering Race in Western Art

Representation and Resistance: Scholarship Centering Race in Western Art is a virtual lecture series organized by Mia L. Bagneris and Michelle Foa of the Newcomb Art Department and co-sponsored by the Africana Studies Program.

Featuring a diverse array of scholars, Representation and Resistance: Scholarship Centering Race in Western Art will showcase research that centers BIPOC people as artists, as subjects of representation, and as viewers. Talks in the series will illuminate the intersections of race and representation, including strategies of resistance employed by artists and spectators of color, in the visual and material cultures of the United States, Europe, Asia, Latin America, and the Caribbean from the early modern period through the nineteenth century. All talks will be presented via Zoom and will be free and open to the public.

Daphne Williams, Age about 100, 1936-38
Daphne Williams, Age about 100, 1936-38

Jennifer Van Horn, Associate Professor of Art History and History, University of Delaware "‘No one could prevent us making good use of our eyes’: Enslaved Spectators and Iconoclasts on Southern Plantations"

Thursday, September 10, 6pm CDT online
This lecture uses the portrait to tell an alternative history of American art: how enslaved people mobilized portraiture in acts of artistic defiance. It traces the ways that bondpeople denied planters’ authority and reversed dehumanization by gazing on white elites’ portraits, an act of rebellion that remains understudied.

Ananda Cohen-Aponte, The Materiality of Insurgency in the Colonial Andes

Ananda Cohen-Aponte, Associate Professor of History of Art, Cornell University "The Materiality of Insurgency in the Colonial Andes"

Thursday, October 29, 5pm CST online
This presentation explores themes of loss, erasure, and effacement of artworks in eighteenth-century Peru and Bolivia, positing the modification of material culture as a form of world-making by considering case studies from the Tupac Amaru and Katari Rebellions, which sought the overthrow of Spanish colonial rule. Traditional art historical studies that focus exclusively on fully intact or “museum quality” artworks distort our understanding of fraught periods of history, and particularly rebellions and uprisings, due to severe censorship campaigns in their aftermath that sought to restore colonial order through targeted iconoclasm. This presentation offers new insights for writing about art’s entanglement with political violence, underscoring the gains that can be made through interdisciplinary methodologies for recovering Indigenous and Afro-Indigenous artists and subjects that have been erased from the official archive.

Caitlin Beach, The Greek Slave on the eve of abolition

Caitlin Beach, Assistant Professor of Art History, Fordham University "The Greek Slave on the Eve of Abolition"

Thursday, November 12, 6pm CST online
What kind of image can enact change? Many nineteenth-century viewers posed this question when seeing Hiram Powers’ Greek Slave (first version, 1844), anticipating that its depiction of a Greek woman in chains might raise metaphorical connections to the urgent matter of slavery’s abolition in the antebellum United States. But as scholars have pointed out, the white marble statue was fraught with complexity in terms of its materiality and subject matter, deflecting as many associations to the enslavement of African Americans as it evoked. This talk draws on new archival material to rethink the Greek Slave’s relationship to antislavery discourse. Its exhibition intersected the machinations of racial capitalism in the Black Atlantic, concerns that emerged in sharp relief during the sculpture’s American tour and in the city of New Orleans in particular. There, the sculpture’s display was inextricable from the acts of seeing and surveillance central to the institution of slavery and human trafficking. Yet in these same years, the Greek Slave’s closeness to slavery in the U.S. South would become a flashpoint of Black activism and antislavery critique on the global stage. In an age of slavery and abolition, Powers’ sculpture stood on shifting ground.