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The Unfinished Exhibition
The Unfinished Exhibition, the first comprehensive examination of American art at the Centennial, explains the critical role of visual culture in negotiating memories of the nation’s past that conflicted with the optimism that Exhibition officials promoted. Supporting novel iconographical interpretations with myriad primary source material, author Susanna W. Gold demonstrates how the art galleries and the audiences who visited them addressed the lingering traumas of battle, the uneasy re-unification of North and South, and the persisting racial tensions in the post-Emancipation era.
Pompeii in the Public Imagination from its Rediscovery to Today
The city of Pompeii has had an enormous impact on Western imaginations since its rediscovery under the ashes of the volcano that destroyed it in 79 CE. In the 250 years since excavations began, Pompeii has helped to bring the ancient world to life for everyone, from music hall audiences to gentleman scholars, and it continues to have an impact on the way in which we think about the past, and the human condition itself. The contributors to this generously illustrated volume, who include the novelist Robert Harris, in a recorded interview, investigate how Pompeii has been used in film, fiction, and art on both sides of the Atlantic over three centuries. They explore the many different ways in which Pompeii inhabits our imaginations: as ghostly relic of human suffering, romantic ruin, model of cultural inspiration, home of a distant, decadent culture, and comforting model for everyday life.
Do Museums Still Need Objects?
"We live in a museum age," writes Steven Conn in Do Museums Still Need Objects? And indeed, at the turn of the twenty-first century, more people are visiting museums than ever before. There are now over 17,500 accredited museums in the United States, averaging approximately 865 million visits a year, more than two million visits a day. New museums have proliferated across the cultural landscape even as older ones have undergone transformational additions: from the Museum of Modern Art and the Morgan in New York to the High in Atlanta and the Getty in Los Angeles. If the golden age of museum-building came a century ago, when the Metropolitan Museum of Art, the American Museum of Natural Histo...
Guide to the old Moravian cemetery of Bethlehem, Pa., 1742-1897
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Fictions of Emancipation: Carpeaux's Why Born Enslaved! Reconsidered
A critical reexamination of Jean-Baptiste Carpeaux's bust Why Born Enslaved!, this book unpacks the sculpture's engagement with—and defiance of—an antislavery discourse. In this clear-eyed look at the Black figure in nineteenth-century sculpture, noted art historians and writers discuss how emerging categories of racial difference propagated by the scientific field of ethnography grew in popularity alongside a crescendo in cultural production in France during the Second Empire. By comparing Carpeaux's bust Why Born Enslaved! to works by his contemporaries on both sides of the Atlantic, as well as to objects by twenty‑first‑century artists Kara Walker and Kehinde Wiley, the authors touch on such key themes as the portrayal of Black enslavement and emancipation; the commodification of images of Black figures; the role of sculpture in generating the sympathies of its audiences; and the relevance of Carpeaux's sculpture to legacies of empire in the postcolonial present. The book also provides a chronology of events central to the histories of transatlantic slavery, abolition, colonialism, and empire.
