The Evidentiary and the Black Body

In this final episode of the miniseries, Erica Moiah James speaks with her friend and colleague, Sora Han. Erica and Sora were fellows at the Clark Art Institute together in 2024. While Erica was working on this project about representation in the Caribbean, Sora was working on a project about Charles Gaines, and his work Manifestos 4, which is a visual engagement with the Dred Scott decision of 1857, which denied Black people the right to citizenship, and therefore also the right to sue for their right to freedom. Sora is a legal scholar and comes to art history with a background in law. In this conversation, they discuss the stakes of naming, of using Black bodies and lives for “evidence,” and the ways in which seeking to name a portrait takes part in a discourse that extends beyond art history and into the legal sphere. In this concluding discussion, Erica discusses the stakes in art history, and the possibilities for art history as a discipline to allow society more broadly to rethink how images are deployed as evidence––on social media, in the courtroom, and beyond.

In this episode,  Erica Moiah James talks with Roshini Kempadoo, media artist, photographer, and scholar, whose book Creole in the Archive: Imagery, Presence, and the Location of the Caribbean Figure, has been critical to Erica's work in theorizing the Caribbean archive. Roshini discusses working in the archives at the University of the West Indies, and the particularity of archives in Trinidad and Guyana. They also discuss a common theoretical model in African diaspora scholarship, critical fabulation, which originally indicated the ethical demand for scholars working within archives marked by colonial violence and absence to use tools of fiction and imagination to return embodied existence to individuals, reduced to numbers. Yet this tool of critical fabulation has taken on a life of its own. Erica and Roshini discuss the complications of working in colonial archives and think about the possibilities of limits of presence and absence within these archives. 

In the second episode of this miniseries, Portrait of a Young Woman, Erica Moiah James discusses the importance of fashion in understanding this portrait and the life of this woman. She speaks with historian of fashion, Amelia F. Rauser, Charles A. Dana Professor of Art history at Franklin and Marshall College, whose book The Age of Undress: Art, Fashion, and the Classical Ideal in the 1790s was critical for Erica’s research.  As Amelia has importantly argued in her text, the “objection of the enslaved Black body and the plantation culture and inhabited, stalked neoclassical dress, which could not escape the material traces of its manufacturer.” Erica’s research on the young Black woman in this portrait draws on Amelia’s work on Caribbean dress, and they will discuss the role that fashion had on the Caribbean and across the Atlantic. In particular, they explore the ways in which women and particularly women of color use fashion to claim power through self-representation.

In this first episode of our new miniseries, Erica Moiah James introduces the 18th-century pastel Portrait of a Young Woman, shares her experience first encountering the work at the Saint Louis Art Museum (SLAM), and explains how she has tackled the process of unravelling this woman’s identity. She speaks with Judy Mann, the senior curator of European art to 1800 at SLAM, discussing the acquisition of the work, its provenance, its role within the collection, and the ways in which the museum thinks about curating history and race through the care and exhibition of this portrait. Erica and Judy explore what it means to name an individual who has historically been unnamed in the history of Western art and how museums and publics might attend to the presence of Black and Brown people in historical images.

In this final episode of the season focused on the craft of writing, Sara Houghteling (special projects coordinator in the Research and Academic Program) speaks with Cammy Brothers, a scholar of art and architecture at Northeastern University. In this episode, Brothers examines Michaelangelo’s drawing practice and that of his contemporary, Giuliano da Sangallo, and the ways in which da Sangallo’s architectural drawings aim to assemble fragmentary images of Rome on the page. Brothers also reflects on her career and writing practice: on publishing a first book that was not an adaptation of her doctoral dissertation; on the ways in which recitation is integral to clear and compelling scholarship; and on composing endings that open new lines of thought rather than summarizing or foreclosing meaning. She also discusses her role as a critic for the Wall Street Journal and the craft of writing for a public readership.   

In this episode, Sara Houghteling (special projects coordinator in the Research and Academic Program) speaks with Jennifer Nelson, a poet and scholar of early modern art at the University of Delaware. Through the lens of their first book on Holbein, and a second, forthcoming, on Cranach, Nelson describes how comparative studies of elite cultural production can allow us to the see the category of art as capacious, and capable of dismantling our concept of mastery. They offer concrete advice on writing—from tone, to endings, clarity, and decisive punctuation—and speak about their own writerly process, in which ideas often manifest first in poetry and later in prose.

In this continuation of a season focused on the craft of writing in art history, Sara Houghteling (special projects coordinator in the Research and Academic Program) speaks to Shira Brisman, a historian of early modern art and assistant professor of the history of art at the University of Pennsylvania. Through the lens of her two books, the first on Albrecht Dürer, and the second, forthcoming, on the goldsmith Christoph Jamnitzer (1563–1618), Brisman explores how art can shape communities, and can either draw people together or divide them. She discusses the idea of a “craft” of writing, the impact of poetry on her own prose, and how an “off stage bibliography” can provide a generative set of thematic, linguistic, and structural alternatives that amplify one’s understanding of their own scholarly writing projects.  

This is the first episode of a new season focused on the craft of writing in art history. Sara Houghteling (special projects coordinator for the Research and Academic Program and a fiction writer) speaks with Alexander Nemerov, professor of art history at Stanford University, about his most recent book, The Forest: A Fable of America in the 1830s. He discusses his writing process, how his craft has changed over time, and this current book’s varied sources of inspiration—from painting and poetry to time spent in nature and pilgrimages to historical sites. 

In this episode, Caitlin Woolsey (Assistant Director of the Research and Academic Program) speaks with artist and curator Tsedaye Makonnen about her multidisciplinary studio, curatorial, and research-based practice. They discuss how Tsedaye’s sculptural installations and performances thread together her identity as a daughter of Ethiopian immigrants and a Black American woman to explore the transhistorical forced migration of Black communities across the globe.