Beauty out of the Ashes

Aaron Douglas. Cover Illustration for Fire!!  Devoted to Younger Negro Artists, ed. Wallace Thurman. New York, 1926..

March 1, 2023.

Professors Ronald D. Patkus, Eve Dunbar, and Caroline Culp discuss their current exhibition in the Thompson Memorial Library, Beauty out of the Ashes: Printed Works of the Harlem Renaissance, 1923-1936, on view through June 15, 2023.

A key focus of the exhibition is the literary production of the Harlem Renaissance. Works of thirteen different authors are presented. Together they provide a window into some of the key aspects of authorship during the Harlem Renaissance. At the same time, it’s also important to note that the exhibition considers not only texts, but also art, since the first editions of these works often included artwork on the dust jackets or within the book itself. By studying not just texts but also physical books, we gain a sense of the visual nature of published works, and thus a wider understanding for how works of the Harlem Renaissance were presented to their reading audience.

 

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Anne Gaud Tinker

Alice Ravenel Huger Smith. Landscape, c. 1928. 10-3/8 x 13-3/4". The Johnson Collection, Spartenburg, S.C.

December 14, 2022. 

Anne Gaud Tinker (VC '67) discusses the book she co-authored with Dwight McInvaill and Caroline Palmer, Alice: Alice Ravenel Huger Smith, Charleston Renaissance Artist, published in 2021 in Charleston by the Middleton Place Foundation and Evening Post Books.

A lifelong Charleston resident with limited professional training, Alice Smith forged her style from a wide range of sources—her French teacher at the local Carolina Art Association, mentors who introduced her to Tonalism and Japanese woodblock prints, and extensive fieldwork. In a career of sixty years, she defied gender expectations and gained national acclaim.

Descended from prominent rice planters, Alice’s work reflects a reverence for nature and nostalgia for an idealized past. She helped spark Charleston’s historic preservation movement, depicted the waning days of rice planting, and captured the mystical spirit of the Lowcountry’s coast, marshes, and woodlands in luminous watercolors.

Alice was one of the principal guiding lights of an invigorating cultural change that flourished between the twentieth century’s two world wars called the Charleston Renaissance. In recent years, this artistic and cultural movement has been reexamined for its elitist perspective and romanticized view of Charleston and the city’s fraught history. Alice’s story raises important questions about historical memory and the forces that shaped Charleston into the city it is today.

Middleton Place Museum Shop Books

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Dora Apel

 October 5, 2022.

Dora Apel, W. Hawkins Ferry Professor Emerita of Modern and Contemporary Art History at Wayne State University, returns to the program to talk about her book Beautiful, Terrible Ruins: Detroit and the Anxiety of Decline, published by Rutgers University Press in 2015.

"In Beautiful Terrible Ruins: Detroit and the Anxiety of Decline, Dora Apel goes on the offensive against the myriad myths and delusions peddled about the Motor City; not only that, she rebuffs the blame and shame that have traditionally been directed at the Detroit citizenry, and redirects our attention to the corporations and bureaucrats who have abandoned it. The result is a work that seems to invigorate a depressed debate and ask timely questions about social values in America and the world it influences." ― Los Angeles Review of Books

"In the early twentieth century, Detroit was defined by Charles Sheeler's photos of the River Rouge plant and Diego Rivera's murals of work. Today, the hulking ruins of old industrial buildings and empty skyscrapers symbolize the city. In this provocative analysis, informed by urban geography, political economy, and art history, Dora Apel reflects on what images of ruined Detroit teach us about the city,  popular culture, and American capitalism." -- Thomas J. Sugrue ― The Origins of the Urban Crisis: Race and Inequality in Postwar Detroit

 

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Katherine Hite

April 13, 2022.

Katherine Hite, Professor of Political Science on the Fredrick Ferris Thompson Chair and Director of Research and Development at Vassar College, talks about her recent research on Texas history, published in her articles "Texas, Monuments, and the Politics of Self-Reckoning in Texas," (Memory Studies Special Issue 14:6, 2021) and "A Monumental Battle for the Story of Texas," (Revista: The Harvard Journal of Latin Amerian Studies, 20:23, 2021), as well as about her books on monuments and the politics of memory in Latin America and Spain: The Politics and the Art of Commemoration: Memorials to Struggle in Latin America and Spain (Routledge, 2013) and Memory in Chile from Pinochet to Bachelet (First Forum, 2013). 

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Stella Beratlis

 March 23, 2022.

Modesto poet Stella Beratlis returns to the program to talk about her new collection, Dust Bowl Venus: Poems, just out from Sixteen Rivers Press.

"Sometimes the ground shifts under our feet and leaves us stumbling; our world changed. DUST BOWL VENUS documents that stumbling; that changed world; and also the regaining of a footing that; if not what we had hoped for; is what we live with. In her second powerful collection of poetry; framed by the lyrics of Modesto-based country-bluegrass songwriter; Hazel Houser; Stella Beratlis explores the landscapes of California's Great Central Valley; the landscapes of fear and hope in the cancer diagnosis of her daughter; and the landscape of regret--what we have let go and what we have gained from letting go. Beratlis pays her characteristic attention to detail; invoking; for example; Louis Armstrong's blue kitchen and the hinges squeaking on an ice chest lid; in order to create her complex; lyrical images. She writes that "ghosts / have always been walking / through the spaces of our home;" and she has listened to these ghosts. This book is filled with imagery and emotion that builds and curves and accumulates; leaving the reader breathless; glad for the shifting of the earth that gave us these poems."

 

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Miriam Cohen and Mark G. Seidl

November 4, 2020.

Miriam Cohen, Professor of History on the Evalyn Clark Chair at Vassar College, and Vassar Special Collections Librarian and Cataloger Mark G. Seidl will discuss the exhibition entitled Votes for Women: Vassar and the Politics of Women's Suffrage, sponsored by the Vassar College Libraries to celebrate the centenary of the adoption of the Nineteenth Amendment in the United States.

Video of Robyn Muncy Lecture, Nov. 12 at 5:30 p.m.

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David Tavárez

October 7, 2020

David Tavarez, Professor of Anthropology and Director of Latin American and Latino/a Studies, talks about the exhibition Miracles on the Border: Retablos of Mexican Migrants to the United States, on view at the Frances Lehman Loeb Art Center September 5 - December 13, 2020.

Usually commissioned from local artists working anonymously, retablos feature a narrative that is both written and pictorial. First-person vignettes, dated and inscribed with the supplicants’ names, draw on a traditional vocabulary such as “doy infinitas gracias” (I give infinite thanks). In the luminous illustrations above the inscriptions, earthly figures share space with holy images and a dreamlike representation of the miracle. As they accumulate on church walls, both in Mexico and the United States, these votives become public records of private faith, fears, and familial attachments.
 

Nicholas Adams

Beinecke Rare Books Library, Yale University

February 5, 2020.

Nicholas Adams discusses his biography of the 20th century architect whose work defined the built environment of corporate modernism: Gordon Bunshaft and SOM: Building Corporate Modernism (Yale University Press 2019).

Gordon Bunshaft’s (1909–1990) landmark 1952 design for Lever House reshaped the Manhattan skyline and elevated the reputation of Skidmore, Owings & Merrill (SOM), the firm where he would spend more than 40 years as a partner. Although this enigmatic architect left behind few records, his legacy endures in the corporate headquarters, museums, and libraries that were built in his distinctive modernist style. Bunshaft’s career was marked by shifts in material. Glass and steel structures of the 1950s, such as New York’s Chase Manhattan Bank, gave way to revolutionary designs in concrete, such as the Beinecke Rare Book and Manuscript Library at Yale University and the doughnut-shaped Hirshhorn Museum in Washington, DC. Bunshaft’s collaborations with artists, including Isamu Noguchi, Jean Dubuffet, and Henry Moore, were of paramount importance throughout his career.

Nicholas Adams explores the contested line between Bunshaft’s ambition for acclaim as a singular artistic genius and the collaborative structure of SOM’s architectural partnership. Bunshaft received the Pritzker Architecture Prize in 1988 and remains the only SOM partner to have achieved this distinction. Adams counters Bunshaft’s maxim that “the building speaks for itself” with necessary critical context about this modernist moment at a time when the future of Bunshaft’s iconic works is very much in question.

Wendy N. E. Ikemoto

John Frederick Kensett (1816–1872), View from Cozzens’ Hotel, near West Point, N.Y., 1863 [detail]
Oil on canvas

November 27, 2019.

Wendy Ikemoto, Associate Curator of American Art at the New-York Historical Society Museum & Library, discusses her exhibition: Panoramas: The Big Picture, on view at the Society through December 8, 2019.

Panoramas: The Big Picture explores the history and continued impact of panoramas from the 17th to the 21st century, as they were used to create spatial illusions, map places, and tell stories. Highlights include John Trumbull’s sweeping double vistas of Niagara Falls (1808), sections of Richard Haas’ nearly 200-foot long trompe l’oeil panorama of Manhattan (1982), and Eadweard Muybridge’s 17-foot photographic panorama of San Francisco before the city’s devastating 1906 earthquake (1878). The exhibition examines and reveals the impact that these and other panoramas had on everything from mass entertainment to nationalism to imperial expansion.

Robert K. Brigham

Maya Lin. Vietnam Veterans Memorial, Washington D.C., 1982

May 1, 2019.

Robert K. Brigham, Shirley Ecker Boskey Professor of History and International Relations at Vassar College, discusses his book Reckless: Henry Kissinger and the Tragedy of Vietnam (PublicAffairs, 2018).

The American war in Vietnam was concluded in 1973 after eight years of fighting, bloodshed, and loss. Yet the terms of the truce that ended the war were effectively identical to what had been offered to the Nixon administration four years earlier. Those four years cost America and Vietnam thousands of lives and billions of dollars, and they were the direct result of the supposed master plan of the most important voice in American foreign policy: Henry Kissinger.

Using newly available archival material from the Nixon Presidential Library, Kissinger's personal papers, and material from the archives in Vietnam, Robert K. Brigham punctures the myth of Kissinger as an infallible mastermind. Instead, he constructs a portrait of a rash, opportunistic, and suggestible politician. It was personal political rivalries, the domestic political climate, and strategic confusion that drove Kissinger's actions. There was no great master plan or Bismarckian theory that supported how the US continued the war or conducted peace negotiations. Its length was doubled for nothing but the ego and poor judgment of a single figure.

This distant tragedy, perpetuated by Kissinger's actions, forever changed both countries. Now, perhaps for the first time, we can see the full scale of that tragedy and the machinations that fed it.

Bailey Van Hook

Violet Oakley.  The Great Wonder: Vision of the Apocalypse, Vassar College, Alumnae House, 1924.  Oil on panel.

February 20, 2019.

Bailey Van Hook, Professor of Art History and co-director of the MA Program in Material Culture and Public Humanities at Virginia Polytechnic Institute and State University, discusses her biography Violet Oakley: An Artist's Life (University of Delaware Press, 2016).  

"Violet Oakley: An Artist's Life is the first full-length biography of Violet Oakley (1874–1961), the only major female artist of the beaux-arts mural movement in the United States, as well as an illustrator, stained glass artist, portraitist and author. There is much human interest here: a pampered and spoiled young woman who suddenly finds herself in near poverty, forced to make a living in illustration to support her parents; a sensitive and idealistic young woman who, in a desperate attempt to save her neurasthenic father, embraces Christian Science, a religion derided by her family and friends; a 28 year old woman who receives one of the plum commissions of the era, a mural cycle in the Pennsylvania State Capitol, in a field dominated by much older and predominantly male artists; a woman in her forties who although professionally successful finds herself very much alone and bonds with her student, Edith Emerson; a friend of artists like dancer Ruth St. Denis and violinist Albert Spalding who nevertheless was supremely conscious of social mores, the “Miss Oakley” of the Social Register who preferred the company of upper class to bohemian society; the tireless self-promoter who traveled abroad to become the unofficial visual historian of the League of Nations yet who ironically was increasingly regarded as a local artist."

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James Merrell

Violet Oakley. "Quaker Legend of the Latch String" Mural for the Pennsylvania State House, 1919.

May 16, 2018.

Season Finale:  James Merrell, Professor of History at Vassar College on the Lucy Maynard Salmon Chair, talks about historical vocabulary and his article "Second Thoughts on Colonial Historians and American Indians" (William and Mary Quarterly July 2012), as well as his two monographs The Indians' New World: Catawbas and Their Neighbors from European Contact through the Era of Removal  (North Carolina, 1989) and Into the American Woods: Negotiators on the Pennsylvania Frontier(Norton, 1999), both winners of the Bancroft Prize.

"This stunning history of the Catawbas―and their black and white neighbors―sets a new standard for the field. Merrell's book bristles with new insights and skilled decoding of difficult evidence. After reading this book, all those involved in teaching early American history should want to alter their perspective." ―Gary B. Nash, University of California, Los Angeles

"The Indians' New World is closely argued from an astonishing amount of evidence, and it is lucidly written.... It emphasizes the ingenuity and strength of will by which the Catawbas coped with disaster and preserved their identity as a people. Only a genuine scholar and fascinating writer could have paid tribute as James Merrell has done." ―Francis Jennings, Director Emeritus, D'Arey McNickle Center for the History of the American Indian, The Newberry Library

"James Merrell's Into the woods: Negotiators on the Pennsylvania Frontier is an account of the "go-betweens," the Europeans and Indians who moved between cultures on the Pennsylvania frontier in efforts to maintain the peace. It is also a reflection on the meanings of wilderness to the colonists and natives of the New World. From the Quaker colony's founding in the 1680s into the 1750s, Merrell shows us how the go-betweens survived in the woods, dealing with problems of food, travel, lodging, and safety, and how they sought to bridge the vast cultural gaps between the Europeans and the Indians. The futility of these efforts became clear in the sickening plummet into war after 1750. "A stunningly original and exceedingly well-written account of diplomacy on the edge of the Pennsylvania wilderness."--

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Emily S. Warner

April 18, 2018.

Emily S. Warner, Adjunct Assistant Professor of Art at Vassar College, talks about the exhibition she composed with her students in Art 385,  Surveys and Souvenirs: American World's Fairs 1876-1939, on view in the Vassar College Art Library March 12-June 29, 2018. 

"Sell the cookstove if necessary," novelist Hamlin Garland wrote to his parents in 1893; "You must see the fair." Garland's comment captures the excitement and urgency that drew 27 million visitors to the World's Columbian Exhibition in Chicago, one of several world's fairs that dominated American cultural life around the turn of the century.  From 1876 to 1039, over 15 world's fairs opened in American cities, showcasing the nation's industry and art, and introducing Americans to a world of foreign goods and accomplishments.  Drawn chiefly from materials in the Archives and Special Collections Library at Vassar College, this exhibition presents the rich material culture of American world's fairs, from surveys and guidebooks to photogaphs, children's literature, poster stamps, and souvenirs.  Many of these objects tell official stories from the fairs, promoting messages of American progress, imperial expansion, or scientific advancement.  They also tell more personal stories, as material objects that were used, gifted, inscribed, and collected.  Together, they paint a vivid picture of American world's fairs during a time of intense national growth and consolidation, as the country celebrated its centennial, closed its Western frontier, and arrived at the eve of World War II.

Gargoyle Bulletin post with images from the exhibit.

American World's Fairs 1876-1939 videos on Youtube 

Wendy N. E. Ikemoto

April 11, 2018.

Wendy N. E. Ikemoto, Associate Curator of American Art at the New York Historical Society and former Vassar professor, talks about her new book Antebellum American Pendant Paintings: New Ways of Looking (Routledge, 2017).

Antebellum American Pendant Paintings: New Ways of Looking marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19th-century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor’s Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849) and Thomas Cole’s Departure and Return (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale’s Kilauea by Day and Kilauea by Night (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.

 

Tobias Armborst

February 28, 2018. 

Tobias Armborst, Professor of Art and Urban Studies at Vassar College and Principal Architect of the award winning design and planning firm Interboro Partners, discusses his book The Arsenal of Exclusion and Inclusion (Actar 2017).

"The Arsenal comes at a critical time when interest in the urban realm has moved beyond the innocence of tactical urbanism, with its ubiquitous vocabulary of parklets and bike lanes, and now includes protest movements to fight the perceived agents of gentrification.... The text ultimately embraces history over how-to. The Arsenal, then, could be thought of as an urbanist’s I Ching, but rather than divining the future, each entry tells us about where we have been and where we are right now." --Metropolis Magazine

Ellen Condliffe Lagemann

January 31, 2018.

Ellen Condiffe Lagemann, Levy Institute Research Professor at Bard College and Distinguished Fellow in the Bard Prison Initiative, discusses her book Liberating Minds: The Case for College in Prison (New Press, 2017) in the next installment of our series on The Role of the Liberal Arts in Contemporary Society.

“An excellent new book that makes a compelling case. Lagemann’s is a reasoned, knowledgeable, and compassionate voice for higher education as a means to achieve the goal of prison as a place for rehabilitation.” —  Vartan Gregorian, president, Carnegie Corporation of New York
,

Herman Eberhardt

Ayako Matsushita on her graduation day from Heart Mountain High School. Before the war she attended Marshall High School in Los Angeles.

Frank Hirahara 1944

October 25, 2017.

Herman Eberhardt, Supervisory Curator at the Franklin Delano Roosevelt Presidential Library and Museum, discusses the Library and Museum in Hyde Park, New York, and his exhibition: Images of Internment: The Incarceration of Japanese Americans During World War II, on view in the Library's William J. vanden Heuvel Gallery through December 31, 2017.

Sally Van Wagenen Keil

September 20, 2017 (SEASON OPENER).

Author and pilot Sally Van Wagenen Keil (VC ' 68) discusses her narrative history of the WASPs (Women's Air Service Pilots) of the Second World War, Those Wonderful Women in Their Flying Machines (Four Directions, 1990).

"Those Wonderful Women in their Flying Machines hones in on World War II to recount the story of the over 1,000 women pilots who flew in the military as part of the Women's Air Force Service Pilots (WASP). Over 25,000 women applied and 1,800 were selected to train at Avenger Field in Sweetwater, Texas. From 1942 to '44, these pilots flew over 60 million miles in every type of plane the airforce had, and 38 women lost their lives in service. Here, in biography style, the niece of one of these pilots recreates the amazing story of what she calls 'one of the best-kept secrets of World War II.'"

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Dawn Seymour Interview on NPR's The Moth, November 2013. (10:31 minutes.)

Nicholas Adams

May 10, 2017: SEASON FINALE.

Architectural historian Nicholas Adams, Mary Conover Mellon Professor of Art at Vassar College, talks about the exhibition he conceived and helped to curate at the Buffalo & Erie County Public Library entitled Building Buffalo: Buildings from Books, Books from Buildings: Books on Architecture and Landscape from the Rare Book Collection of the Buffalo & Erie County Public Library, on view until March 31,  2018.

Order the Catalogue.

42:46 minutes

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Danielle Allen

April 5, 2017.

Danielle Allen, James Bryant Conant University Professor and Director of the Edmond J. Safra Center for Ethics at Harvard University and a MacArthur Fellowship recipient, will contribute to our series on the role of liberal arts education in contemporary society by discussing her recent work on language and politics: Education and Equality (Chicago University Press, 2016) and Our Declaration: A Reading of the Declaration of Independence in Defense of Equality (Norton, 2014).

"Featured on the front page of the New York Times, Our Declaration is already regarded as a seminal work that reinterprets the promise of American democracy through our founding text. Combining a personal account of teaching the Declaration with a vivid evocation of the colonial world between 1774 and 1777, Allen, a political philosopher renowned for her work on justice and citizenship reveals our nation's founding text to be an animating force that not only changed the world more than two-hundred years ago, but also still can. Challenging conventional wisdom, she boldly makes the case that the Declaration is a document as much about political equality as about individual liberty. Beautifully illustrated throughout, Our Declaration is an “uncommonly elegant, incisive, and often poetic primer on America's cardinal text”  -- David M. Kennedy.

 “Education and Equality mounts a powerful philosophical argument for putting ‘participatory readiness’ for civic and political life at the center of American education. Developing a rich, pragmatic account of the purposes of schooling, Allen shows the poverty of reductionist notions of education as preparation for work and global economic competition alone. To achieve the political equality that is indispensable for democratic governance, a humanist education for all is required. A must read for all concerned about the future of American education and American democracy.”  -- Leo Casey, executive director, Albert Shanker Institute 

40:41 minutes.

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