What does it mean to make art history? Today more than ever, we must consider the role of art in society, how knowledge is shared (or obscured), and the way histories are made—and unmade. In the Foreground: Conversations on Art & Writing asks these questions, while also considering the personal stakes of scholarship. Each episode offers a lively, in-depth look into the life and mind of a scholar or artist working with art historical or visual material. Discussions touch on guests’ current research projects, career paths, and significant texts, mentors, and experiences that have shaped their thinking. We invite you to join us in and listen in on these conversations about the stakes of doing art history today.
February 9: “How to Look with Soft Eyes”: Darby English on Description as Method
February 16: “Unpacking My Identity”: Genevieve Gaignard on Race in America and the Impossibility of Home
February 23: “A Gesture of Reciprocity”: Souleymane Bachir Diagne on Translation and Restitution
March 2: “A Database is an Argument”: Anne Helmreich on Digital Humanities and Art History
March 9: “When is This?”: Brian Michael Murphy on Media Archaeology and Preservation
March 16: “The Sound Can Touch You Directly”: Christina Kubisch on Electronic Sound Art
March 23: “Perception is a Form of Sampling“: Christoph Cox on Materialities of Sound
March 30: “Sound is a Dimension of Reality”: Robin James on Theorizing Sound, Race, and Gender
April 13: “Moving Across the Threshold”: Alisa LaGamma on Curating the Arts of Africa
April 27: “Where the Impossible is Possible”: Saundra Weddle and Lisa Pon on Collaboration and Renaissance Studies
May 4: “‘Others’ of Various Kinds”: J. Vanessa Lyon on Intersectionality as an Early Modern Scholar
In the Foreground is hosted by Caro Fowler, and produced by Caitlin Woolsey, Samantha Page, and Caro Fowler, with music by lightchaser, editing by John Buteyn, and additional support provided by Gabriel Almeida Baroja, Alice Matthews, and Yubai Shi.
Virtual programs at the Clark have been made possible in part by a major grant from the National Endowment for the Humanities: Exploring the human endeavor. Any views, findings, conclusions, or recommendations expressed in these programs do not necessarily represent those of the National Endowment for the Humanities.