New Book | Teachable Monuments
This week (11–12 August) marked the fifth anniversary of the white supremacist rally in Charlottesville. This collection of essays appeared in hardback in 2021; it’s due to be released in paperback this fall from Bloomsbury:
Sierra Rooney, Jennifer Wingate, and Harriet Senie, eds., Teachable Monuments: Using Public Art to Spark Dialogue and Confront Controversy (Bloomsbury Publishing, 2021), 296 pages, ISBN: 978-1501356940 (hardcover), $130 / ISBN: 979-8765100462 (paperback), $35.
Monuments around the world have become the focus of intense and sustained discussions, activism, vandalism, and removal. Since the convulsive events of 2015 and 2017, during which white supremacists committed violence in the shadow of Confederate symbols, and the 2020 nationwide protests against racism and police brutality, protesters and politicians in the United States have removed Confederate monuments, as well as monuments to historical figures like Christopher Columbus and Dr. J. Marion Sims, questioning their legitimacy as present-day heroes that their place in the public sphere reinforces. The essays included in this anthology offer guidelines and case studies tailored for students and teachers to demonstrate how monuments can be used to deepen civic and historical engagement and social dialogue. Essays analyze specific controversies throughout North America with various outcomes as well as examples of monuments that convey outdated or unwelcome value systems without prompting debate.
Sierra Rooney is Assistant Professor of Art History at University of Wisconsin-La Crosse. She is the author of numerous articles on public monuments and controversy.
Jennifer Wingate is Professor of Fine Arts at St. Francis College. She was co-editor of Public Art Dialogue (2017–2020) and is the author of Sculpting Doughboys: Memory Gender, and Taste in America’s Worlds War I Memorials (2013). She has published on representations of the domestic display of FDR portraits, WWI memorials, and public art.
Harriet F. Senie is Professor Emerita of Art History at the City College of New York and the Graduate Center, The City University of New York. She is the author of Memorials to Shattered Myths: Vietnam to 9/11 (2015), The ‘Tilted Arc’ Controversy: Dangerous Precedent? (2001), and Contemporary Public Sculpture: Tradition, Transformation, and Controversy (1992). She has edited several anthologies on different aspects of public art.
C O N T E N T S
List of Illustrations
List of Contributors
Acknowledgements
Introduction: Why Monuments Matter — Sierra Rooney (University of Wisconsin-La Crosse) and Jennifer Wingate (St. Francis College)
Part I: Teaching Strategies
1 Developing Essential Questions for a Student-Driven 4th Grade Monument Study — Adelaide Wainwright (Oregon Episcopal School)
2 Encouraging Intervention: Project-Based Learning with Problematic Public Monuments — Mya Dosch (California State University-Sacramento)
3 Mapping Art on Campus — Annie Dell’Aria (Miami University)
4 Moving Beyond ‘Pale and Male’: A Museum Educator Approach to the Campus Portrait Debate — Jennifer Reynolds-Kaye (Yale Center for British Art)
5 ‘From Commemoration to Education’: Re-setting Context and Interpretation for a Confederate Memorial Statue on a University Campus — Sarah Sonner (Briscoe Center for American History, University of Texas-Austin)
6 Making Material Histories: Institutional Memory and Polyvocal Interpretation — Kailani Polzak (University of California-Santa Cruz)
Part II: Political Strategies
7 Dismantling the Confederate Landscape: The Case for a New Context — Sarah Beetham (Pennsylvania Academy of the Fine Arts)
8 Learning from Louisville: John Breckenridge Castleman, His Statue, and a Public Sphere Revisited — Chris Reitz (University of Louisville)
9 Addressing Monumental Controversies in New York City Post Charlottesville — Harriet Senie (City University of New York)
10 The Preservation Dilemma: Confronting Two Controversial Monuments in the United States Capitol — Michele Cohen (Architect of the Capitol)
11 Up Against The Wall: Commemorating and Framing the Vietnam War on the National Mall — Jennifer K. Favorite (City University of New York)
12 ‘I feel like I have hated Lincoln for 110 years’: Debates over the Lincoln Statue in Richmond, Virginia — Evie Terrono (Randolph-Macon College)
Part III: Engagement Strategies
13 Paper Monuments as Public Pedagogy — Sue Mobley (Colloqate Design)
14 Charging Bull and Fearless Girl: A Dialogue — Charlene G. Garfinkle (Independent Scholar)
15 The Afterlife of E Pluribus Unum — Laura Holzman (Indiana University–Purdue University Indianapolis), Modupe Labode (National Museum of American History), and Elizabeth Kryder-Reid (Indiana University–Purdue University Indianapolis)
16 Unforeseen Controversy: Reconciliation and Re-contextualization of Wartime Atrocities through ‘Comfort Women’ Memorials in the United States — Jung-Sil Lee (George Washington University and Maryland Institute College of Art)
17 Free History Lessons: Contextualizing Confederate Monuments in North Carolina — Matthew Champagne (North Carolina State University), Katie Schinabeck (North Carolina State University), and Sarah A. M. Soleim (North Carolina State University)
18 Future History: New Monumentality in Old Public Spaces, An interview with Artist Kenseth Armstead — Maria F. Carrascal (Artipica Creative Spaces, Spain)
Index
Esther Bell Appointed Deputy Director of the Clark
From the press release, via Art Daily (11 August 2022) . . .
Esther Bell, who currently serves as the Robert and Martha Berman Lipp Chief Curator of the Clark Art Institute, in Williamstown, Massachusetts, has been promoted to Deputy Director. Bell retains her curatorial role and takes on added responsibilities in overseeing the work of the Clark library, supervising visitor services activities, and supporting Director’s Office initiatives.
“In the five years since she joined the Clark’s staff, Esther Bell has proven herself to be an exceptional leader and a trusted colleague, and she brings great ingenuity and creativity to all aspects of her work. I have every confidence that she will manage her additional duties with the same keen eye for detail and deep commitment to the Clark’s mission that has made her such an important part of our team,” said Olivier Meslay, Hardymon Director of the Clark.
Bell joined the Clark staff in 2017 and has since been deeply immersed in the Clark’s special exhibition program as well as managing all aspects of the care, growth, and development of the Clark’s permanent collection. Bell co-curated the 2019 exhibition Renoir: The Body, The Senses, with George T.M. Shackleford, deputy director of the Kimbell Art Museum, Fort Worth, Texas, and was heavily involved in all aspects of the Clark’s first outdoor exhibition, Ground/work, which opened in 2020. She is the co-curator of an upcoming exhibition featuring French drawings from the Bibliothèque nationale de France and is preparing a major monographic exhibition for 2024 on Guillaume Guillon-Lethière (1760–1832).
“I am honored to serve as the Clark’s Deputy Director and am deeply committed to collaborating closely with my colleagues across the Institute as we bring new projects and programs to the forefront. The Clark has many exciting plans ahead and I look forward to working with Olivier Meslay, and with the entire Clark team, as we continue the important mission of serving our communities,” said Bell.
In addition to overseeing the Clark’s curatorial staff, Bell supervises the Institute’s Departments of Education and Public Programs. She is also active in several senior management working groups and internal staff committees, including its Diversity, Equity, Inclusion, and Accessibility Advisory Group.
In 2020, Bell completed a fellowship at the Center for Curatorial Leadership in New York, a rigorous program designed to identify emerging arts leaders and provide them with the training necessary to prepare them for work in the rapidly evolving cultural climate of the twenty-first century. Bell holds a doctorate in the history of art from the Institute of Fine Arts, New York University, with a specialization in seventeenth- and eighteenth-century European art. She earned a master’s degree from the Williams College/Clark Graduate Program in the History of Art, and a bachelor’s degree in the history of art from the University of Virginia. She completed a Fulbright Fellowship at the Musée du Louvre in 2003 and has held numerous fellowships.
Before joining the Clark’s staff, Bell served as the curator in charge of European paintings at the Fine Arts Museums of San Francisco. Prior to that, she was the curator of European paintings, drawings, and sculpture at the Cincinnati Art Museum. Bell began her career in New York, serving as a research assistant and curatorial fellow at both the Metropolitan Museum of Art and the Morgan Museum and Library. In 2015, Apollo magazine named Bell as one of the top ten curators in North America under the age of forty.
New Book | Maria Sibylla Merian: Changing the Nature of Art and Science
Coming soon, with distribution by ACC Art Books:
Marieke van Delft, Kay Etheridge, Hans Mulder, Bert van de Roemer, and Florence Pieters, Maria Sibylla Merian: Changing the Nature of Art and Science (Tielt: Lannoo: 2022), 304 pages, ISBN: 978-9401485333, $70.
The revolutionary artist and naturalist Maria Sibylla Merian (1647–1717) has come into the spotlight in recent years. The life and work of this German-born woman, who would later settle in the Netherlands, has been studied internationally by entomologists, botanists and historians and are a source of inspiration for contemporary artists and writers. In 2016, Lannoo Publishers, in collaboration with the Koninklijke Bibliotheek, republished her masterpiece Metamorphosis insectorum Surinamensium as a facsimile. This well-illustrated book assembles the most recent scientific knowledge about this remarkable woman. The authors examine, among other things, Merian’s pioneering work on the reproduction and development of insects, the methods and materials she used for her work, her remarkable journey to Suriname, her network of family, friends and patrons, and her widespread influence on the history of art and science. Her work is compared to that of early modern and contemporary artists and scientists
This book gathers essays by of 23 international experts, most of whom are connected to the international Maria Sibylla Merian Society. The editorial team consists of Marieke van Delft, Kay Etheridge, Hans Mulder, Bert van de Roemer, and Florence Pieters.
Online Talk | Kay Etheridge on Maria Sibylla Merian
Part of this fall’s offerings from Smithsonian Associates:
Kay Etheridge | Maria Sibylla Merian: A Biologist to the Bone
Online, Smithsonian Associates, Thursday, 17 November 2022, 6.45pm
Maria Sibylla Merian, Metamorphosis insectorum surinamensium (The Metamorphosis of the Insects of Suriname), plate 31 (Amsterdam, 1705).
The aesthetic appeal of the images created by Maria Sibylla Merian (1647–1717) has led history to label her as an artist who painted and etched natural history subjects. However, Merian was as passionate a naturalist (biologist in modern terms) as Charles Darwin or Carl Linnaeus, and like all scientists, she was impelled by her curiosity about nature. Merian was the first person to spend decades studying the relationships of insects and plants, and her work revolutionized what came to be the field of ecology. Kay Etheridge, professor emeritus of biology at Gettysburg College, draws on Merian’s own words to consider her motivations in the context of her time and place, and discusses Merian’s body of work in comparison to that of her near-contemporaries working in natural history. $20 (members) / $25 (nonmembers).
Book Discussion | Grafted Arts
Gangaram Tambat, View of Parbati, a Hill near Poona Occupied by the Temples Frequented by the Peshwa, 1795, watercolor and graphite on paper
(New Haven: Yale Center for British Art, Paul Mellon Collection).
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From YCBA:
Grafted Arts: Art Making and Taking in the Struggle for Western India, 1760–1910
Virtual and in-person, Yale Center for British Art, New Haven, 7 September 2022, 4.00pm
Author Holly Shaffer, Assistant Professor of the History of Art and Architecture, Brown University, in conversation with Laurel Peterson, Assistant Curator of Prints and Drawings, Yale Center for British Art
During the eighteenth century, Maratha military rulers and British East India Company officials used the arts to engage in diplomacy, wage war, compete for prestige, and generate devotion as they allied with (or fought against) each other to control western India. Shaffer’s book conceptualizes the artistic combinations that resulted as ones of ‘graft’—a term that acknowledges the violent and creative processes of suturing arts, and losing and gaining goods, as well as the shifting dynamics among agents who assembled such materials.
Holly Shaffer’s research focuses on art and architecture in Britain and South Asia across visual, material, and sensory cultures. Her book Grafted Arts: Art Making and Taking in the Struggle for Western India, 1760–1910 was awarded the Edward Cameron Dimock, Jr. Prize in the Indian Humanities by the American Institute of Indian Studies. Shaffer curated the exhibition Adapting the Eye: An Archive of the British in India, 1770–1830 at the Yale Center for British Art. She and Laurel Peterson, Assistant Curator of Prints and Drawings, are co-curators of an upcoming exhibition at the YCBA about artists and the British East India Company.
This program is presented through the generosity of the Terry F. Green 1969 Fund for British Art and Culture.
To watch the livestream on September 7 at 4.00pm, please click here»
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Note (added 15 August 2022) — The posting was updated with the new time (4.00).
New Book | European Fans: The Untold Story
From Scala:
Hahn Eura Eunkyung, European Fans: The Untold Story (London: Scala Arts Publishers, 2022), 248 pages, ISBN: 978-1785514128, £15 / $21.
Showcasing more than 60 carefully selected fans from a collection of over 1000, this is the first in a series of publications from the Eurus Collection, now available in English for the first time.
Throughout history, fans have had numerous roles: personal items to cool the user, tools for religious and ceremonial events, symbols of royal power and authority or important fashion accessories. As practical, symbolic and decorative objects, they are the meeting point of multiple arts. This book focuses on European fans made in the French Rococo style in the eighteenth century and the Rococo Revival style that emerged in the nineteenth century. Sixty-six superb examples, selected from the Eurus Collection in South Korea, offer a glimpse into the lives of European royalty and aristocracy, including their aesthetic preferences, ideals and views on nature, and demonstrate the intermingling of cultures in the newly emerging painting and craft styles which resulted from trade between Europe and the East. This beautifully illustrated book explores the fans’ thematic and stylistic aspects as well as their assembly and production and invites the reader to discover their untold stories.
The Eurus Collection, under the direction of Hahn Eura Eunkyung, is a sister institution of Hwajeong Museum in Seoul. With more than one thousand fans from all over the world, the Eurus Collection is the second largest of its kind in the world (after The Fan Museum in London) and the largest in Asia.
Hahn Eura EunKyung is the founder and director of Eurus Collection. Most of Eurus Collection’s artefacts were collected by her late father, Dr Hahn Kwang-ho CBE, who was one of the key contributors to the establishment of The Korea Foundation Gallery at the British Museum. Director Hahn’s research interests are in the field of conservation studies and the history of cultural artefacts.
HaYoung Joo is an assistant professor of art theory and criticism at the School of Arts, Chonnam National University, Korea.
H-France Forum 17.5 (2022) | Anne Lafont’s L’art et la race
The latest issue of H-France Forum, edited by Melissa Hyde, is dedicated to Anne Lafont’s L’art et la race. Melissa notes that since she is issue editor for H-France Forum in art history, we can expect to see one issue a year devoted to a recent book in French art history. She welcomes suggestions. And with some 4000 subscribers, H-France is a great place to make art history more visible. So, send her your ideas! –CH
H-France Forum 17.5 (2022)
Issue edited by Melissa Hyde, University of Florida
Anne Lafont, L’art et la race : l’Africain (tout) contre l’œil des Lumières (Dijon: Les presses du réel, 2019).
Review Essays
• Christy Pichichero, George Mason University
• Andrew Curran, Wesleyan University
• Zirwat Chowdhury, University of California, Los Angeles
• Charlotte Guichard, CNRS and Ecole Normale Supérieure
Response Essay
• Anne Lafont, EHESS
All essays are available here»
Conference | Ales through the Ages
From the announcement (20 July 2022) and the conference website:
Ales through the Ages
Online and in-person, Colonial Williamsburg, 11–13 November 2022
Craft beer may be enjoying a surge in popularity, but as participants in Colonial Williamsburg’s Ales through the Ages conference will discover, there’s nothing new about the beverage. In this one-of-a-kind history conference, offered both virtually and in-person November 11–13, participants will journey through time and space with some of the world’s top beer scholars to follow beer from its primitive roots to its modern form.
Register to reserve your opportunity to mingle with an international lineup of guests including maltsers, authors, brewery owners, social media influencers, and entrepreneurs. Speakers include
• Pete Brown, author, journalist, broadcaster, and consultant in food and drink, and 2020 recipient of Imbibe Magazine’s Industry Legend award, delivering the opening keynote, sponsored by the Virginia Beer Museum: The Highs and Lows of Researching Beer History
• Award-winning author and former journalist, Martyn Cornell, an authority on the history of British beer and the development of British beer styles, discussing the origins of Pale Ale
• George ‘Butch’ Heilshorn, co-founder of Earth Eagle Brewings and Talisman Spirits, going Back to the Future of Botanical Beers
• Food and drink historian Marc Meltonville on reconstructing a Tudor brewery and producing beer from a 16th-century recipe, the products of his venture with the FoodCult project
• Maltster Andrea Stanley on developments in malting technology in the 18th and 19th centuries
• Author Lee Graves exploring the connection between early American brewing and the West African beer traditions of enslaved populations
• Craig Gravina journeying through 400 Years of Beer and Brewing in New York’s Hudson Valley
• Journalist and author Stan Hieronymus providing insight into Breaking the Lupulin Code
• Ron Pattinson on the transformative story of UK brewing during World War I
• ‘The Beer Archaeologist’, Travis Rupp, sharing what he’s dug up most recently on ancient brewing
• Kyle Spears and Dan Lauro from Carillon Brewing Co. on operating a historic brewery in the modern world
The full program is available here»
In-person registrants will have the opportunity to enjoy a pint from the past with speakers and other attendees at an opening reception on Friday night sponsored by Aleworks Brewing Company that will feature their historic brew collaborations with Colonial Williamsburg; Saturday lunch accompanied by 18th-century theater and historically-based brews; and a post-conference gathering at Virginia Beer Company with guest speakers, Historians on Tap. Tickets for the event at Virginia Beer Company are available to in-person attendees for $20 and include beer samples from local breweries, including special brews developed in partnership with Colonial Williamsburg’s 18th master of historic foodways, Frank Clark. Attendees are also encouraged to bring and share homebrews for a truly unique taste-testing experience.
In-person registration is $275 per person and includes access to lectures, the welcome reception, and the Saturday lunch. Virtual-only registration is $100 per person and includes access to lectures through the conference streaming platform. Both in-person and virtual-only registration include a 7-day ticket voucher to Colonial Williamsburg’s Art Museums and Historic Area, valid for redemption through 31 May 2023. A limited number of virtual and in-person conference scholarships are available to students, museum or non-profit professionals, and emerging brewers with an application deadline of September 20. Special room rates at Colonial Williamsburg hotels are available for in-person conference registrants. All registrants will have access to the main conference lectures via the streaming platform through 31 December 2022.
This conference is made possible by the generosity of private and corporate sponsors including Virginia Beer Company, Virginia Beer Museum, and Aleworks Brewing Company.
Exhibition | Making Music in Early America
From the press release (11 July 2022) for the exhibition:
Making Music in Early America
DeWitt Wallace Decorative Arts Museum, Colonial Williamsburg, 20 August 2022 — December 2025
Organized by Amanda Keller
Organized piano by Longmen, Clementi & Company, London, 1799 (Colonial Williamsburg: Museum Purchase. Conservation of this instrument is made possible by a gift from Constance Tucker and Marshall Tucker in memory of N. Beverly Tucker, Jr. 2012-150).
In the 18th century, music was everywhere: in the workplace, the military campsites, the quarters of the enslaved, the church, the theater, the ballroom, and the home. Music was an essential part of life that helped foster a sense of community, whether people were accompanying the organ in song at church or enjoying an impromptu concert at home. Making Music in Early America, a new exhibition to open on August 20, 2022, in the Mark M. and Rosemary W. Leckie Gallery at the DeWitt Wallace Decorative Arts Museum, one of the Art Museums of Colonial Williamsburg, will envelop visitors in the musical world of the 18th and 19th centuries.
As told through more than 60 instruments and their accessories, the social history and material culture of early American music will be revealed. This is the first exhibition to show the full scope of Colonial Williamsburg’s musical instruments collection including some pieces that were recently acquired. It is scheduled to remain on view through December 2025. Organized in five sections featuring music in the home, in religion, in education, in public performance, and in the military, Making Music in Early America will include harps, organs, violins and other string instruments, fifes, flutes, a bassoon, a grand harmonicon, drums, horns, and much more. While the instruments are fascinating in and of themselves, the musicians who played them and their roles in society take center stage in this exhibition.
“Colonial Williamsburg has been collecting early musical instruments for more than 90 years, but we have never before had the opportunity to show the full range of the collection,” said Ronald Hurst, the Foundation’s Carlisle H. Humelsine chief curator and vice president for museums, preservation, and historic resources. “Supported by examples of original sheet music and paintings of early Americans playing their instruments, this exhibition will place these remarkable objects in their rich, historic context.”
Among the many highlights of Making Music in Early America is a barrel organ, or hand organ, made by Longman, Clementi & Co. in London, England, ca. 1789–1801. It is a hand-cranked organ that could be played inside the home on demand with no musical talent required. The organ barrels operated much like a music box and included dance music, religious music, and military marches. They produced music on demand similar to a juke box or record player, if one had the strength to crank the handle and switch out the barrels to change the tunes. In the 17 September 1767 edition of The Virginia Gazette, an item advertising a similar instrument read: “Just Imported from London, a VERY neat HAND ORGAN, in a mahogany case, with a gilt front, which plays sixteen tunes, on two barrels; it has four stops, and every thing is in the best order. The first cost as 16£ sterling, and the Lady being dead it came in for, any person inclining to purchase it may have it on very reasonable terms. Inquire at the Post Office, Williamsburg.”
“This incredibly diverse collection of musical instruments offers us ways to tell the stories of the people who lived here during the 18th and early 19th centuries by examining who interacted with these instruments and why,” said Amanda Keller, Colonial Williamsburg’s manager of historic interiors and associate curator of household accessories who organized this exhibition. “The instruments become even more fascinating when you discover who played them and what role music played in society.”
One of the earliest hunting horns known in American collections is another featured object in the exhibition. Simple hunting horns were being made in the American colonies as early as 1765, but the majority were imported from Europe like this brass horn, made by Johannes Leichamschneider in Vienna, Austria, ca. 1715. As hunting horns were worn by the rider, they were easily battered. As a result, early hunting horns rarely survived, and this is an outstanding example that scholars come to The Colonial Williamsburg Foundation to study. Although the horn section may have been modified over time and updated, the bell is original. Only one other just like this example survives with a history of use at Mount Vernon. It is recorded that George Washington’s enslaved valet, William Lee, performed the important duties of Huntsman, tending to the horses and hounds, as well as blowing the hunting horn during fox hunts at Mount Vernon and other estates. Although the history of Colonial Williamsburg’s hunting horn is unknown, it illustrates the once-prominent role played by free and enslaved huntsmen in the early South.
Revolutionary War military instruments are especially rare, and this brass ‘Hessian’ drum, from the Frebershausen area in the Hesse-Kassel region of what is now Germany, ca. 1770–85, is another featured object to be on view in Making Music in Early America. It was brought over by one of the many so-called Hessian units hired by the British to fight in the American Revolution and was most likely captured by American forces. Made of brass, this drum still has some secrets to reveal: Colonial Williamsburg’s experts, with the aid of colleagues across the Atlantic, are researching to which regiment it belonged and are using the painted colors around the top and bottom bands to help solve its mystery.
Also included in the exhibition will be ways for visitors to be able to hear the sounds of four of the instruments (banjo, harpsichord, organized piano, and musical glasses) as well as an opportunity to see a musician play an organized piano (the period term indicating the addition of several organ stops playable from the same keyboard).
Additionally, guests will be able to use an interactive touch screen to view an extraordinary music book in the Colonial Williamsburg collection that was owned by Peter Pelham (1721–1805), an English-born American organist, harpsichordist, teacher, and composer. Born in London, Pelham and his family immigrated to Boston in 1730. While there, Pelham’s father apprenticed him to Charles Theodore Pachelbel, son of composer Johann Pachelbel who is known for “Canon in D,” which is still popular today. Pelham followed Pachelbel to Charleston in 1736 and remained there for a number of years, studying with Pachelbel and later becoming a harpsichord teacher himself. Pelham returned to Boston in 1744 to serve as the first organist of Trinity Church. In 1750 Pelham moved to Williamsburg, to serve as organist at Bruton Parish Church. While in Williamsburg Pelham actively participated in the city’s musical life, giving concerts and teaching young ladies to play the spinet and harpsichord. Additionally, he supported himself and his family by serving as clerk to the royal governor, supervisor of the printing of money, and keeper of the Public Gaol. The music book that will be on view includes music that Pelham enjoyed as well as some of his original compositions. It has never been on view before, and although the original book is too fragile to be placed on view, this digital interactive will allow visitors to page through the book and see the music for themselves.
Making Music in Early America is generously funded by an anonymous donor.
Symposium | Architecture and Health, 1660–1830
James Gibbs, The Great Hall of St Bart’s, London, 1730s (Photo by David Butler). Situated on the first floor of the hospital’s North Wing, the Great Hall is approached by way of a grand staircase, the walls of which were decorated by William Hogarth. At the top of the stairs, the Great Hall is accessed by a dominating doorway opening into the large hall, decorated with portraits and dedications to the early contributors to the redevelopment of the hospital. More information is available here»
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From The Georgian Group:
Architecture and Health, 1660–1830
Georgian Group Symposium, St Bartholomew’s Hospital, London, 3 November 2022
Rescheduled for 27 February 2023
Following successful symposia held by the Georgian Group in previous years—on the Adam Brothers, James Gibbs, Women and Architecture, and Georgian London Revisited (online)—this year’s symposium will address Architecture & Health in the long eighteenth century. Appropriately, it will be held in James Gibbs’s Great Hall at St Bartholomew’s, an institution celebrating its 900th anniversary. A series of short papers by both established and younger scholars, and from a range of disciplines, will examine how and where medicine was studied and debated, how knowledge was disseminated, and how healthcare was provided in what spaces and through what mechanisms. The symposium will be held from 10am to 5pm and will be led by Ann Marie Akehurst. Tickets (£70) include a buffet lunch and reception; a limited number of student tickets (£35 ) are also available. Please read the Terms and Conditions before booking. If tickets have sold out for this event, please email members@georgiangroup.org.uk to be added to the waiting list.
P R O G R A M M E
9.30 Registration
10.00 Welcome
Session 1: Transmission of Medico-Scientific Knowledge
• Matthew Walker — The Architecture of English Anatomy Theatres 1660–1800
• Janet Stiles Tyson — Elizabeth Blackwell’s A Curious Herbal and Bart’s
• Danielle Wilkens — Health in the Academy: Jefferson’s University of Virginia and Landscapes of Inequity
Session 2: Outside the Institutions: Health and Environment
• Joana Balsa de Pinho — Health, Architecture and Urbanism in the Early Modern Era: From Prevention to Treatment
• Allan Brodie — Georgian Margate: A Landscape and Townscape of Health
• India Knight — The Spa at Hampstead
Session 3: Places of Confinement
• Anna Jamieson — ‘Bedlam’s Picture Gallery’: Health, Performance, and the Built Environment at Bethlem
• Leslie Topp — Early Asylums and the Curious Appeal of Prison Designs
• Marina Ini — John Howard and the Quarantine Centres of the Eighteenth-Century Mediterranean
• Sarah Akibogun — The (Other) Woman in The Attic: Considering Post-Colonial Lenses on the Treatment of Madness in Georgian England
Session 4: Enduring Hospital Spaces
• Tessa Murdoch — French Protestant Hospital in Clerkenwell, 1742
• Elisabeth Einberg — Hogarth’s Use of Architectural Space to Bring Home the Message
• Dan Cruickshank — Bart’s Great Hall
• Will Palin — Bart’s Heritage
5.00 Drinks Reception
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N.B. — (note added 22 February 2023) — The symposium was postponed from November to February due to train strikes; the schedule has also been adjusted with an 11am start time; please see the Georgian Society website for details.
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