committed to memory the art of the slave ship icon

Pepijn Brandon, Assistant Professor of Economic and Social History, Vrije Universiteit Amsterdam, and Senior Researcher, International Institute of Social History “Shedding Light on a Not So Hidden Past: Changing Perspectives on Slavery in the Dutch Empire” Vincent Brown, Charles Warren Professor of American History, Professor of African and African American Studies, and Founding Director of the History Design Studio, Harvard University candidate, Department of History of Art and Architecture, Harvard University Martha Tedeschi, Elizabeth and John Moors Cabot Director, Harvard Art Museums This session brings together historians and art historians whose work has, on the one hand, been grounded in art museum collections and, on the other, challenged traditional museological narratives of slavery’s legacies in the Netherlands and the Americas. PART 2: De-centering/Re-centering: Forging New Museological and Historical Narratives Jan Mijtens, Dutch, Portrait of Maria of Orange with Hendrik van Nassau-Zuylestein and a Black Child (detail), c. Autry, cultural organizer, co-producer of Museums Are Not Neutral, founder of the Black Liberation Center, and independent curator “Reflections on Re-envisioning LACMA’s Permanent Collection”ĭiva Zumaya, Assistant Curator, European Painting and Sculpture, Los Angeles County Museum of Art Stephanie Archangel, Junior Curator, History Department, Rijksmuseum “Black Presence in 17th-Century Western Art” Maria Holtrop, Curator of History, Rijksmuseum

They will reflect on the broader call for museums to recognize the relationship of their collections to slavery and to present-day racial injustice.Ĭhristopher Atkins, Van Otterloo-Weatherbie Director, Center for Netherlandish Art, Museum of Fine Arts, Boston To register, please complete this online form.Ĭurators will discuss their work on groundbreaking projects in the Netherlands and the United States, namely the Rijksmuseum’s current Slavery exhibition, the Rembrandthuis Museum’s exhibition Here: Black in Rembrandt’s Time, the Los Angeles County Museum of Art’s reinstallation of its permanent collection, and the Museums Are Not Neutral initiative.

PART 1: Exhibiting Slavery and Representing Black Lives Carved and painted wood with paper and other materials. Gerrit Schouten, Surinamese, Diorama of a Du, Dance Celebration on the Plantation (detail), 1830.

Committed to memory the art of the slave ship icon