Materializing Race
UNCONFERENCE
We would like to thank the Society of Winterthur Fellows for their generous sponsorship of this event.
Day One
CONFERENCE PROGRAM
Day One: Monday, August 24,2020, 1:00-3:45PM EST
Panel I: Adornment, Agency & the Body
Day One Moderator:
Zara Anishanslin
University of Delaware
Fellow 2020-21, Davis Center, Department of History,
Princeton University
The Deerskin as Signifier of Timucuan Racial Identity in Theodor de Bry’s Brevis narratio eorum quæ in Florida (1591)
Thomas Balfe
University of Edinburgh
‘They are greatlye Diligted with puppets’: The Materiality of Wax and the Body in Atlantic Encounters
Laura Earls
University of Delaware
Dispossession in Lace: Jacobean Ruffs and Materializing White Authority in Jamestown
Lauren Working
University of Oxford
Beads of Resistance: Trans-Atlanticism, Abolition and Anti-Blackness
Kerry Sinanan
University of Texas at San Antonio
The Racecraft of Early American Jewish Miniatures
Laura Arnold Leibman
Reed College
Indigeneity, Disability, and Metalsmithing in Sequoyah’s Silver Medal
Natalie Wright
University of Wisconsin-Madison
Day One: Monday, August 24,2020
Panel II: Resistance, Ritual & Performativity
Black Sanctity
Miguel A. Valerio
Washington University in St. Louis
Hiding Places and Living Spaces: An Archaeology of Building Deposits in Plural Contexts
Rebekah Planto
The College of William and Mary
Pentecostal Dance and Proto-Abolitionist Noise on the Appalachian Watersheds: The Case of Cane Ridge
Christopher Smith
Texas Tech University School of Music
Enslaved People’s Concealment of Objects at Stagville Plantation
Whitney Nell Stewart
University of Texas at Dallas
Slavery in Paper and Polychrome: Temporality and Materiality in the Dioramas of Gerrit Schouten
Nicholas Rinehart
Dartmouth College
Day Two
CONFERENCE PROGRAM
Day Two: Tuesday, August 25,2020, 1:00-3:45PM EST
Panel III: [Dis]Possession & Personhood
Day Two Moderator:
Janine Yorimoto Boldt
American Philosophical Society
Creole Conversation Pieces: Philip Wickstead in Eighteenth-Century Jamaica
Chloe Northrop
Tarrant County College
A Seraglio in Connecticut: Race, Slavery, and Feminine Virtue in New England Schoolgirl Art
Emily Wells
The College of William and Mary
The Bag my Kunsi Made: ‘Settlement,’ Indigeneity, and the Narrative Erasure of Slavery in Wisconsin’s History
Kai Pyle
University of Minnesota Twin Cities
Colonizing Taste: A Mesoamerican Staple in Casta and Contemporary Art
Sheila Scoville
Florida State University
What the Sub-Floor Pit Holds: Musical Instruments as a Missing Artifact in the Archaeological Record
Luke J. Pecoraro
Jamestown-Yorktown Foundation
A Colony in Birch Bark: Exploring the Indigenous Materialities of Elizabeth Simcoe’s Picturesque Landscapes
Mairead Horton
Day Two: Tuesday, August 25,2020
Panel IV: Revolution & Sovereignty
Spirit Bottles
Jeremy Dennis
Shinnecock Indian Nation, New York, and On This Site: Indigenous Long Island
Forging Freedom: Enslaved African Americans at James Hunter’s Iron Works
Kate Gruber
Jamestown-Yorktown Foundation
Representations of Race and Identity in Jonathas Granville’s Portrait
Bethânia Santos Pereira
Universidade Estadual de Campinas
The Myth of the Tignon and the Invention of New Orleans
Jonathan M. Square
Harvard University
Ultima Ratio: Confronting the Power of Haitian Artillery in Northern New York
Matthew Keagle
Fort Ticonderoga
Four Creole Women
Date: 1770
Place: Guadeloupe
Maker: Joseph Savart
Location: Musée Schœlcher
Collection
Accession No.: 2009.1.1