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Material Histories of Medieval Iberia, held on Wednesday 2 June 2021, part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).

Material Histories of Medieval Iberia, held on Wednesday 26 May 2021, part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).

Material Histories of Medieval Iberia, held on Wednesday 19 May 2021, part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).

Material Histories of Medieval Iberia, held on Wednesday 12 May. Part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).

Material Histories of Medieval Iberia, held on Wednesday 5 May 2021. Part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).

Material Histories of Medieval Iberia, held on Wednesday 28 April 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).

Professor Amy M. Mooney, Terra Foundation Visiting Professor in American Art Hosted by TORCH. Moderator; Alastair Wright: Alastair Wright is Head of the History of Art Department and Tutorial Fellow in Art History at St John’s College, Oxford. Regarding the Portrait: The Primers In this four-part lecture series, Professor Amy Mooney examines the central role portraiture played in fostering social change in the United States from the 1890s through the 1950s. Drawing from her forthcoming book, Portraits of Noteworthy Character, Professor Mooney considers the strategic visual campaigns generated by individuals and social institutions that used the portrait to advance their progressive political ideologies. From the etiquette texts used at historically black colleges to the post cards produced by Hull House to the Harmon Foundation’s exhibition of “Portraits of Outstanding Americans of Negro Origin,” this series explores the ways in which the portrait was employed to build social relationships and negotiate modern subjectivity. This lecture examines the factors that influenced the development of pedagogical strategies for reading and realizing the portrait as conceived for students at Historically Black Colleges and Universities during the post-bellum era. Through engravings illustrating etiquette books and early photography, Professor Mooney traces the precedents for the ideological situating of black subjectivity within the politics of respectability that later inform the rhetorical trope of the New Negro.

Dr John Blakinger talks about demonstrations against the Whitney Museum of American Art related to its connections with the tear gas manufacturer Safariland. In November 2018, an image of migrants fleeing tear gas at the US-Mexico border ricocheted across the internet, inspiring protests against the Trump administration’s immigration policies but also against a more unlikely target: the Whitney Museum of American Art. The artist-activist collective Decolonize This Place stormed the museum in demonstration against the Whitney’s connections to Safariland, a manufacturer of tear gas. Andy Warhol’s silkscreen canvases, then on view for a major retrospective, took on new meanings during these events. The artist’s “Death in America” paintings depicting turmoil in the 1960s came to life in the gallery. Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Professor Amy M. Mooney, Terra Foundation Visiting Professor in American Art. Hosted by TORCH. Moderator: Professor Deborah Willis, Department of Photography and Imaging at the Tisch School of the Arts at New York University. In this four-part lecture series, Professor Amy Mooney examines the central role portraiture played in fostering social change in the United States from the 1890s through the 1950s. Drawing from her forthcoming book, Portraits of Noteworthy Character, Professor Mooney considers the strategic visual campaigns generated by individuals and social institutions that used the portrait to advance their progressive political ideologies. From the etiquette texts used at historically black colleges to the post cards produced by Hull House to the Harmon Foundation’s exhibition of “Portraits of Outstanding Americans of Negro Origin,” this series explores the ways in which the portrait was employed to build social relationships and negotiate modern subjectivity. Through the advancements in technology and printing, photography becomes the most accessible form through which individuals could determine how they wanted to be seen. The burgeoning black media ensured the publication and circulation of photographic portraits, as well as the development of a modern criticality through the act of representation. In this lecture, Professor Mooney explores how, in collaboration with their patrons, African American commercial photographers generated a body politic that fostered racial equality through portraiture.

Dr John Blakinger speaks about the controversy surrounding Dana Shutz's painting of the body of Emmett Till exhibited at the 2017 Whitney Biennnial. Who has the right to see in an age of image overload? At the 2017 Whitney Biennial, a painting by the artist Dana Schutz depicting the body of Emmett Till, a fifteen-year-old African-American boy lynched in Mississippi in 1955, incited outrage. The artists Hannah Black and Parker Bright condemned the work as "black death spectacle." The episode resuscitated debates over the use and abuse of traumatic pictures, and the way visual images propelling the Civil Rights movement also exploited their subjects. Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/