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Artist Enrique Chagoya draws on a range of media, including the conventions of cartoons and pre-Columbian codices, to craft powerful and vibrant political, social, and economic commentary. In conversation with art historian and critic Ruben Cordova, Chagoya will discuss his work and the way he uses visual language as a weapon of critique, centering on his work Histoire Naturelle des Espécies: Illegal Alien’s Manuscript (2008) in the exhibition Protest and Promise.
Image: Enrique Chagoya (American, born Mexico, 1953), Histoire Naturelle des Espécies (Natural History of the Species): Illegal Alien’s Manuscript, 2008. Color lithograph. Gift of Linda Cheverton Wick and Walter Wick
Gretchen Gerzina, professor of English at the University of Massachusetts Amherst, excavates biographical details to capture the Black experience in eighteenth- and nineteenth-century America and Britain. Join Gerzina for a fascinating discussion about narratives and portraits to shed light on the definitions of freedom and enslavement when slavery was institutionalized, touching on the Wadsworth’s eighteenth-century painting Portrait of Two Women by Stephen Slaughter.
Image: Stephen Slaughter, Portrait of Two Women, 1700s. Oil on canvas. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund
The Amistad Center possesses a dynamic collection of books that range from first editions to manuscripts, fiction, non-fiction, children’s books, Abolitionist tracts, and volumes that represent the Civil Rights Movement. Explore the collection with Daniel Broyld, professor of history at Central Connecticut State University, to understand how the Amistad book collections connect the Black experiences of the past to the present. Co-Sponsored with The Amistad Center for Art & Culture and the Wadsworth Atheneum.
Why were early twentieth century artists so attracted to Greek archaic sculpture and why weren’t others before them? Susan Rather, a professor of art history at the University of Texas, explores the phenomenon of modern archaism with particular attention to Paul Manship, a sculptor who skillfully negotiated the yawning gap between tradition and modernity in the United States around 1913.