REVIEW YEAR IN 2020-21 - CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 01 - Brown University (2024)

John Nicholas BrownCenter for Public Humanitiesand Cultural Heritage 2020-21 YEAR IN REVIEW CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 01

CONTENTS“To me, the humanities, and how weengage with them, are valuable for Director’s Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1human rights advocacy and social Year at a Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3justice. This is where I see the public Courses Offered in the 2020-21 Academic Year . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4humanities come in. The public A Selection of Course Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5humanities has the potential toeducate all while promoting healing in From the Blog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9communities that have experienced and Degrees Granted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12continue to feel historical trauma. This is Faculty, Staff, and Student Publications and Exhibitions . . . . . . . . . . . . . . . . . . . . . 13the challenge, and the task, of what the Initiatives, Conferences and Exhibitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15public humanities can do when it comesto engaging with memories of violence.” The JNBC Community . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Sharaldine Francisco MA ‘21

Director’s Letter DEAR FRIENDS OF THE CENTER FOR PUBLIC HUMANITIES, We look back at a year of unprecedented JNBC” with (mostly) local writers, thinkers, composers, artists and architects challenges for everyone, but most (starting September 9). We are also re-starting the J. Carter Brown lectures importantly a year that saw staggering on architecture in the fall, with a lecture by a major contemporary architect losses of life around the world due to the each semester. The first Edward Mitchell Bannister Artist-in-Residence at the pandemic. Here in the United States it was JNBC will join us this fall, Njaimeh Njie from Pittsburgh. She will work with also a year of exciting and invigorating students, speak at one of our Conversations and create a work of art for our political activism and cultural reorientation. campus. Her tenure will be the first of several events with which we hope to Public Humanities are clearly more relevant celebrate the work of the painter Edward Mitchell Bannister on the occasion than ever. We are committed to honoring, of his 200th birthday a few years from now. A scientific committee has been documenting and participating in the formed for that purpose. historical reorientation we are witnessing. Marisa is planning a conference about our historic French wallpaper Vues We have introduced a number of changes de l’Amerique du Nord (1834) for the spring of 2022 and has commissioned to make the Public Humanities as resilient two local artists, Jazzmen Lee-Johnson MA’15 and Deborah Spears and effective as possible and to give Morehead to create art work in response to it. When you come back to them a broad footing in the university. the Center, you will notice a few small but important differences: thanks toDietrich C. Neumann Our Community Fellows Board has Ron Potvin, the blue stone pavers around the house have been renewed,Director of the John Nicholas Brown now term limits, in order to get as many water damage at several corner quoins has been repaired, we now haveCenter for Public Humanities and people involved at the JNBC as possible. two elegant handrails going up the main steps from Benefit Street and theCultural Heritage Marisa had introduced the extraordinarily historic gates will also return. A teak Thakeham Bench designed in 1901 byProfessor, History of Artand Architecture successful mentorship program, where pairs Sir Edwin Lutyens will be installed in the northwestern corner of our garden of Fellows meet with our students to share in the fall. The beautiful scale model of Windshield, the modernist house experiences and offer advice. Our board that John Nicholas Brown commissioned from Richard Neutra in 1936, was of Faculty Fellows introduces six departments as partners, namely American retrieved from the RISD Archives and installed on the second floor. Studies, Anthropology, Archaeology, History, History of Art and Architecture I am truly grateful for our extraordinary team at the Center, namely our and Theater and Performance Studies. The members of this board were manager Sabina Griffin (about to be a Brown parent…) without whom deeply involved in our selection of the incoming graduate students. (See our organizational changes could never have happened; Marisa Brown, page 16 for our current board members.) Many classes across the university Assistant Director for Programs and in many ways the creative and now carry the new PHUM label that indicates classes of interest to our field. intellectual steward of our many programs and initiatives, and Ron Potvin, We look forward to finally returning to our wonderful Center in the fall, and Assistant Director, historian and steward of the house, who introduces to house many exciting events there. We will continue our lunchtime lecture our students to the hands on experiences in museum studies both in the series and roll out our weekly Thursday evening “Conversations at the classroom and in their internship experiences. CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 1

Of course, we had to limit ourselves to mostly Zoom meetings over the past year, which is not ideal ina field where communication, discussion, empathy and mutual understanding are so central. The few Edward Mitchell Bannistertimes where we managed to get together (outside, with masks) were joyful exceptions and made clear (c. 1828-1901), Sabin Point,how much we all missed seeing each other in person. Despite all the limitations, the students have Narragansett Bay (1885),produced some extraordinary work, glimpses of which you will find throughout this publication. Oil on canvas, 37 1/4 x 64 1/4 inches, Brown University,With this report, we salute the outgoing class of 2021 and welcome the new cohort to graduate in 2023. Bequest of Dr. and Mrs. George Warren Gardner. CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 2

Year at a Glance 195 30 Faculty, Student, and Total Alumni Staff Publications 13“Public Humanities gives us the toolsto understand our role as citizens ofa changeable world, advising us to 16 MA Degrees Lunch Talkslisten deeply, pursue the fullest truth, Awarded in 2021and reach across divides to make 3our collective dreams possible. Whentradition says ‘This is the way thingshave always been,’ public humanists ask, 12 Careers in the Public Tiny Exhibits Humanities Roundtables‘Why? For whom? What’s next?’”Hanna Leatherman MA ‘21 10 Courses Taught CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 3

Courses Offered in the 2020–21 Academic Year“Throughout my career I’ve foundmy work to be at the intersection ofdisciplines and struggled to find a homein any ‘field.’ I am so grateful for theinterdisciplinary lens that the JNBCfaculty and staff provide for students;Public Humanities has become anintellectual home and has allowed me tounify research and career interests thatwould be considered divergent in many FALL SPRINGareas of the academy.” 2540 Methods in Public Humanities 1510 Museum Collecting & Collections Steve Lubar Ron PotvinMatthew Branch MA ’21Associate Director of Student Activities, Brown 2630 Public Amnesias and Their 2650 Introduction to Public HumanitiesUniversity and Researcher and Cultural Strategist, Discontents: Theories and Practices of Dietrich NeumannBlack South West Network, Bristol, UK Remembering and Forgetting Diane O’Donoghue 2680 Semester Practicum in Public Humanities 2680 Semester Practicum Ron Potvin Ron Potvin 2684 Creative & Cultural Entrepreneurship 2685 Critical Approaches to Preservation in the Commons and Cultural Heritage Nico Wheadon Marisa Angell Brown 2950 Independent Study 2950 Independent Study Diane O’Donoghue Diane O’Donoghue CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 4

A Selection of Course ProjectsAMST 1510,MUSEUM COLLECTINGAND COLLECTIONSObjects have stories, and museumcurators tell those stories. Students inRon Potvin’s course, Museum Collectingand Collections, examined three “mysteryobjects” and used historical research,the tools of object inquiry provided bymaterial culture theorists, and guidelinesfor writing compelling labels to tell thestories of these objects on a new website,mysteryobjects.org. They discoveredthat objects have many meanings, andcurators must make choices about howto tell their stories. Caulking Mallet; Unknown Maker, New Bedford, Massachusetts, ca. 19th century; Wood and brass or copper. Private Collection. Imagine the smell of tar and whale oil as it hangs ​ he sounds you imagined were made by a T in the air, the bustle of sailors, merchants, and caulking mallet, a specialized durable and springy craftsmen working on the waterfront. Rhythmic wooden hammer meant to reduce the jarring to and deafening tinny thumps resound through the the shipwright’s wrist. Shipwrights used this mallet streets and wharves. This is New Bedford in the to drive cotton into the seam between the planks mid-19th century. of a wooden ship with each heavy blow and then sealed each joint with tar. This process made ships ​ ew Bedford boasted the largest whaling fleet in N watertight and ready to set sail from the “city that lit the world with 330 ships. The city’s waterfront was the world.“ teeming with skilled carpenters and craftsmen to build and repair the ships after years at sea — Catherine Coggins, 1st-Year MA Student hunting whales. CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 5

AMST2540, METHODS INPUBLIC HUMANITIESIn Methods in Public Humanities,one of the required courses at thePublic Humanities Center, twenty-onestudents collaborated with a RISDgraduate design studio in the Exhibitionand Narrative Environments Track topropose exhibitions related to memorialsand commemoration. The studentscould either imagine a new museum orfit an exhibit into an existing museum,and they didn’t have to be constrainedby practicality. Weetamoo Woods: More than a Name Curators Felicia Bartley and Larissa Nez and and beauty of their existence.” They write: “Her life designer Alice Cole developed a plan for a and death speak to the complexities of erased and memorial and museum for the seventeenth- silenced histories of Native women. This exhibition century Pocasset woman sachem, or tribal leader, pays tribute not only to Weetamoo, but also to Weetamoo, set in the Weetamoo Woods park in seventeenth-century Wampanoag women and Tiverton, Rhode Island. Exhibits in three pavilions contemporary Native American women. Weetamoo tell her story, describe traditional Pocasset Woods tells all of their stories: the stories of ecological knowledge, and display artwork by enslaved Wampanoag women, the way they used contemporary Native artists that “challenge and preserved the woods, and the ongoing effects audiences to recognize the struggles, reality, of violence against Native women.” CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 6

A SELECTION OF COURSE PROJECTSAMST2540, METHODS INPUBLIC HUMANITIES Empty Pedestal: Looking Beyond Removal Curators Ariel Lynch and Alyssa Trejo and of color. “Removing statues,” they write, “is not designer Seongah Kang set their exhibition in the enough.” The image shows the pedestal of the J. Parthenon Marbles room of the British Museum. E. B. Stuart monument removed from Richmond, Projection mapping returns the original colors to Virginia, with an intervention by Simone Leigh, and the Parthenon frieze. The center of the space is the pedestal of the Edward Colston statue from occupied by the bases that once held memorials Bristol, England, with an intervention by Yinka to heroes of white supremacy on which the Shonibare, CBE. curators place artworks by contemporary artists CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 7

AMST 2685, CRITICAL APPROACHES TO PRESERVATION AND HERITAGE In Critical Approaches to Preservation and Heritage, Hanna Leatherman MA ’21 created Renaming Our Space: A Community Visioning Toolkit as her final course project. Hear from Hanna about the project: On November 3rd, 2020, voters in Rhode Island made history, approving a ballot measure that strikes “plantations” from the state’s official name and setting a powerful precedent for communities reckoning with problematic place names across the country. Conceived and executed in the midst of Rhode Island’s own historic place name revision during the fall of 2020, the Renaming Our Space Toolkit is a jumping off point for community members as they think critically about the language that describes their local landscape, engage with issues of permanence and revision in historic preservation work, and practice community care as they prepare to submit a Place Names Change Application to the US Board of Geographic Names. Densely linked to additional resources and conversational in tone, this toolkit is a first step, a network, and a reminder that you don’t have to figure it all out on your own.CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 8

From the Blog For years, the JNBC has maintained the Public Humanities Blog, publishing short articles, essays and exhibitions by Public Humanities students, faculty, staff, alumni, and guest authors. Since 2018, the Blog has been edited by Diane O’Donoghue, Visiting Professor of Public Humanities. The below interview was published on September 14, 2020. Amanda Kazden contributed “I think it’s right now!” a Conversation with Professor Mireya Loza on the Public Humanities MA at Brown and on Public History. Amanda Kazden was a second-year student in the Public Humanities MA Program and an Exhibitions Assistant at the John Hay Library when this was published. Mireya Loza is an alumnae of the Public Humanities MA and American Studies Ph.D. programs at Brown. Professor Mireya Loza at the 2017 exhibition, "Bittersweet Harvest: The Bracero Program, 1942-1964" at the National Museum of American History.

AUTHOR’S NOTE AMANDA KAZDEN MIREYA LOZADr. Loza is an Assistant Professor in the AK | What led you into public humanities and working on the Bracero History Project (theDepartment of History at Georgetown American Studies at Brown? Bracero program was a guest worker programUniversity,​in conjunction with her continuing in the US for Mexican agricultural workers) my ML | An interest in outward-facing scholarship. Icuratorial work with the National Museum of advisor actually said to me, ‘This is the project really wanted to engage in meaningful work that will get you a job.’ One thing that I realizedAmerican History. I had the opportunity to that produced more than a book that scholars in graduate school is that people fundamentallyinterview Dr. Loza about her time at Brown and and graduate students would read: I wanted to wanted to help me and their advice really kepther professional life afterwards, during which produce scholarship for a wider audience. For me, my best interest at heart. And my advisor wasshe commended both the unique resources scholarship can do a lot of work around social completely right. Had I been another graduateand the supportive communities at Brown. justice, and when you make things outward- student who wasn’t ready to hear that, I would’veShe also stressed the importance of facing they have more potential for social justice. written on another topic. And I think enoughcollaboration, exemplified by “Bittersweet AK | What was your experience like in the MA people said “This is your dissertation.” And I triedHarvest: The Bracero Program 1942-1964” program at Brown? basically to do the best work I could do because Iat the National Museum of American History, really loved the communities with whom I worked. ML | I was actually really surprised that publicand discussed the nitty-gritty details of doing They opened up their doors to me, they gave me humanities and Brown were such a good fitpublic history work, calling upon more young so much. So a lot of my work was about trying for me. I think it really helped me feel, in a verypeople to pursue such intersectional work to to be as good of a scholar as I could be for the vulnerable moment, that I had agency, that Ihelp Americans reckon with difficult pasts. communities that really gave me a lot. could tie my interests in meaningful work and my intellectual interests together. There were This is how I approached my scholarship, and resources to build exhibitions, to build projects every day I said “I will be smarter tomorrow, and engage in meaningful scholarship. Brown because I need to be for the kind of work that I gave me the opportunity to work on probably want to do.” And to my surprise, I got a job offer the most meaningful work that I’ve engaged in in in a very, very difficult year. All of the support my entire life, which is the Bracero History Project. and advice that people had given me was totally And so, for me, it was a fantastic fit. spot-on. I felt very elated, relieved, happy, excited that they were very right, that people were, that AK | Could you tell me a little about your scholars were, ready for new scholarship on the transition from being a student at Brown to your Bracero program, and that the outward-facing professional career afterwards? aspect of my work accentuated its possibilities. ML | I actually went to graduate school wanting to And I think a lot of time- and this is going to write about a different subject area. I’m actually sound really crass- but I think a lot of times history from Chicago, I wanted to write about recent is looked at with a capital H and public history immigration in my city. And when I started is looked at with a small h, as if it doesn’t have CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 10

FROM THE BLOGenough bite, when it actually does. And it has same questions: ‘Well, how do you know that of public historians to push the dialogue evenmore potential. I’m so glad that people were those people are telling the truth?’ But the truth further because if there’s ever a moment whereable to see that and see that that was valuable is also: “How do you know that somebody who public humanities and public history is neededat that time. wrote in their diary in the sixteenth century is and a reminder of what American history is, why telling the truth?” We can’t know that, there’s American history is important, I think it’s rightAK | As you mentioned in your article, “From no lie-detector test for them. And we almost now! I think right now is when we need peopleEphemeral to Enduring: The Politics of Recording discount this possibility of oral history because it’s to remind folks about women’s history, aboutand Exhibiting Bracero Memory”, when it comes such a fresh perspective on the past. immigration history, about African Americanto public history and oral history, because they history. And I think the ground is ripe for a reallyaren’t already recorded and in archives, it’s AK | My final question: do you have any advice for profound shift in an engagement. The thingalmost like they’re discounted. But then adding current students in public humanities? about civil rights and social justice is that youngthem to the archives is so important in giving ML | Look for every opportunity to do public people like to see this as teleological, that todaythem that legitimacy to other scholars who don’t history. That’s exactly how you learn. Muster up a we are in a better position than we were fifteenalready understand their importance. Could you high level of commitment to doing it in a way that years ago, and the truth is we’re not. We’respeak more on this? is ethical, in a way that serves communities. I think fundamentally not. Students in New York rightML | That’s a major issue. For a lot of communities that the most exciting work right now in public now are facing higher levels of segregation thanof color, we don’t have a lot of traditional archives. humanities are people who are really engaging they were in the 1960s. In terms of immigrantYou don’t hear our voices in these places. The in the meaty subjects of American studies- rights, this country is doing more atrocious thingsBracero story could be told through state or intersectionality, race, class, gender, sexuality. than it ever has to immigrants. I think that therefederal archives, but there was no place where And they’re figuring out ways to tackle really, has to be a reckoning with the past and thatyou could tell it from the perspective of the really difficult subjects that the nation needs to reckoning with the past has to be taken on byworkers. And not just the workers, also their be confronted with in these public settings. I young people.communities, their lives, their children, their think it’s meaningful and powerful and I thinkcousins, their neighbors. I still get a lot of the this is really sort of the time for a new generation CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 11

Degrees GrantedMASTER OF ARTS Andrea Goodman Rae Kuruhara Newton, MA Hilo, HIChristina Alderman BA in American Civilization/ BA in English, University ofLong Beach, CA Museum Studies, Evergreen Hawaiʻi at MānoaBA in Art History, State College Practicum in PublicChapman University Practicum in Public Humanities Humanities completed atPracticum in Public Humanities completed at Partner of Honolulu Authority for Rapidcompleted with Jim Youth Empowerment (Seattle, Transportation (Honolulu, HI)McGrath, Part-Time Lecturer, WA) and Department of Art, and Hawaiʻi Council for theNortheastern University’s Culture and Tourism of Rhode Humanities (Honolulu, HI)History Department, and Part- Island and Haus of Glitter Service on the Diversity, EquityTime Instructional Designer, (Providence, RI). and Inclusion Committee,Salem State University. 2020-21. Amanda KazdenMatthew Branch Los Angeles, CA Hanna Leatherman Seo Lim Park Island Southeast Asians forRockville Center, NY BA in History, University of Frankfort, KY Education (Providence, RI) Seoul, KoreaBA in Art History, California at Santa Cruz BA in Art History, BA in History, Smith CollegeBoston University Practicum in Public Humanities Transylvania University Matthew Goldman completed at Database of Practicum in Public Humanities Brooklyn, NYPracticum in Public Humanities Practicum in Public Indigenous Slavery in the completed with Professor Ph.D. Student, Americancompleted at Black South West Humanities completed at Americas (Providence, RI) Steve Lubar (Providence, RI) Studies DepartmentNetwork / Nicole Truesdell Art Bridges Foundation and Little Compton Historical and the Snowtown Project(Bristol, England). (Bentonville, AR) and Local BA in Anthropology, Society (Little Compton, RI). (Providence, RI). Initiative Support Corporation, Swarthmore CollegeSharaldine Francisco Creative Placemaking Dept Taylor Rose PayerNew York, NY Deborah Kreiger Practicum in Public Humanities (Providence, RI) Minneapolis, MN Santa Monica, CA completed at Brown UniversityBA in History, JNBC Student Representative, BA in History, BA in Women’s Studies, Office of Global EngagementDickinson College Swarthmore College 2020-21 and Student Dartmouth University (Providence, RI)Practicum in Public Humanities Ambassador, 2020-21. Practicum in Public Humanities Practicum in Public Humanitiescompleted at The Clemente completed at Creative completed at Portland Art MASTER OF ARTSSoto Vélez Cultural & Breylan Martin Time (New York, NY) and Museum (Portland, OR). CERTIFICATES AWARDEDEducational Center (New York, Sandpoint, IDNY) and The Philadelphia International House of Rhode TO Ph.D. STUDENTSHolocaust Remembrance Island (Providence, RI). BA in Anthropology, MASTER OF ARTS AT BROWN Emory UniversityFoundation (Philadelphia, PA). JNBC Student Representative, EN ROUTE TO THE Ph.D. IN Practicum in Public Humanities Madison PaulkService on the JNBC 2020-21. AMERICAN STUDIES completed at Sealaska Heritage Buffalo, NYAdmissions Committee, Institute, Culture and History2020-21. Bryant Brown Ph.D. Student, Anthropology Department (Juneau, AK) and Aurora, CO The Center for the Study of BA in Africana Studies Slavery and Justice, Brown Ph.D. Student, American and Political Science, Studies Department Colgate University University (Providence, RI) BA in Africana Studies, Practicum in Public Humanities JNBC Student Representative, Columbia University completed Artpark Bridges 2020-21. Practicum in Public Humanities (Buffalo, NY) completed at Alliance of Rhode CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 12

Faculty, Staff and Student Publications and ExhibitionsA Selection of Faculty and Staff Publications and Exhibitions Marisa Angell Brown, “Spatial Justice and the Dietrich C. Neumann, Dutch Connections: Public Humanities,” Humanities for All Blog, Essays on International Relationships in National Humanities Alliance. Architectural History in Honor of Herman van Bergeijk (BK Open, Delft 2020): 405-430. Marisa Angell Brown, “7 Preservation Resolutions for 2021,” National Trust for Historic Preservation Dietrich C. Neumann, Book Review of Carter Leadership Forum. Wiseman, Louis Kahn: A Life in Architecture (UVA Press, 2020), Constructs, Yale School of Sabina Griffin, Never Distant: Nagorno-Karabakh Architecture Journal (Fall 2020), 16. in Three Places, Public Humanities Blog, JNBC (November 9, 2020). Dietrich C. Neumann, “The Art of Interpretation.” Steven Lubar, Review of “Behind the Exhibit: A+U Architecture and Urbanism 595 (May 2020) Displaying Science and Technology at World’s 156-162. Fairs and Museums in the Twentieth Century,” Isis 112: 2 (2021). Diane O’Donoghue, “Amnesias of a Freudian Kind,” American Imago: Psychoanalysis and the Steven Lubar, Co-Curator, Everyone was a Farmer: Human Sciences, 78:1 (Spring 2021), 55-77. Agriculture in Little Compton, Little Compton Historical Society (2021). Nico Wheadon, Co-Editor, Dossier #3: Beyond Perfection, DVDL. Dietrich C. Neumann, An Accidental Masterpiece: Nico Wheadon, “Home Body: Elia Alba, Baseera Mies van der Rohe’s Barcelona Pavilion (Basel: Khan, Sola Olulode and Maya Varadaraj,” Birkhäuser, 2020). Exhibition Catalogue Essay and Curator, Home Body, Sapar Contemporary Gallery, NY. Dietrich C. Neumann, The Barcelona Pavilion by Mies van der Rohe: 100 Texts since 1929 (Basel: Nico Wheadon, Curator, RED, Welancora Gallery, Birkhäuser, 2020). Brooklyn, NY. Dietrich C. Neumann, Co-Curator and Co-Editor, Nico Wheadon, Curator, Treacherous with Old Raymond Hood and the American Skyscraper Magic, Future Fairs, New York, NY. (Exhibition Catalogue, Bell Gallery, Brown University, 2020) Dietrich C. Neumann, “‘Man Against the Sky:’ Raymond Hood and the American Skyscraper” in: Dietrich Neumann, Jon Duval and Jo-Ann Conklin, Eds., Raymond Hood and the American Skyscraper (Exhibition Catalogue, Bell Gallery, Brown University, 2020), 20-43. Dietrich C. Neumann, “Courting Frank Lloyd Wright: the Dutch-German Competition for his First Monograph” Sjoerd van Faassen, Carola Hein and Phoebus Panigyrakis, eds. CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 13

A Selection of Student Publications and ExhibitionsMatthew Branch, Sado Jirde, et al., Examining theSituation of Decolonisation Within the Culture andHeritage Sector in the South West of England (Fall2020), Black South West Network.Sophia Ellis, Larissa Nez, and Rai Mckinley Terry,Saviorism,” Spark, the Online Magazine of theNational Center for Institutional Diversity at theUniversity of Michigan.Kate Hao, Co-Author, “The Asian AmericanLiterature We’ve Constructed,” Post45 (Issue 7:Post45 x Journal of Cultural Analytics).Deborah Krieger, Curator, Exchange: Stories fromInternational House, International House of RhodeIsland, Providence, RI (April 24–May 28, 2021).Deborah Krieger, Curator, Spectrums: Genderin the Bell Collection, David Winton Bell GalleryLobby, Brown University (April 21-July 18, 2021).Deborah Krieger, “How the Wedding Cake House,a Feminist Architectural Project, is Bigger on theInside,” Hyperallergic.Deborah Krieger, “Satoshi Fujiwara.” King KongMagazine 10 (Autumn/Winter 2020), 122-127.Deborah Krieger, “Stained Glass Stories: Women,Art, and Labor,” Delaware Art Museum blog.Deborah Krieger, “’To Build a Home’: Providence’sWedding Cake House and its Foremothers,”Urban Journal 7 (2021), 24-31.Elizabeth Matthews “Alice Fong Yu,” “Square andCircle Club,” and “Beulah Ong Quo,” Wikipedia. The Wedding Cake House,Alyssa Trejo, “Plan de San Diego,” Wikipedia. Providence. Photograph by Kenneth C. Zirkel viaMiranda Worl, Baby Raven Reads Aadé S’áxt’ Wikimedia Commons.Haa Jeet Kawdihayi Yé / How Devil’s ClubCame to Be, Lingít version (Juneau: SealaskaHeritage Institute). CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 14

Initiatives, Conferences and ExhibitionsINITIATIVES TINY EXHIBITS Storytelling (as) History: Japanese AmericanRhode Tour Tiny Exhibits is a student- Incarceration andis a statewide led rotating installation Its Legaciesmobile series in a display case on Curated by Erin Aoyama,smartphone the first floor of the Center Charlinda Banks, Thomasapplication containing for Public Humanities and Castleman, Amelia Chalfant,thematic “tours” of Rhode a virtual platform at blogs. Naya Chang, JadeyIsland’s history using brown.edu/tinyexhibits. Hagiwara, Rachel Lu, Miyatext, sound and images. The Tiny Team for Matsuishi-Elhardt, TimothyLaunched in 2014, it is a 2020–2021 included Nakamoto, Juliannejoint initiative of the Rhode Maggie Unverzagt Schwerdtfeger, Viviana Wei,Island Council for the Goddard MA ’17, Ph.D. ‘22, Grace Xiao, Stanley Yip, andHumanities, the Rhode Hanna Leatherman MA ‘21, Ronald YuanIsland Historical Society, Deborah Krieger MA ‘21, February 17–March 2, 2021and the JNBC. New tours and Caroline Cunfer MA ‘22 Asian Racialization inadded in 2020-21 include Ph.D. ‘26. Media and Beyondthe following: Curated by Katherine Xiong,Pond Street: A Lost Pandemic Post Laila Gamaleldin, SimranNeighborhood Curated by Caroline Cunfer October 1–15, 2020Pawtuxet River Mills—Fires, Experiential Collages Tiny ConstructionsFailures, Successes and Curated by Vivaan Jain Curated bySurvival & Hannah Bashkow Meredith Carlone December 15, 2020 –“Places Please!”: Performing October 16–30, 2020 January 19, 2021 Arts History, Downtown My District and the World Fantasy in the Hair Providence from 1870-2020 Curated by John Lin Curated by Yuan Pu October 31–November 14, 2020Organizing New Bedford: January 20–February 2, 2021Women Who Mobilized Tiny Tales Scraps and SkeinsChange Curated by Yukti Agarwal Curated by Colin Orihuela November 15– 29, 2020 February 3–16, 2021 The Natural and Supernatural Curated by Nupur Jain November 30 – December 14, 2020 CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 15

Jhooty, Peter Li, AnnorjanNaguleswaran, Julie Rojas,Neil Sehgal, Asia Chung,Asia Cofield, Georgia Liu,and Mark Tseng-Putterman,March 3–16, 2021Isolation CelebrationsCurated by Emilia Ruzicka,March 17–31, 2021Casting Shade:Shade Inequity, Health,and Spatial JusticeCurated by AngelaZhang, Abbie Hui, MaggieUnverzagt Goddard, andCaroline CunferApril 1–August 30, 2021PUBLICHUMANITIES NOW:NEW VOICES, NEWDIRECTIONSThe Center for PublicHumanity’s ongoing THE LIFE: Sex and Maya Allison, Founding Telling Uncomfortable Whose Maps, Our Maps!lunch talk series invites Work in America Executive Director, NYU Histories through Decolonizing Cartographyinnovators in public history, May Jeong, Journalist Abu Dhabi Art Gallery Reimagining Sites to Serve Movements ofculture and the arts who of Enslavement Resistance and Resilience When Walls Talk: The Rural Black Livesare redefining and Kyera Singleton, Executive Jordan Engel, Founder, Hidden and Forgotten Project and the Co-Creationextending the field of Director, The Royall House The Decolonial Atlas Stories of Enslaved People of KnowledgePublic Humanities. and Slave Quarters Loss/Capture: The State of Jobie Hill, Architect and Gerard Laurence Aching,All presentations can be Founder, Saving Slave Professor of Africana and Advocating for Architecture Black Cultural Archives inviewed online on the Houses Romance Studies and Co- in Kampala and Beyond ChicagoPublic Humanities Principal Investigator of the Doreen Adengo, AIA Steven D. Booth, Archivist, What Are Exhibitions For?Center’s website and Rural Humanities Initiative Architect Barack Obama Presidential In a University Gallery?YouTube channel. at Cornell University Library and Co-founder, In Abu Dhabi? Blackivists CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 16

INITIATIVES, CONFERENCES AND EXHIBITIONSElihu Yale and the Yale Can Buildings Improve Afro-Virginia: BlackCenter for British Art Local Ecologies? Placekeeping and PowerCourtney J. Martin, Director, Lara Davis, Architect Justin Reid, Director ofYale Center for British Art Community Initiatives, A Public Art Perspective Virginia HumanitiesMapping Indigenous Divya Rao Heffley, Associate and Manager, VirginiaLong Island Director for the Office General AssemblyJeremy Dennis, of Public Art, Greater African American CulturalShinneco*ck Artist Pittsburgh Arts Council Resources Task ForceNavigating the Crisis: Indigenous CurationA View from the Paul Jim Enote (Zuni), CEO,Revere House Colorado PlateauNina Zannieri, FoundationExecutive Director,Paul Revere Association CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 17

CAREERS IN PUBLIC HUMANITIES Drawn from the Center for Public Humanities’ deep pool of alumni, the panelists in this new series represented a cross-section of our eclectic field. Museums and the Arts Advocacy, Government Higher Ed and February 12, 2021 and Service Research Institutions Andrea Ledesma MA’17, March 5, 2021 March 26, 2021 Digital Project Specialist, Elon Cook-Lee MA’14, Annie Johnson MA’08, Field Museum Director of Interpretation and Assistant Director for Open Chicago, IL Education, National Trust for Publishing Initiatives and Maria Quintero MA’13, Historic Preservation Scholarly Communications, Outreach and Programs Washington, DC Temple University Libraries Manager, JFK Presidential Anna Eunjoo Ghublikina and Press Philadelphia, PA Library and Museum MA’13, Marketing and Boston, MA Outreach Director, Paul Margrave MA ’14, Jasmine Utsey MA’12, Business Women’s Wilderness Director, Curriculum Liaison, Program Specialist, Boulder, CO Development, 2U London, UK National Museum of African Leah Nahmias MA’09, American History and Culture Director of Programs and Maria Paula Garcia Mosquera Washington, DC Community Engagement, MA ’18, Programme Officer, Johanna Obenda MA’19, Indiana Humanities International Council Researcher and Exhibition Indianapolis, IN on Archives Paris, France Development Specialist, Eduardo Robles MA’16, National Museum of African Project Manager, Department Isabella Shey Robbins MA ’19, American History and Culture of Cultural Affairs Ph.D. Student and Arts Worker, Washington, DC Los Angeles, CA History of Art Department, Alma Carrillo López, Executive Amy Atticks MA’11, Yale University New Haven, CT Director, Buffalo Arts Studio Director of Development, Buffalo, NY Boys & Girls Club of Shana Weinberg MA ’11, Metro Richmond Assistant Director, Center for Richmond, VA the Study of Slavery & Justice, Brown University Providence, RI CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 18

The JNBC CommunitySTAFF AND ADVISORY BOARDADMINISTRATION Laurel Bestock is Associate Professor Lukas Rieppel, Associate Professor of of Archaeology and the Ancient World History, is a historian of the life, earth,Marisa Angell Brown and Egyptology and Assyriology, Interim and environmental sciences, who isAssistant Director Director of the Joukowsky Institute for especially interested in how the historyAdjunct Lecturer Archaeology, and Associate Professor of museums intersects with the history of of History of Art and Architecture. Her science and capitalism.Sabina Griffin research focuses on the material culture ofCenter Manager the Nile Valley and on the methodology of archaeological recording.Steve LubarProfessor, American Studiesand Public Humanities Patricia E. Rubertone, Professor ofDietrich Neumann Kevin Escudero is Assistant Professor Anthropology, is an anthropological of American Studies. His research andDirector archaeologist with interests in history and teaching interests include comparativeProfessor of the History Native American Studies, indigenous and studies of race, ethnicity, and Indigeneity;of Art and Architecture settler colonial experiences, landscape and immigration and citizenship; U.S. empire memory, and issues of representation in and settler colonialism; social movements;Diane O’Donoghue the Northeast. and law.Visiting Professor ofPublic HumanitiesRon PotvinAssistant DirectorAdjunct Lecturer Evelyn Lincoln, Professor of History of Art Patricia Ybarra is Professor of Theater and Architecture and Professor of Italian and Performance Studies, a director and Studies, is an art historian specializing in the dramaturg and is the author of Latinx history of print culture and the book in the Theatre in the Times of Neoliberalism early modern period. (Northwestern University Press, 2018). CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 19

PUBLIC HUMANITIES FELLOWS Christina Bevilacqua is the Director of Jade Luiz worked formerly as Curator of Kyera Singleton is the Executive Director Programs and Exhibitions at Providence Collections at Plimoth Patuxet Museums where of the Royall House and Slave Quarters in Public Library, and was previously the she managed the museum’s collections of Medford, Massachusetts and an American Director of Public Engagement at the 17th-century fine and decorative arts, archives Democracy Fellow at the Charles Warren Providence Athenaeum. related to Mayflower II, as well as the museums’ Center for Studies in American History at significant archaeological holdings, and has Harvard University. Diana Champa is the Director of Literary a book coming out in 2022 on the history of Engagement and Outreach at School One nineteenth-century prostitution, focusing on where she oversees literary arts programming an archaeological collection from a North End Lorén M. Spears is the Executive Director and community engagement. of Tomaquag Museum and founded the brothel on Endicott Street in Boston. Nuweetooun School to empower Native Marta Martínez is the Executive Director of youth and to educate the public on Native Kath Connolly is a consultant and founder RI Latino Arts, founder of Nuestras Raíces: history, culture, environment and the arts. of Breakfast All Day who previously served The Latino Oral History Project of Rhode Island as the Associate Director of the Swearer (www.nuestrasraicesri.org), and author of Center at Brown. Kate Wells has been the Curator of Rhode Latino History in Rhode Island (2014). Island Collections at the Providence Public Library since 2013 after over a decade as an Holly Ewald is a community engaged Marjory O’Toole MA ‘18 is the Executive archivist and librarian in university libraries, artist and the Founder and Artistic Director state historical societies and municipal Director of the Little Compton Historical of UPP Arts. record collections across the country. Societ, and the author and curator of If Jane Should Want to Be Sold, Stories of Enslavement Indenture and Freedom in Elizabeth Francis is the Executive Director Little Compton, Rhode Island (2016). PRE-DISSERTATION FELLOW of Rhode Island Council for the Humanities, Yuanyuan (Angela) Feng, MA ‘18 and author of The Secret Treachery of Words: María Quintero MA’13, the Outreach and is a Ph.D. candidate in American Studies at Feminism and Modernism in America (2002). Program Manager at the JFK Library and Brown University, whose research interests Museum, seeks to create spaces for people include Chinese Diaspora in the Americas, from marginalized backgrounds to enrich Taylor Jackson MA ‘19 is the Executive Asian American community, politics and their lives by critically engaging with the past Director, Providence ¡CityArts! for Youth, activism, Asian American literature, and to empower communities historically left out and previously served as Program Director public humanities. of museum spaces and programs. at Southside Cultural Center of Rhode Island (SCCRI). Randall Rosenbaum has been the Director Mariani Lefas-Tetenes is Assistant Director, of the Rhode Island State Council for the School + Teacher Programs at the RISD Arts since 1995, and previously served in Museum where she coordinates and supports a variety of capacities at the Pennsylvania experiences for K-12 students and teachers Council on the Arts, including Deputy through visits, partnerships, professional Director and Director of the Dance and development, curricular resources, and Presenting Organizations Programs. collaborative projects. CENTER FOR PUBLIC HUMANITIES AND CULTURAL HERITAGE | 20

“Public Humanities facilitates a means for me to bring more intention,thought, and care to the work I do with communities. Working specificallywith youth communities, I recognize the importance of centering theiressential, collective power. Celebrating and honoring the inherentagency and vitality of a community is now always the start point formy engagement.”Taylor Jackson MA ’19Executive Director, Providence ¡CityArts! for Youth John Nicholas Brown Center for Public Humanities and Cultural Heritage