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Asmat, Faculty, Graduate Student, Presentations, Research, Research Travel, Students

Of Note

‘Of Note’ is a new series showcasing what members of the Department of Art History have been up to and will be published at the start of every semester. If you have something that you would like included in the next post, please send it to Marria Thompson.

Dr. Andy Barnes

This summer I undertook a driving tour of the lowland Maya region of Mexico. While crossing through the states of Quintana Roo, Yucatan, Campeche, Tabasco, and Chiapas, my trip included stops at Tulum, Chichen Itza, Uxmal, Merida, Campeche (city), Palenque, and Calakmul. Pictured here is the textile inspired façade of one of the structures in Uxmal’s grand Nunnery Complex (ca. AD 900) and Structure II, Calakmul (begun before AD 100 and enlarged considerably over the following seven centuries). Calakmul, in Campeche State, is one of the largest Maya sites, which flourished between AD 600-900. Structure II, standing over 15 stories tall, is one of the largest pyramids in the Maya region (it is somewhat larger than the Pyramid of the Moon at Teotihuacan).

Dr. Craig Eliason

This summer I attended the Granshan Type Design Conference in Reading, England. The theme of the conference was “global design in practice,” and the program included a terrific presentation by Korean calligrapher Kang Byung-in. Then, that evening, the conference moved to the University’s typography department, where sheets of paper were set up for a giant-scale, joint calligraphy demonstration by Kang and English calligrapher Timothy Donaldson. The packed room watched as the two men went at it with all manner of pens and brushes, showing off both craft mastery and a little clownish rivalry. The demonstration ended with both artists dipping their hands directly in the ink, making handprints on the paper, and then shaking hands.

Calligraphy demonstration

Dr. Eric Kjellgren

In August, I traveled to Australia at the invitation of the National Gallery of Australia and the Oceanic Art Society to give a presentation at the Art of the Sepik River Forum held in conjunction with a newly opened exhibition of art from the Sepik River in northeast New Guinea at the gallery in Australia’s capitol city of Canberra. My paper Hidden “Hands”: Searching for the Artist in the Arts of the Sepik River explored the idea that works by individual artists can be identified within the arts of the Sepik River, something that has not previously been done for this art-rich region of New Guinea.

Eric Kjellgren with Pacific Art Curator Crispin Howarth (left in navy blue blazer) and members of the Oceanic Art Society examining works at the National Gallery of Australia

Dr. Heather Shirey

This summer I presented a paper at the Transatlantic Dialogues conference in Liverpool. Liverpool’s Lord Mayor hosted a reception for attendees as a special event during the conference. This reception took place at Liverpool’s beautiful, 18th century Town Hall. By complete accident, I arrived at the reception a half an hour early, along with a friend I had made at the conference. After overcoming some initial suspicions due to our early arrival, the building director invited us to take advantage of the special opportunity to visit the building, which is only open to the public once a month. Learning that we were art historians, he suggested that we wander through the ground floor rooms to see the city’s art collection. On our unguided wanderings, we first stumbled into the Council Chamber, where the Lord Mayor himself happened to be visiting with a few of his constituents. He very kindly invited us to try out the seat reserved for the mayor in the council room. I think a room like this would be just spectacular for our seminars!

Heather seated in the Liverpool Town Hall Council Room

Next we stumbled across a portrait of John Archer, said to be (although this is debated) Britain’s first mayor of African Descent. Born in Liverpool, Archer traveled to the United States and Canada before being elected Mayor of Battersea in 1913. The painting, by Paul Clarkson, incorporates references to African American intellectual and cultural movements: Archer rests his arm on a copy of The Crisis, the official publication of the National Association for the Advancement of Colored people, and a poster advertising the Fisk Jubilee Singers hangs behind his head. I am interested in the ways that Archer himself evoked symbols of the battle for civil rights in the United States in his own political career. I also want to learn more about the position of Archer in Liverpool’s contemporary interpretation of the city’s racial dynamics. The city of Liverpool and its many citizens amassed tremendous wealth during the eighteenth century due to the city’s important position as a port during the height of the transatlantic slave trade. Just down the road from the Town Hall is the International Slavery Museum, which grapples with this aspect of Liverpool’s history. It is worth noting that this painting was installed in the Town Hall only within the last decade. What does this current interest in John Archer tell us about Liverpool’s evolving understanding of its past?

Portrait of John Archer

Margaret George, graduate student

Summer, travel, and art are intertwined in my vocabulary. As I prepared for this fall’s Contemporary Architecture class, I was excited to spend some time this summer in Buffalo, New York . The city has some wonderful architecture in its downtown including a pretty spectacular building by Louis Sullivan, the Prudential Guaranty Building, designed in 1894-85 (left image). The stone and detail on the building were just beautiful – almost exquisite. An architectural contrast was a Rem Koolhaas’ 21^st century building (CCTV Headquarters) in Beijing that I also saw this summer (right image). “Big Boxer Shorts” as the locals call it – you can figure out why.

Amanda Lesnikowski, graduate student

I never truly appreciated the saying “kill two birds with one stone” until I found myself in a masters program and a full-time job at the same time. This summer, while working under the direction of Dr. Heather Shirey, I completed an independent study that focused on the development of an African American Art Teacher Resource guide for elementary school teachers. I began by selecting five artworks from the Minneapolis Institute of Art’s permanent collection. I researched the artists and their artworks, then aligned state academic standards with a set of open-ended questions to create a resource guide that can be used by teachers across the state. It was an amazing feeling to watch my two ‘jobs’ become one.

Clementine Hunter, The Wash, 1950s, Oil on board, 18 x 24 in. (45.7 x 61.0 cm)

Dakota Passariello, graduate student

This June I began an internship at the Thrivent Financial Collection of Religious Art. In the past few months I have been working with the collection and its curator, Joanna Lindell. Thus far, I have been exposed to and have learned a tremendous amount about the multifaceted world of curatorial work. Some of my tasks and experiences so far have included assisting the curator with planning an exhibition layout, writing and fabricating object labels and exhibition panels, and attending meetings related to upcoming events and plans for the gallery. Thrivent has a truly special collection that is globally recognized; yet I think the collection is largely overlooked by our own community. If you haven’t been, I highly recommend coming to check out the gallery! It’s free!

September 14, 2015 by Marria Thompson

Graduate Student, Publications

#Superscript15 and the Thrills of Conference Live-Blogging

Sam Wisneski is an art history graduate student, entering her second year in the program. She was recently selected to participate in the first-ever Hyperallergic/Walker Art Center blog mentorship program at the Superscript Conference held May 29-30, 2015.

This might just be the most meta thing you will ever read: a blog post about blogging/writing about a conference about writing.

As an undergraduate student at St. Thomas, I studied Communication and Journalism and Art History, and more than once, I Googled “how to become an art critic,” but never seriously considered it a career option. It seemed like a natural, but unlikely marriage of my majors, given the state of the profession. I did not start thinking about criticism as a career path again until I learned about Superscript, a first-of-its-kind conference about arts journalism and criticism in a digital age at the Walker Art Center – and it wasn’t until I was selected for the inaugural Hyperallergic/Walker Art Center blog mentorship program that I really, seriously started considering what it would mean to become a critic or arts writer.

The Blog Mentorship Program

The purpose the Superscript Conference was to bring together minds from all over the world of arts writing – Buzzfeed Books, The New Inquiry, Frieze, Terraform, Design Observer, Hyperallergic, just to name a few of the varied publications. The blog mentorship program was formed to provide live responses to the conference for publication on Walker and Mn Artists media channels, and to pair wannabe writers with seasoned, world-class arts editors, including Jillian Steinhauer, senior editor of Hyperallergic, Nicole Caruth, former editorial manager at Art21 and founding editor of Art21 Magazine, and Isla Leaver-Yap, the Walker Art Center Benston Film Scholar.

The bloggers hard at work in the pop-up newsroom.

The Enterprising Trio of Mentees

I was in great company for Superscript weekend. My fellow bloggers included the delightful, stylish and brash Merray Gerges, a graduate of the Nova Scotia School of Art and Design (NSCAD) and founder of CRIT, a quarterly newspaper, based in Halifax, and the equally stylish, quick-witted, Haiku-master, Ryohei Ozaki, a Princeton grad who hails from New York and former editor of The P rinceton Buffer. (You can read all of the bloggers’ content on the sidebar of the Superscript Reader.)

Our first evening together was a whirlwind – foreshadowing what was to come the following days. We devised a tentative approach to who would cover what over dinner and drinks, and then set off to the Walker for its Thursday night program, Everyone’s a Critic, where we rubbed elbows with writers and other arts professionals.

The Conference

The first day of the conference, Merray covered the opening panel while Ryohei and I hunkered down in the Walker library, devising our first posts. I covered the second panel, “Sustainability, Growth and Ethics,” which was illuminating, disheartening and inspiring all at once. I left with no illusions about writer pay. I learned that advocating for yourself, especially as a woman, is paramount for survival as a writer, and that pay, is indeed “universally paltry,” a vow of poverty, even. Still, the discussion left something to be desired, particularly in relation to emerging writers, which I wrote about for Mn Artists.

The Sustainability, Growth and Ethics Panel Q&A

My next assignment was to interview keynote speaker and London-based artist James Bridle, who was elusive the first day of the conference. Moments after I went to bed Friday, I received an email, firming up the plans to interview James. The first hour of my Saturday morning was a frantic cram to better familiarize myself with his work, as I did not want to look like an uncultured or entitled knob when interviewing him.

I hastily crafted an email, trying to reach James, realizing I’d probably have to track him down in person, as he was likely writing a keynote or actually attending the Superscript panels – something I didn’t actually get to do as much of as I’d like, since I was hacking away at blog posts in our makeshift “pop-up” newsroom.

So, after the first panel on Saturday, I set out to find James, with the help of Merray, who had seen him milling about. I (nervously) ambushed him for a quick interview, for which he graciously obliged, as it meant stealing him away from a conversation with someone he must have known well based on their farewell kiss-on-the-cheek (but maybe British people do that to everyone…?)

We chatted about the New Aesthetic, his newest project, Citizen-Ex, and what he would be talking about at Superscript…and it actually was totally great and super chill. I’ve interviewed people in the past, sure, but, you know, there are pretenses about artists (and British people) and I also find his work really compelling, especially as someone with newly-discovered interests in new media, code, and what we might call “artist activism” which James would probably just call “art.” In short, I was equal parts excited and equal parts freaked out to interview him, and it went swimmingly. I might actually summarize my entire Superscript experience this way…waves of childlike, giddy excitement, punctuated by the anxiety and dread of looming deadlines.

The Aftermath

That was my last blogging assignment for the #Superscript15 weekend. Then, it was on to my post for Hyperallergic, where I provided suggestions for Superscript 2.0. And then Superscript IRL was over – though it lives in on in the form of blog posts, hashtags, and archived video footage, which its creators, Paul Schmelzer and Susannah Schouweiler (both splendid, visionary people) hope to build from in the future.

Superscript was thrilling, overwhelming, inspiring and exhausting – and I imagine it is a lot like what the life of an art writer might feel like. The blog mentorship program rattled me out of the slower, deliberate pace of academic writing, and into a whole new mode of challenging but rewarding reflection. While I revel in a slower pace of writing, I am also hoping to wear the hat of critic-on-the-side moving forward.

July 21, 2015 by Marria Thompson

Exhibitions, Graduate Student, Research Travel

Long Now Exhibition: A Trip to San Francisco Part II

Alex Kermes is an art history graduate student and works as a graduate exhibitions assistant. He is currently developing an exhibit site in coordination with Dr. AnnMarie Thomas of the Engineering department that combines technology, art, design, and culture. This space is scheduled to open fall 2015.

Pixar

Firmly in possession of the Rosetta Disk, centerpiece to our exhibition on the Long Now’s projects, we set out early on our second day in San Francisco to Pixar. As you can see, we were guided along by some friendly faces!

Cars at Pixar

Dr. Thomas with Allen from Pixar

At Pixar we met Allen, a visual effects specialist. Their offices were deep in the creation of their next film, Inside Out. While we got to learn a lot of what goes in to developing their movies, most of it was off-limits to our prying eyes (and, naturally, to photographs as well). Nevertheless, the place was fantastically interesting as well as iconic.

While visiting Pixar seems tangential to the development of an engineering exhibit, it provided us a glimpse into how design and culture can come together. A significant amount of research into fields like history, psychology, and art go into the creative process of every Pixar film. I was particularly interested in the amount of background research that informed the basis of their upcoming movie (which deals with child psychology).

Pixar restroom sign

The striking thing to me about Pixar was the high coordination of visuals that go into branding the place. Seldom do I take pictures of restroom signs (like I said, I was limited on what I could photograph), but the silhouette of Pixar’s beloved Woody character tells visitors something about this building. Everything was Pixar-oriented, providing a constant reminder of the world of Pixar and all their characters in it.

Exploratorium

Our last stop on this trip was pure inspiration. The Exploratorium is San Francisco’s hands-on museum dedicated to all things scientific. Our tour guide was Dr. Thomas’s friend Lenore, who showed us many of the interesting parts of the museum, highlighting the exhibits that deal with mechanics and optics (and art).

: The Exploratorium

: Exhibit at The Exploratorium

: Exhibit at The Exploratorium

We also took a “tour” of the Tactile Dome: a walkway/maze/path in complete darkness, which can be navigated only by touch. Of course it is a little difficult to take pictures in total darkness, so I left the iPad locked away while we bumped into each other for 15 minutes, making our perplexed way through the Dome.

It is worth noting the star-power present in our group. We noticed Dr. Thomas’s project Squishy Circuits on display at the Exploratorium!

Dr. Thomas’s Squishy Circuits

We then headed to the airport for our return – it was a short trip, but well worth it for the amount of inspiration we received for our upcoming exhibit. The tech industry might not resonate with the “history” part of “art history,” but art historians constantly study the overlap between culture and creativity, which turned out to be my greatest takeaway. We will do everything we can in our exhibition space to highlight the exchange and overlap of art and technology, with the end goal that we too can inspire visitors the way we were while in San Francisco.

Please watch for our exhibit space to open on the third floor in the new Facilities and Design Center this fall! We are looking forward to sharing what art and culture can do for science and technology to our St. Thomas audience.

June 11, 2015 by Marria Thompson

Exhibitions, Graduate Student, Research Travel

Long Now Exhibition: A Trip to San Francisco Part I

Collaborative projects between Art History and Engineering are few and far between. It was no surprise then that as a graduate art history student traveling to San Francisco’s tech industry with Dr. AnnMarie Thomas from the School of Engineering, I understandably encountered a number of raised eyebrows. The art historical value of lasers and 3D printing may not be overtly obvious at first, but the departments of Art History and Engineering have big plans to bring these concepts together. It has been my pleasure to collaborate with Dr. Thomas over the past couple months on the development of an exhibit space in the new Facilities and Design Center, located on the University of St. Thomas St. Paul campus. This space has been designed with the intention of showcasing objects that straddle the fine lines between art and technology.

Our inaugural exhibit will focus on the projects from the Long Now Foundation, which was also what brought us to San Francisco. The Long Now Foundation, headquartered in California, has for many years been developing projects focused on long-term thinking and responsibility (also the theme of the exhibit) – in particular, their 10,000 Year Clock and Rosetta Disk. The 10,000 Year Clock is a monumental object designed to keep accurate time for the next 10,000+ years. On the other end of the scale, the Rosetta Disk is a nickel disk less than 3” across. The disk contains translations of over 1,500 world languages which have been micro-etched with laser and can only be read with a microscope. Through generous donor support, the University of St. Thomas has acquired a copy of the Rosetta Disk, which will be exhibited along with pieces from the 10,000 Year Clock. The exhibit is slated to open during the 2015 fall semester.

Autodesk

: Autodesk – exterior

: Autodesk – interior

Our first visit was to Autodesk, a design company specializing in 3D CAD software which they convert into amazing 3D printed sculptures. Our guides Dawn and Christy were supremely helpful along the way. It was a bit tricky to wrap my head around how they transformed computer designs into 3D objects, but I definitely noticed the breadth of cultural influences at work in the minds of the folks working there. A number of object designs were based on airplanes, action figures, and sea monsters. The sheer capabilities of the place were flat-out cool. They are able to print using multiple materials, multiple colors, or multiple sizes.

Autodesk – objects as art

One thing I noticed was that the objects were treated like works of art, as witnessed through the way that they were labeled and exhibited throughout their offices. For me, this was important because it shows the interest the company takes in the cultural-technological crossover that design is capable of. Moreover, it affirmed my belief that there are ways to bridge the supposed gap between art and technology, and inspired Dr. Thomas’s and my aspirations for our own exhibit space.

Other Mill/Other Machine

Other Machine – interior

Our second stop was an old pipe organ factory. It has recently been converted into the manufacturer of Othermill, a product of the company Other Machine. They even used old wooden organ pipes as shelves.

Othermill at Other Machine

This Othermill is a milling machine the size of a microwave that uses CNC (computerized numerical control) to “create 2D and 3D objects out of durable materials, such as wood, metal, plastic, using digital designs.” People utilize the Othermill to create things from relief stamps to circuit boards – how, I don’t know, but that doesn’t make it any less fascinating to me. Dr. Thomas’s friend Simone tried in vain to help me understand. Regardless, she was a wonderfully enthusiastic tour guide during our visit.

The Interval

The Interval

Ultimately, the reason we embarked on this trip was to meet personally with the minds of the Long Now Foundation and bring home the exhibit’s new copy of the Rosetta Disk. The brainpower of the Foundation was represented by Dr. Laura Welcher and Dr. Alexander Rose.

At The Interval, the foundation’s event space (and bar), they showcased a number of projects they’ve worked on. One of the coolest was a tall metal contraption known as The Orrery. An orrery is a model of the solar system that predicts the positions of planets – and the one at the Interval is huge and immensely cool to look at.

Alex with The Orrery

We met up with Alexander and Laura for a lengthy discussion on the numerous ideas they had about their work and how it could be exhibited. Their input was incredibly insightful. Over the course of two hours at the Interval, we talked about scope of the Foundation’s projects and ways in which we could apply it to our exhibit space. It is one thing to display objects and hang labels next to them, but it is another thing entirely to find sophisticated ways to provide viewers of our exhibit opportunities to participate and learn about the ideas being presented. Dr. Welcher’s and Dr. Rose’s suggestions gave us so much to consider while planning our first exhibition of the Long Now Foundation’s projects that we are eager to unveil to the public. Much, much more will follow as our project progresses!

On the left in this picture is Dr. Welcher passing a prototype of their current project in front of Dr. Rose (details of this project are closely guarded for now).

We then collected our Rosetta Disk and concluded our day with dinner. That was the first day of our trip. We still had Saturday in San Francisco, which included some extremely fruitful and inspirational trips as well, but those will be covered in a second part to my blog post.

May 27, 2015 by Marria Thompson

Graduate Student, Research, Research Travel, Students

A Month in Virginia: Examining Nineteenth-Century Mammy Dolls

Nicole Sheridan is an art history graduate student completing her second year. She was awarded the National Endowment for the Humanities We the People Fellowship in African American History, for study at the John D. Rockefeller Jr. Library in Colonial Williamsburg, Virginia.

In January 2016, I had the privilege of conducting research in Colonial Williamsburg, Virginia with the support of a National Endowment for the Humanities “We the People Fellowship in African American History and Culture.”

Residency cottage

Living room of the colonial style residency cottage

I began this project in my spring 2014 graduate seminar on the African Diaspora, taught by Dr. Heather Shirey. One of our assignments involved creating a research grant proposal, and we were encouraged to seek out actual funding sources from external institution. Dr. Shirey provided students with examples of grant proposals, including both those that had been accepted and declined. These examples helped me recognize differences in writing style, language, and clarity of expression in relation to the projects’ feasibility. I realized I needed to write a proposal that was forward and bold. I decided to investigate a topic that combined two interesting subjects: the historical mammy, and nineteenth-century doll representations.

Once I had identified an appropriate funding source, I perused the webpages of the John D. Rockefeller Jr. Library and Archives, as well as the Dewitt Wallace Decorative Arts Museum and the Abby Aldrich Rockefeller Folk Art Museum. I realized that connecting my project to the holdings of the institution’s on-site resources would be essential in arguing my claim to travel to this particular location. During my search, I was intrigued by an online collection featuring toys, in particular a mammy doll with a head composed of a walnut. This struck me as a peculiar material for a doll held in a museum, so I decided to investigate.

Mammy Nut Doll, c.1840-1899
Hickory nut, leather, wire, textiles, horse hair, paint
Abby Aldrich Rockefeller Folk Art Museum

The term mammy refers to a racist stereotype of the household slave responsible for childcare, cooking, and cleaning. Her image is recognizable as an obese female with jet-black skin, large lips and eyes, a head turban, an apron, and colorful calico clothing. This nineteenth-century archetype manifested in the image of Aunt Jemima at the 1893 World’s Columbian Exposition in Chicago through the actress Nancy Green. Early on, I had a hunch that the use of such a humble material was linked to creators of low economic status, and that a black doll was more likely made by an adult or child of color. Thus, I was puzzled by a notion of African Americans participating in creating the mammy stereotype. Centering my project on this doll, which exhibits characteristics of the mammy figure and use of material culture, I devised a research topic that explored a number of issues, including the history of the mammy figure, nineteenth-century dress of indoor slave staff, mammy doll characteristics and constructions (with and without nut heads), and children’s culture of the nineteenth century including child slavery, play, and doll types. Through this contextual research, I also sought to understand the involvement of African American women and children in creating mammy dolls. Visiting local archives was helpful in providing empirical materials including extant mammy dolls, and photographs of dolls and nineteenth century mammies.

: Mammy Topsy-Turvy Doll , 19th c., Valentine Richmond History Center. Upon visual examination, we discovered this mammy doll had a surprise underneath the dress, an attached white doll (image on right), making this a Topsy-Turvy doll.

: Reverse side of Mammy Topsy-Turvy Doll

Mammy with baby, July 1868
Courtesy of the Valentine Richmond History Center

At times difficult to swallow because it is so painful, the history of the mammy figure, including black culture apart from and including whites, was fascinating as the stories of past lives seemed to leap from the pages. My research illuminated the horrors of slavery as well as evidence of intense courage and perseverance. As a developing art historian, reading slave narratives affected me both personally and professionally.

The month long fellowship program also gave me the opportunity to deliver in a public forum. For this presentation, I provided the background for my topic, outlined the goals of and resources for my project, and shared my research questions. There was a great turnout of guests who shared my curiosity in the topic and added to a lively discussion.

The most difficult aspect of the fellowship was being away from home for a long period. Thankfully, the staff at Colonial Williamsburg were welcoming and helpful. Early on, Ted Maris-Wolf, the head of research initiatives for the Rockefeller Library, assisted me in locating relevant local resources. I was fortunate to have the opportunity to conduct research alongside Linda Bergmuten, the Head Curator of textiles and costumes. Linda provided me with extant high-class dress materials as well as working women’s dress, aiding with the analysis of garment dating, and edifying the accuracies and divergences from actual mammy dress. This information proved beneficial in providing me with further clues to distinguish clothing differences between women slaves working outdoors and that of indoor slaves, in which the mammy was included.

19th c. working women’s shirt, Colonial Williamsburg Foundation

Jan Gilliam, the Associate Curator of the toy collection, granted me access to examine the mammy doll as well as other relevant black dolls held in the collection. Viewing the mammy nut doll in person provided me with information the photograph could not illuminate. For example, the doll was smaller than I had imagined, perhaps slightly larger than dollhouse dolls. In hopes of revealing clues to the doll’s construction, Linda and Jan performed a fabric analysis of the interior of the doll’s body. After struggling with the tiniest of tweezers to acquire interior material through the back leg, Linda was not able to extract an example. Though initially disappointing, it did in fact reveal that the interior is quite likely wound around a skeleton made most likely of wire. In addition and as a surprise to both the curators and myself, there was a note tucked inside the doll’s blouse, providing yet another clue towards understanding this particular doll.

Curators performing the fabric analysis, which led to finding a note tucked inside.

I also had the privilege of meeting the other research fellow, Kristin, whom had recently received her PhD in History from Washington University. Dr. Condatta-Lee was conducting research for the first chapter of her book, exploring foreign imports brought with early Irish settlers to New Orleans. It was great getting to know her and supporting each other in our research quests.

Exploring the town of Colonial Williamsburg with fellow Kristin (on right)

A major ambition of the project was to define my research in terms of how exactly I was to utilize the little extant evidence of this area of folk material culture. This was begun through seeking out extant dolls that fit the criteria of a mammy figure, which proved more difficult than I had imagined. Not all dolls of black women could be included in my taxonomy of extant mammy dolls unless they displayed qualities distinctive to the image of an indoor worker. This type of doll exists in very small museums and private collections. Likely, the topic of mammy dolls has not received attention namely because of such difficulty in accessing extant dolls. For this reason, I will be extending this research into an independent study to add onto my taxonomy of dolls and in hopes of sharing my findings. Willingness to travel and openness to new professional experiences build a well-rounded graduate education and enrich your current skills. Grand aspirations come within reach when paired with extra effort and determination.

May 8, 2015 by Marria Thompson

Exhibitions, Faculty, Graduate Student, Presentations, Research, Students

Other Worlds: The Natural and Supernatural in Andean Art

William Barnes is an Assistant Professor in the Department of Art History. His research interests include the Pre-Columbian cultures of the Americas, particularly those in Mesoamerica and the Andes. His principal research focus is upon the imperial Aztecs of Central Mexico and how their art intersects with ritual and the Mesoamerican calendar. He is currently teaching a course on the art of Mesoamerica, to be followed in the fall by a course on the early colonial art of Latin America.

Other Worlds: The Natural and Supernatural in Andean Art

On a cold day in November, a number of UST graduate students accompanied me to the Minneapolis Institute of Arts (MIA) to talk about ancient Andean art and culture with a wonderfully receptive group of MIA docents and guides. For the most part, the students were presenting research they had undertaken in their 2014 spring semester graduate seminar entitled “New Research in the Ancient Andes.” Instead of standing behind a podium and reading from notes while PowerPoint slides fly by behind them, Katherine Joy, Zach Forstrom, Clare Monardo, and Nicole Sheridan were free to walk around gallery 255 and point to concrete examples of Andean art while discussing their salient features and historical context. Not only were they able to address the actual objects from their graduate studies, they also discussed what initially drew them to the works and why they were chosen for this installation — as they, along with eight of their graduate colleagues, had actually curated the gallery 255 installation from the extensive Andean works held in the MIA’s collection. Entitled Other Worlds: The Natural and Supernatural in Andean Art, the installation, on view until April 26, was almost entirely the work of that spring seminar class.

(Left to right): Nicole Sheridan, Dr. Andy Barnes, Zach Forstrom, Katherine Joy, and Clare Monardo

The graduate students selected works related to a number of important themes that the seminar discerned during their study of the broad scope of artistic production in the ancient Andes. These included “Andean Elites and Rulers,” “Feasting and Ritual,” and “The Natural and Super-Natural Worlds,” the final being the category from which the installation title was drawn. In the grouping of their chosen works, the seminar participants intended to show how Andean art was used to illustrate social differentiation, aspects of ritual and political obligation, and the role that depictions of the natural world and the supernatural realm played in legitimizing political authority and maintaining balance and harmony between all levels of the Andean cosmos.

: Zach Forstrom

: Katherine Joy

: Clare Monardo

: Nicole Sheridan

The works are strategically placed so that the viewer can physically walk one through the central ideas of the exhibit’s organizers. On the title wall hang two textiles, a central art form of the Andes whose design cues informed almost all other art forms and designs of the region. When worn, these textiles served to distinguish its wearer from other individuals in the region or communities. The one to the left is a 19^th century Aymara llacota (a mantle worn by both men and women) likely woven on a traditional backstrap loom, while the other is a much earlier Huari elite tunic, likely worn by a member of the ruling class. Its elaborate design contrasts with the simplicity of the later Aymara piece, with its stylized depictions of Huari men bearing puma or jaguar-like attributes. The small hats worn by many of these figures are the very same as the MIA’s example 8^th-10^th century CE Huari four-cornered hat placed in the vitrine right in front of the work.

A Moche fineline pot is next to the small four-cornered hat. This pot depicts one of the famous Moche messengers who, aside from wearing animal inspired costumes, seemed to have served a role in carrying communications between Moche cities in the north coast of Peru (1-700 CE). From this central point in the gallery one can turn to investigate works that depict feasting and rituals, the objects of ritual (that allowed one to contact the supernatural), as well as depictions of super-natural creatures themselves.

: 19th century Aymara llacota (left) and Huari elite tunic (right)

: Four cornered hat and Moche fineline pot

: Moche fineline pot

I, and all the participants in the seminar, would like to extend our heartfelt thanks to Dr. Jan-Lodewijk Grootaers, Curator of African Art and Department Head, Arts of Africa and the Americas, along with his curatorial staff, registrar Kenneth Krenz, and the collections and exhibit design staff for the help they provided in putting together this installation. Despite the challenges it posed for them, this entire exercise wound up being a wonderful opportunity for our graduate students to develop a museum installation in such a hands-on and practical manner.

April 16, 2015 by Marria Thompson

Graduate Student, Research

Understanding Herbert Bayer’s Colorado Enviroment

Kate Tucker is an art history graduate student completing her qualifying paper on Walter Paepcke’s patronage of Herbert Bayer’s design initiatives at the Container Corporation of America and the Aspen Institute. She was awarded the Art History Department Graduate Research Grant to help make this project possible. Kate will be presenting her qualifying paper research at the Art History Graduate Forum on May 22.

Picture 1: Herbert Bayer

Herbert Bayer lived in Colorado for 28 years [Picture 1]. During this period he was able to employ his Bauhaus training through a total design of the Aspen Institute and advance the visual communication initiatives at the Container Corporation. Walter Paepcke, chairman of Container Corporation, was the patron that convinced Bayer to move to the small town of Aspen. Together they made the location into a culturally thriving resort destination. To further understand Bayer’s design work produced during this period, I recently took a trip to Denver and Aspen. This was made possible through a travel research grant provided by St. Thomas. The grant provided funds for airfare to Denver, and a rental car and lodging in Aspen. Without this grant, the trip would not have been possible.

Picture 2: Herbert Bayer Archive and Collection at the Denver Art Museum

Picture 3: Bayer’s World Geo-Graphic Atlas

The first stop on the trip was to the Herbert Bayer Archive and Collection at the Denver Art Museum [Picture 2]. The museum holds over 8,000 pieces of art and extensive documentary material on the artist. One of the things that most interested me in the collection is the original paste-ups from Bayer’s World Geo-Graphic Atlas [Picture 3]. This atlas was published in 1953 for Container Corporation after a five-year undertaking. The book, which had a limited release of 30,000 copies, was produced as a memento for Container Corporation’s customers and shareholders. It contains over 1,200 individual and unique charts, diagrams, detail maps, and pictures. The collection of paste-ups reveals the early sketches of the finished project of the atlas. Pencil drawings were later fulfilled in the final rendering [Picture 4]. Bayer developed a system of agricultural markers on these paste-ups that would be fine-tuned in the final version [Picture 5]. The paste-up’s pages reveal the overall layout and the tight spaces for text, which Bayer would write and edit himself to maintain its cohesive order and focus on the visual images.

Picture 4: Bayer’s World Geo-Graphic Atlas

Picture 5: Final Version of Bayer’s World Geo-Graphic Atlas

I spent a lot of time at the museum looking through scrapbooks of Bayer’s wife, Joella. She also compiled photo albums that included pictures ranging from Paepcke, Bayer, and Gary Cooper socializing in Aspen [Picture 6], to a lively party called “Come as Your Neurosis.“ [Picture 7]. While the scrapbooks revealed how Bayer was perceived and praised for his contributions, the photo albums show the jolly side to Bayer’s life in the mountains.

Picture 6: Paepcke, Bayer, and Gary Cooper

Picture 7: Come as Your Neurosis

After Denver, I drove three hours to Aspen. The mountain drive is beautiful and along the highway there are a series of ski towns, while Aspen is far off the main drag. The travel made it clear that back in the 1940s, Aspen was a place of new discovery. Paepcke was the one who brought attention and enthusiasm to the revival of the town.

Picture 8: Kaleidscreen

I stayed at the Aspen Meadows. The first thing I saw as I approached the retreat center was Kaleidscreen, one of Bayer’s art installations [Picture 8]. I was surprised by how small it looked against the background of the Aspen Institute and mountains. My impressions from photos had been greatly misled. As I entered the lobby, Bayer’s presence was felt throughout [Picture 9]. Every corner was filled with original Bayer artworks, posters from the “Great Ideas” advertising series at Container Corporation, even Bayer’s universal type was used at every opportunity, including in the bathrooms [Picture 10].

Picture 9: Lobby

Picture 10: Example of Bayer’s universal type

Bayer designed the majority of the buildings on the Aspen Institute campus in the 1950s in the vein of Bauhaus and International Style. Paepcke selected Bayer to design the environment for his pet project. Prior to my visit I was skeptical about how much of Bayer’s original designs would still be present over a half of decade later. I was pleasantly surprised at the clear intention to restore and maintain the spaces in their original mid-century modern design. Bayer’s use of primary colors from his Bauhaus days was still intact, as seen on the mural outside of the health center [Picture 11]. Even the sgraffito mural outside of the Koch Seminar Building looked as it did when it was first installed [Picture 12]. There has been a clear vision to maintain the design of these buildings through restorations, even long after Paepcke and Bayer’s death. There is a sense of timeless serenity felt at the Aspen Institute that speaks to the cohesive vision the Bayer applied to the space.

Picture 11: Mural

Picture 12: Kate outside of the Koch Seminar Building

Bayer’s design of the Aspen Institute has been carefully carved into its natural landscape. His work in Aspen inspired the visual communications at Container Corporation. The beauty of the atlas speaks to Bayer’s love of nature and freedom to find design solutions when given the opportunity from a wealthy patron. The trip to Colorado solidified my understanding on how the interdependence between Paepcke and Bayer correlated with the design initiatives at the cultural retreat and corporation.

April 7, 2015 by Marria Thompson

Exhibitions, Graduate Student, Research

A Foray into Provenance Research

Rachel Goldstein is an Art History graduate student. She is researching the provenance of artworks in the University of St. Thomas’ Art Collection for her graduate assistantship.

As the first Department of Art History Provenance Research Assistant, I have been honored to help organize and articulate what provenance means to the University of St. Thomas. I was introduced to the idea of provenance as a young child living in England. My parents are avid silver and antique collectors who opened the world of hallmarks and provenance to me. Like a painting with a noted provenance, a piece of silver carries a hallmark, which indicates its purity, origin, and manufacture. Later on I experienced provenance through my work at a family owned and operated auction house where I learned how an object gains value and what makes an object valuable. My third experience with provenance was working at the Staatliche Kunstsammlungen Dresden (SKD, Dresden State Art Collections) in Dresden, Germany. The SKD prides itself on being at the forefront of international provenance research and collaboration. I was lucky to have a front row seat to the new and innovate aspects of provenance research and study within the international realm.

Rachel pulling the print out of storage

My assistantship at St. Thomas began with my reading of the American Alliance of Museum’s Guide to Provenance Research. Currently considered the bible of provenance research, this book examines the large responsibility one has when researching the provenance of a work of art or artifact of historical importance. The book also outlines best museum practices, which information to include, whether written or digital, within the records of provenance and what an object can tell you about its history.

After studying the book, I began to search the websites of local, national and international museums, and cultural institutions to discover what provenance information and data the museums were availing to the public on the Internet. This activity was to give me a better understanding of what terminology is used, the presentation of written provenance, and allowed me to gain an understanding of how much provenance information is disseminated to the public.

Fantail Pigeon, 1955, Milton Avery, Woodcut, 2012.001.027, Dolly Fiterman Collection

It was then time to begin my provenance research. To begin, the curator allowed me to choose one artwork out of five possibilities from the University’s Art Collection. I chose Fantail Pigeon, 1953 by Milton Avery. It is a woodblock print in black and brown on Japanese rice paper and is the 24th print of 25 in its series. The first task was to study the piece and record its physical characteristics: size, condition and subject. After recording these findings on a form, I started to and am still researching Milton Avery, his career, the history and creation of Fantail Pigeon and the other woodblock prints in the Fantail Pigeon series.

I was able to find the Milton Avery Papers in the Archives of American Art at the Smithsonian. These ‘Papers’ are digitized files which were donated to the Smithsonian by Milton Avery’s widow Sally Avery, an artist whose artwork we also posses in the collection at UST. I have been taking notes and studying these archives in order to understand the conditions of Avery’s work, the dissemination of his work and his relationships to the gallery owners who sold his works and museum curators who organized exhibitions of his work. I am still in the process of finishing this part of my research. Provenance research can be slow at times, but it allows you to delve into the interesting and colorful world of the artist.

February 5, 2015 by Marria Thompson

Asmat, Exhibitions, Graduate Student, Research, Students

Gretchen Burau: Among the Asmat: The Schneebaum Perspective

Gretchen Burau is the Curator for the exhibition “Among the Asmat: The Schneebaum Perspective,” on view in the Gallery of the Anderson Student Center from September 4 to December 20, 2013. Mrs. Burau is the third graduate student to develop an exhibition for the American Museum of Asmat Art at the University of St. Thomas.

Before applying to St. Thomas I was unfamiliar with Asmat, having spent most of my academic career focused on Western art. After learning about the AMAA@UST’s extensive collection of Asmat Art, I decided to enroll in Dr. Julie Risser’s “Presenting Pacific Collections” course in Spring 2012. It was my first semester at St. Thomas and I was thrilled to be exposed not only to Asmat culture and art, but also individuals who aided in the preservation and commissioning of many objects now owned by the AMAA.

While researching for my final paper, I came across the work of artist and anthropologist Tobias Schneebaum, who first came to Asmat in summer 1973. It was during this time that he became involved with the Catholic mission and was introduced to Bishop Alphonse Sowada and Father Frank Trenkenschuh. Through this encounter, Schneebaum came to live and work in Asmat, eventually becoming the Assistant Curator of the Asmat Museum of Culture and Progress in Agats, Indonesia. One of Schneebaum’s finest contributions to the museum can be found in the skillfully executed drawings he made for Asmat Images, published in 1985. His illustrations were among the first published documentations of Asmat art and were instrumental in making the objects accessible to interested individuals who might not have had direct access to the art.

Through these drawings, Schneebaum would gain a detailed understanding of repeated imagery and was eventually able to decipher specific symbols and their meanings. Consequentially, he formed connections that helped tie certain villages and specific artists to their art, which was carefully recorded for the museum. The importance of the images has increased with time, as many of the cataloged pieces were made for ceremonial purposes and were not designed to endure after fulfilling their ritualistic tasks. As the years passed, many of these artifacts have deteriorated due to insects and the harsh jungle climate. Thankfully, Schneebaum’s drawings remain to attest to a distinctive art style made by a culture that today is rapidly changing.

Tobias Schneebaum, Drawing of Spirit Mask

Beside drawings, Schneebaum wrote several books, including Where the Spirits Dwell, highlighting his time in Asmat. His autobiographies were written with an artist’s sensibility, as shown in Secret Places: My Life in New York and New Guinea, where Schneebaum recorded:

Asmat bewitches me.

I often feel possessed there, but what it is that possesses me is unclear. The forest churns up my insides when I am in the midst of immense trees in soggy soil, vines, and plant life that exude odors of decay. The forest continually draws me into conjuring up dreams of living naked, hunting wild boar and cassowary, birds and possum, and spending days in blinds awaiting whatever animal would come, killing it, skinning it, roasting it, eating it.

At times when traveling with no one but my paddlers, I sit in the canoe or lie down on my pandanus mat in the men’s house and allow my mind to wander at will. I am impressionable: I am a million miles or more away. I am on some star of Orion or perhaps it is Sirius, brightest of them all. Perhaps I become one of the daughters of Atlas in the cluster of the Pleiades, or I am in some distant nebula, hurling myself headlong into the Void, through the night sky, a meteorite of myself landing easily on a star.

Throughout my life, I have been searching for a way to connect with other human beings. Suddenly, I find myself in a forest among the Asmat, living in their world of spirits, where I lose my insecurities and am content.

What brought me to this stage in the history of my life? Where did I go right? How did I finally choose a path out of oblivion, the path itself so marvelous to behold? I would not change that path even if it were possible to do so. (1)

Because of his tireless efforts, many museums, including the American Museum of Asmat Art @ UST and The Metropolitan Museum of Art have more diverse Asmat collections, with rare objects not to be found elsewhere. While traveling, Schneebaum was careful to record pertinent information: “I wrote in my journal several times a day; I put down everything I could remember of the trip from Agats and began taking notes on whatever I saw in the house: the sago bowls of wood and leaf in the racks, the digging sticks, the drums and spears and bows and arrows. I recorded the way the house was constructed, the number of adults and children; I made a plan of the fireplaces, with the names of those who sat and slept there, and I tried to make out how the food was divided, a complex subject I was never able to understand.”(2)

Tobias Schneebaum, Biwar Laut, Sasco, 1973

As a practicing artist, I had a natural affinity for Schneebaum’s drawings and observations. His work provided an avenue for me to access Asmat art and after completing Dr. Risser’s course, I was curious to learn more about the culture. I applied for the Assistant Curator assistantship at the AMAA and was fortunate to receive the position, quickly going to work on the fall 2012 exhibition, “Building the Collection: Recent Gifts and Purchases.” Having previously curated two-dimensional art exhibitions, this experience exposed me to sculptural objects and the challenges related to their mounting, transportation, and presentation.

As the academic year progressed, I assisted with Rachel Simmon’s exhibition “Wowipitsj: Man, Myth, Legend.” While working on these two shows, I continued to research Tobias Schneebaum and discovered that the University of Minnesota’s Jean-Nickolaus Tretter Collection houses his personal papers. Purchased from Schneebaum by University Libraries in 2004, the collection contains 33 boxes of personal correspondence, illustrations, and other materials related to various aspects of Asmat Art. Most notably, the collection contains a drawing Schneebaum made of Amandos Amonos, the main carver of the wuramon or soulship owned by the AMAA@UST.

Drawing of Amandos Amonos by Tobias Schneebaum

Wuramon/Soulship – AMAA@UST

These curatorial experiences combined with academic research led me to propose an exhibition of AMAA@UST art objects, illustrations, text, and video related to Schneebaum’s time in Asmat. “Among the Asmat: The Schneebaum Perspective” is a comprehensive showing of AMAA@UST art related to the work of Tobias Schneebaum. Arguably the most ambitious Asmat exhibition to be shown in the Gallery, it features twelve shields, two large carved crocodiles and many other objects that have not previously been on view at the University of St. Thomas.

I plan to use the Asmat-related information and experiences I have acquired over the past two years to prepare for my final qualifying paper in the M.A. program. Recently I contacted the Metropolitan Museum of Art, which has a Schneebaum archive that includes his personal documents and art objects. I hope to travel to New York during the next academic year to do research for my final research project and to provide the AMAA@UST with additional materials related to the Asmat.

NOTES

(1) Tobias Schneebaum, Secret Places: My Life in New York and New Guinea (Madison: University of Wisconsin Press, 2000), 3.

(2) Tobias Schneebaum, Where the Spirits Dwell (New York: Grove Press, 1988), 39.

August 21, 2013 by m9stansburyo

Faculty, Graduate Student, Research, Students, Uncategorized

Victoria Young et alia: On Site in New Orleans. Art History Beyond the Classroom.

This past spring of 2013, I taught a graduate seminar on the history of the built environment in New Orleans. The class was a natural progression from my own research on Frank Gehry and his domestic work, as tenants have recently moved into a Gehry-designed duplex in Brad Pitt’s Make it Right Foundation in the Lower Ninth Ward, an area decimated by the wall break in the Industrial Canal at the time of Hurricane Katrina. I realized last fall, however, that student interest in going to New Orleans was great when I was conducting advising sessions (in my role as Director of Graduate Studies) so I decided to put some things together for those wanting to make the trip. Students paid their own way to NOLA and spent time during the early part of spring break week researching their own projects. The latter portion of the week was spent in group activities. The Art History Department supported this trip by funding a five-hour long bus tour of the Lower Ninth Ward homes led by the Make it Right Foundation’s executive architect, John Williams, a long time New Orleans designer. I also arranged a walking tour for students to lead, a visit with a local preservationist, as well as a tour of a local cemetery. Here’s a look at our experiences as seen through the eyes of three of the students on the trip!

Victoria Young

NOLA trip group photo in front of New Orleans Cathedral

On the Ground in New Orleans: Architectural Walking Tour By Ava Grosskopf

The first class gathering of the trip was a walking tour of New Orleans. The tour took nearly four hours and spanned the French Quarter, the Mississippi riverfront and the Central Business and Warehouse Districts. We began at the famed Café du Monde and ended at the World War II Museum. Each of the nine students on the trip was assigned a specific building or public space to research and share their knowledge with the class in a brief five-minute presentation on site.

Dr. Young presented us with a challenge to do the research of the location we were assigned but not to visit the location beforehand., so that we would incorporate into our five minute presentation our reaction to the site upon seeing it for the first time. The most common effect to this directive was that many of us found ourselves reacting to how much smaller a building was than we expected. It seems that New Orleanians have become very adept at making small spaces look much larger than any photo depicted. As a result, the city holds an immense amount of American history in only the few square miles we covered on the tour.

A number of the other buildings intrigued us on the walk, particularly those we had studied in class. The discussions about these structures were enjoyable and interesting. Although the walking tour was not directly related to my research topic, Planter’s Grove, it did provide exposure for the class as to how the landscape of New Orleans is laid out, and how the residents interact within it.

Students at Piazza d’Italia.

Make it Right: Touring the Lower Ninth Ward By Soren Hoeger-Lerdal

During registration for spring 2013 courses, the prospect of a New Orleans spring break vacation to supplement our NOLA architectural history class was exciting, to say the least. When, in the spring, Dr. Victoria Young announced that the Department had won, via auction, a bus tour of the Lower Ninth Ward, an unparalleled adventure was added to an already crowded itinerary.

So when the Friday morning of our tour arrived, we began our venture at the offices of Architect John Williams, the principal architect of the Make It Right project and master planner of the entire Lower Ninth Ward. After a short but exceptionally informative and eye-opening presentation, accompanied by incredible images, we got on a bus donated by Tulane University. John first took us to the Global Green Homes, a LEED Platinum development focused on sustainability, replicability and affordability. Next, he took us to meet and pick up J.F. “Smitty” Smith, a slightly less than optimistic Lower Ninth Ward resident, who at times commandeered, to our delight, both the talking aspect of our tour as well as the very cooperative bus driver’s route (it was Good Friday, her day off, after all). In fact, one of the most eye opening and memorable aspects of the tour was an impromptu detour to Chalmette in St Bernard Parish, neighbor to the east of the Lower Ninth. Smitty called this area “Bush’s Children” due to former President Bush’s lobbying for the area’s recovery. The parish is near complete restoration and evidence of the hurricane was nowhere evident.

We then returned to the Lower Ninth and visited the House of Dance and Feathers, a museum-shed created by Ronnie Lewis preserving the history of Mardi Gras Indians and Lower Ninth residents. His vibrant optimism stands in direct opposition to Smitty’s, yet they have mutual goals and such stunning determination. Another shocking aspect of our tour was John explaining visually the actual lot sizes in the Lower Ninth Ward. At just 30 feet wide, the extent of the pure destruction can only be grasped on the site. Blocks, which were previously lined with wall-to-wall homes, are now lucky to have two occupied buildings; many blocks have none. Brick staircases that lead to nowhere, overgrown lots of grass and weeds, and still shuttered homes marked with the infamous “X” of the first-responders still dominate the landscape. John explained the significance of the numbers located in each quadrant of the spray painted “X”. Although number of dead was the bottom number, I think the most shocking to us all was the number located at the top signifying the date that the home was first checked. We were all left in disbelief to see many of the Lower Ninth Ward homes were not entered until nearly a month after the storm, some as late as October.

Our next stop was to meet “Johnnie” at the Bayou Bienvenue. John Taylor (everybody has a fun nickname it seemed) is the guardian of a platform that sits between his native Lower Ninth and his true home, the bayou. John told us stories about his childhood, when the now scattered baldcypress stumps were a full-grown forest in the freshwater bayou. He would spend days away from home at the bayou until his brother would be sent as a lone search committee.

Finally, we ended at the Make It Right project and no, there was no Brad Pitt sighting. After a brief history and walking tour, we were surprised and honored when John allowed us to tour an under construction home. This was especially special considering the first non-residents were allowed to tour the homes only three months prior. This was not due to secrecy, John said, they simply did not want to waste any time getting people back home. Although a few of us questioned the aesthetic longevity of the extremely modern style of the homes, the sustainability and green focused collection of homes is absolutely unprecedented and will unquestionably serve as a precedent for future neighborhood design. Simply stated, this was a dream tour.

This photo, taken by graduate student Lauren Greer, shows the new construction of the spot where the levees broke, flooding the Lower Ninth Ward. An attempt is being made to Landmark the spot, peculiar both for the timeframe (far too recent) and construction type (it is a concrete wall, after all).

The tour group with John Williams (center) standing in front of the Frank Gehry- designed Lower Ninth Ward residence. Photo by author.

While snapping this photo, Smitty smirked while asking me “Do you get it?” Of course it signifies that FEMA is in the doghouse for all Lower Ninth Residents. A visual defiance of the way the government handled their neighborhood. Photo by author.

Cemeteries on Paper and In Person: Lafayette Cemetery #1 By Sandy Tomney

New Orleans has much to discover. Our trip included an itinerary of an architectural walking tour, a tour of the lower ninth ward, a meeting with a preservationist, and a tour of Lafayette Cemetery No. 1. All of the activities were based on concepts and themes we have been studying in class and each was interesting. Since the research I am conducting concerns the Garden District’s Lafayette Cemetery No. 1 during the antebellum years, this trip was a great opportunity. It gave me a chance to become more familiar with how the cemetery fits into its context. Doing site visits at both St. Louis Cemetery No. 1 and Lafayette also made it possible to compare two similar sites located in different parts of the city. Our tour guide at Lafayette Cemetery No. 1 was affiliated with the organization Save Our Cemeteries. He pointed out the four basic above ground interment types in the cemetery – wall vault, family, and society tombs, as well as the coping style grave. He also explained how the family tombs functioned. Another highlight was the explanation as to why family tombs were often found in groups of four. Contractors and/or speculators would buy cemetery lots in groups of four, erect family tombs on them, and resell them as needed. This helped to answer a question I had concerning the relationship between similar tomb styles located within the cemetery and the ethnicity of the families interred in them. Since our guide is a resident of the neighborhood next to Lafayette Cemetery No. 1, he ended our outing with a walking tour of the upscale area adjacent to the cemetery, with homes of John Goodman and Sandra Bullock among others.

Save Our Cemeteries guide Val Connolly explains how family tombs function. Lafayette Cemetery No. 1, New Orleans, LA, 2013. Photo: Sandy Tomney

Wall Vaults. Lafayette Cemetery No. 1, New Orleans, LA, 2013. Photo: Sandy Tomney

Family Tombs. Lafayette Cemetery No. 1, New Orleans, LA, 2013. Photo: Sandy Tomney

Henry Dick Tomb. Probably designed by J.N.B. DePouilly. Italian Marble. St. Louis Cemetery #1, New Orleans, LA, 2013. Photo: Sandy Tomney

June 19, 2013 by m9stansburyo

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