In the Foreground: Conversations on Art & Writing Podcast Artwork Image

In the Foreground: Conversations on Art & Writing

Caro Fowler

What does it mean to make art history? In the Foreground: Conversations on Art & Writing considers the role of art in society, how knowledge is shared (or obscured), and the way histories are made and unmade—while also considering the personal stakes of scholarship. Each episode offers a lively, in-depth look into the life and mind of a scholar or artist working with art historical or visual material. Discussions touch on guests’ current research projects, career paths, and significant texts, mentors, and experiences that have shaped their thinking. We invite you to join us and listen in on these conversations about the stakes of doing art history today.
Episodes
“Fragmentary Ruins and the Enduring Image”: Cammy Brothers on Drawing as a Way of Thinking March 26, 2024
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"A Critique of What Art Can Do”: Jennifer Nelson on Undoing MasteryMarch 19, 2024
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“To Give Shape to a Way of Seeing the Past”: Shira Brisman on the Intimacy of Writing the History of Social ArtMarch 12, 2024
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“The Magic Art of Framing”: Alexander Nemerov on Writing History and Making a WorldMarch 05, 2024
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"On Living Archives": Tsedaye Makonnen on Collaboration and Black Performance PracticesApril 18, 2023
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"Attention Becomes a Kind of Politics": Sarah Hamill on Sculpture and InterpretationApril 11, 2023
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“Shifting Focal Points”: Sergei Tcherepnin on Sonic AttentionApril 04, 2023
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“What ‘Minor' Histories Allow Us to See”: Donette Francis on Writing African DiasporaMarch 28, 2023
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"I Never Start with Nothing": Mary Lum on Collage and Constructed GeographiesMarch 21, 2023
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“An Outward-Looking Model”: The Future(s) of the University and Higher Education in a Digital Age with Koenraad Brosens and Blake StimsonApril 12, 2022
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“What are Our Important Questions?”: Collaboration and Interdisciplinarity in a Digital Age with Jacqueline Francis and Susan Elizabeth Gagliardi April 05, 2022
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“To Make Visible the Structures”: Challenging the Canon, Digital and Beyond, with Niall Atkinson and Min Kyung LeeMarch 29, 2022
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“Distance and Criticality”: The Digital Humanities and the Potential for Art History Scholarship with Hubertus Kohle and Emily PughMarch 22, 2022
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“Directed Towards How We See Ourselves”: Social Art History in a Digital World with Paul B. Jaskot and Barbara McCloskey March 15, 2022
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“A Mechanism for Survival”: McClain Groff on nibia pastrana santiago’s NO MORE EFFORTSFebruary 01, 2022
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“A Picture of Resilience”: Ashley Lazevnick on Charles Demuth’s "Red Poppies"February 01, 2022
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“An Expression of the Poetic Self”: Yuefeng Wu on the Stele Inscription of the Jiu-Cheng Palace February 01, 2022
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“From Imitation to Evolution”: Emmelyn Butterfield-Rosen on Georges Seurat’s "A Sunday on La Grande Jatte–1884"February 01, 2022
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“An Allegory of Representation”: Byron Otis on Gabriel Metsu’s "View into a Hall with a Jester, a Boy, and his Dog" February 01, 2022
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"Touching at a Distance”: Ellen Tani on Nadine Robinson’s "Coronation Theme: Organon"February 01, 2022
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“Between the Personal and the Historical”: Asma Naeem on Listening to Art and Visual CultureDecember 14, 2021
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“The Ethics of Seeing”: Kaira M. Cabañas on Creative Care and Art’s Histories December 07, 2021
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“Grounded by a Set of Relations”: Nancy Um on "Horizontal" Cultures within Art HistoryNovember 30, 2021
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“To Approach the Object from Outside”: Joseph Koerner on History, Trauma, and Wonder November 16, 2021
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“To See the Effects of Sound”: Niall Atkinson on Acoustic Topographies of the Early ModernNovember 09, 2021
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