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Dear Friends,
M
y five years as director of the Institute for the Humanities is at an end. It has been a great pleasure to serve in this position and to steward the resources and advance the vision for the humanities in the 21st century. It has ever been my goal to showcase, engage, disrupt, and advance the contribution of the full range of humanistic fields on this campus and the scholarly projects of faculty and students who do the work of the humanities in the world everyday. We have just sent 2016-17 faculty and graduate student fellows back to their departments, carrying with them appreciation for the comaradarie of the Wednesday seminar table and the gift of time to move forward on projects, whether article, book, dissertation, or digital archive. A new cohort of fellows is champing at the bit to get into offices and begin to focus on the research and scholarly writing that is interrupted and delayed during the years dedicated to teaching and to supporting the academic mission of this great university. The thematic rubric for the past year’s programming was “The Humanities and Public Policy,� an occasion to collaborate with humanists in the Ford School of Public Policy, the Institute for Social Research, the Program in the Environment and the School of Natural Resources, and the School of Information on issues of pressing concern, among them big data and social justice, the patent system, citizenship, and climate sustainability. The gallery exhibitions brought to campus unsettling engagements with issues of water, waste, housing, and
infrastructure in cities. Pop-up exhibits in the Osterman Common room placed provocative visualizations of public protest, bureaucratic environments, and mark-making as social commentary in the midst of everyday life here. A documentary film series prompted conversations about the “starving” of public higher education, the student resistance movements of the late 1960s, and the relationship between economic systems and climate change. Distinguished speakers included Rebecca Solnit on change and hope, poet Claudia Rankine on black lives and citizenship, and Matthew Desmond and Alex Kotlowitz on the systemic conditions of housing that have contributed to the staggering intensification of inequality over the last several decades. Throughout the past year, the institute continued to address the education of humanities doctoral students, collaborating with Rackham Graduate School and departments on initiatives related to possible transformations, especially in the areas of professionalization and preparation for careers outside as well as inside the academy. I continue to believe that we cannot send too many doctorally trained humanists to institutions of higher education and to the world at large. The job market for academic humanists continues to be woefully constrained, but the possible futures for our graduates are out there to be pursued in non-profits, corporations, government, think tanks, museums, state archives, publishing venues, and high-tech start-ups. This preparation for pursuing multiple career horizons is very much the case for undergraduates who persist in pursuing majors and minors in humanities departments.
Given the current willingness in Washington to zero out funding for the National Endowment for the Arts and the National Endowment for the Humanities, now more than ever this university and higher education institutions across this nation need to vigorously support humanities institutes and centers. They are collectively powerful advocates for the centrality of the humanities to public life and private passions; they are cauldrons on their campuses of intellectual and creative energies; they are a vibrant crossroad where individual scholarly commitments, departmental and college visions, and public curiosity come together. Now it is time for Peggy McCracken, the institute’s new director, to imagine, guide, and steward the institute through its next five years. She will come to appreciate, as I have increasingly appreciated, how this institute is sustained in all its activities by its dedicated staff and committed donors, as well as by faculty from across the campus who bring to it ideas for and excitement about a diverse range of events and programs, from large public lectures to intimate conversations to exhibitions to initiatives to innovative ways of addressing the larger public. My thanks to all of you.
Sidonie Smith Mary Fair Croushore Professor of the Humanities Professor of English and Women’s Studies Director, Institute for the Humanities
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s James Cogswell, Charles P. Brauer Fellow, art & design
Clare Croft, Norman and Jane Katz Fellow, dance
“Cosmogonic Tattoos”
“A Different Kind of Lady: Jill Johnston’s Political Embodiments of Dance Criticism and Feminism”
In celebration of the university’s Bicentennial in 2017, Jim Cogswell was invited by the Kelsey Museum of Archaeology and the University of Michigan Museum of Art to create a set of installations in response to the objects in their collections. The project uses adhesive vinyl images applied in saturated colors to 1600 square feet of windows in their two buildings, highlighting the role of these museums in the life of our campus community and suggesting a public dialogue between them. The project playfully investigates what happens to objects from unimaginably different circumstances when they are placed together in museum collections, hinting at the fragmentary nature of historical memory and the imagination by which we narrate it to ourselves. The project also included a solo exhibition at the Kelsey during the summer of 2017, organized as an imaginative portal to his research process, linking photographs, sketches and drawings with archaeological objects on display in other parts of the museum.
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This project chronicles the contributions of arts critic and feminist activist Jill Johnston. The project works across the fields of dance studies, performance studies, and women’s studies to consider how what linked Johnston’s work as arts writer and activist was an emphasis on physical experimentation—how one could use the body and sensorial experience to make change in the world. The project includes a series of physical, public workshops and result in a book titled A Different Kind of Lady: Jill Johnston’s Political Embodiments.
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Matthew Hull, John Rich Fellow, anthropology “Incorporation: Capitalism and Collective Life” This project extends the anthropological study of governance from the state to modern public corporations. Contemporary states, especially republican constitutional states, share a poorly recognized history with largescale for-profit corporations. Constitutions, citizenship, voting, free speech, freedom of assembly, citizenship, representative institutions, and accountability documentation all have roots in the business and governance arrangements of seventeenthcentury corporations. The book will place incorporation alongside commoditization as one of the major mechanisms through which human activities are drawn into capitalist processes—in this case, not processes of production and consumption, but institutions of collective life.
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Marjorie Levinson, Hunting Family Fellow, English, comparative literature
Xiomara Santamarina, Hunting Family Fellow, Afroamerican and African studies and English
“Field Theories of Form: Philosophy, Science, Poetry” This project applies the term “field” in two ways: first, to reference the field of Romantic period study from the 1880s through the present, a discourse to which this study contributes and on which it reflects; second, to reference the broad-band, cross-disciplinary shift from a unitary to a field-concept of form during that same time-span, with “field” in this sense emphasizing a synthesis of spatial and temporal (formal and historical) dimensions and a commitment to “’the relation’ as the smallest possible unit of analysis.”* While the book makes an historical argument connecting early 19th-century intellectual trends to 20th-/21st-century revolutions in the life and physical sciences, the point of the argument is to introduce new formal, causal, and taxonomic models to the study of literature in general and lyric more specifically. Unlike projects that show the influence of Santamarina science or philosophy on literature, and also unlike the many “literature + X” approaches (e.g., literature and ecology, literature and human rights, literature and cognitive science, literature and the digital), the force of this inquiry lies in its construction of the object of literary study in a way cognate with work in non-humanities disciplines, thus pointing up a certain unity to human knowledge (a unity in what we find, and more important, in our methods of discovery, analysis, and argumentation). The overall claim is that students of literature can and sometimes should think the way some exemplary scientists think, and vice versa. Levinson
“Modernities Past: Redefining Modernity in 19th-Century African America” This project offers a new way of thinking about US racial identity by challenging the idea that modern African American subjects emerge only as the fruit of 20th-century black protest, resistance, and cultural nationalism. It explores African Americans’ engagements with 19th-century realities—nation-formation, political and economic transformations, the rise of science, and the expansion of print—as expressions of their historical consciousness of change, time and political modernity. Reading a wide range of 19th-century texts including travel autobiographies, work diaries, social science studies, political pamphlets, and fictionalized slave narratives, Modernities Past formulates new understandings about African Americans’ desires for recognition and autonomy in a modernizing US, even as it explores the limitations, possibilities and paradoxes that shaped 19th-century African Americans’ lives.
*Donna Haraway, The Companion Species Manifesto: Dogs, People, and Significant Otherness, 2003, p. 20
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A nnual Re po rt 2016–17
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www.lsa.umic h.edu/ humanities
F E L L O W S
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Perrin Selcer, Norman and Jane Katz Fellow, history and Program in the Environment
Claire Zimmerman, Steelcase Fellow, history of art, architecture
“Constructing Spaceship Earth”
“Albert Kahn in Detroit, 1890–1945”
This project explores the role the United Nations played in making the global human environment a central political issue in the international community. Selcer analyzes how a post-World War II generation of internationalist scientists negotiated the tensions of the Cold War and decolonization to make the world scale a social and political reality. Responding to the experience of global political catastrophe, they engaged in explicitly apolitical development projects to produce social surveys, natural resources maps, and ecological models that revealed the threat of global environmental crisis. It was hardly ironic, then, that when Cold War competition rocketed “mankind” into outer space, what cosmopolitan elites saw was not an endless frontier, but a small and vulnerable planet—Spaceship Earth. Showing elites and publics that they were members of a single world community, in need of global government, had been the point all along. Mrinalini Sinha, Helmut Stern Fellow, history “Complete Political Independence: The Curious Genealogy of a Nationalist Indian Demand” This book-length project traces the historical run-up to the momentous decision of the official anti-colonial movement in India in 1929 to demand a nation-state of its own. Why did anti-colonialism in India, which had hitherto demanded equality within the British empire, become committed to complete political independence? This shift, as Sinha argues, was not something that was natural, but requires explanation. The conditions for this shift, as this project suggests, were created by the First World War and had to do as much with imperialist considerations as with the demands of anti-colonialism.
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Sinha This project aims to transform our understanding of the work of Detroit architect Albert Kahn, both within the field of architecture, and more broadly. Kahn is widely misunderstood as a historical figure and an architect. His significant role in constructing the “military industrial complex” of the Zimmerman United States may have contributed to the confusion that surrounds his work. Architecture critics wrote about him negatively as a “bureaucratic” architect. Historians, in turn, failed to do justice to his substantial architectural achievements— and how they changed the profession. This project identifies Kahn’s contributions to architecture and to US politics after WWII, when the remarkable quantity of industrial building that the Kahn firm produced for the war altered the postwar scene. First, these buildings facilitated the growing Cold War directly. Second, they led to an upshift in domestic manufacturing capacity, an upshift closely coordinated with the development of the US highway network, and the proliferation of the automobile as our primary means of transportation. Architecture is often seen as epiphenomenal to historical development, a humanistic field to be studied in relation to design and execution. This research defines architecture in relation to historical impact after construction, and traces how buildings, and their uses, alter history.
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Adriana Carolina Heredia, Mary Fair Croushore Graduate Fellow, music composition “Ausencias/Ausencias/Absences”
Cassius Adair, James Winn Graduate Fellow, English “Documenting Difference: State Identification, Identity Formation, and Transgender Cultural Critique”
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Through a study of archival periodicals, jokes and folklore, literary texts, adornment technologies, and digital art, this project examines how marginalized people represent, remix, and reinvent state identification documents. Adair argues that, by imagining creative new forms of citizenship, governance, and embodiment, US residents are rewriting the cultural logics of both identification and identity itself. From the legislative controversy over voter ID laws to the consolidation of undocumented residents into a new social movement, American identity is becoming a problem of paperwork. By contrast, the subjects in this dissertation use artistic and rhetorical practices to theorize new forms of citizenship that don’t involve fixing one’s body to a document. Ultimately, the work explores what types of belonging and recognition can emerge outside of identification. Kyle Grady, Early Modern Conversions Graduate Fellow, English “Moors, Mulattos, and Post-Racial Perceptions: Rethinking Racialization in Early Modern England”
Heredia
Macgillivray
This project focuses on early modern English literary representations of interethnic relations between black and white figures. Grady’s analysis begins with the observation that investigations of the topic in early modern studies that fail to consider work from the African Diaspora tend to engage in post-racial modes of critique. Thus, the project employs such work in order to revise these modes and rethink the nuance of racialization in early modern representations of interethnic relations, particularly with regard to evolving areas of study like interracialism and multiculturalism.
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This dissertation takes its artistic impetus from the last writings of three South American female poets who took their own lives: Violeta Parra (1917–1967) from Chile, Alfonsina Storni (1892–1938) from Argentina and Ana Cristina Cesar (1952–1983) from Brazil. Heredia is producing an interactive multimedia work, including music, dance and video in three movements, with each movement focusing on one poet. The use of interactive technology opens up a scene for a technical and philosophical dialogue between the conceptual frameworks of liveness and deadness. These concepts are explored both conceptually (through the last writings of the poets), and technically (through the interaction of the various media: fixed media audio and video, digital audio and video programming and live processing, and live performances by musicians and dancers). Emily Macgillivray, Cody Engle Graduate Fellow, American culture “I do not know any such woman: Native Women Traders’ Property and SelfDetermination in the Great Lakes from 1740 to 1840” This project examines Native women in the Great Lakes operating in trade as their own principle brokers in the 18th and 19th centuries and acquiring various forms of property, including land and slaves. These women experienced racialized violence as they fought against EuroAmerican encroachment on their land and enacted racialized violence as owners of slaves. Tracing the women through archival documents, Macgillivray asks what strategies the women employed to act as community-builders during political changes such as violent wars, increased EuroAmerican settlement, and the building of national borders? This project challenges standard male-focused narratives of the 18th and 19th centuries by showing how Native women traders influenced key political events related to treaties, land sales, and political conflicts like the French and Indian War, the American Revolutionary War, and the War of 1812 to benefit themselves, their families, and their communities.
www.lsa.umic h.edu/ humanities
Christine Sargent, Marc and Constance Jacobson Graduate Fellow, anthropology
Emma Thomas, Mary Fair Croushore Graduate Fellow, history and German
“Ambivalent Inheritance: Down Syndrome and the Ethics of Kinship in Amman, Jordan”
“Contested Labors: New Guinean Women and the German Colonial Indenture, 1884–1921”
This dissertation brings literature from new kinship studies and work on the ethical nature of everyday life to bear on ethnographic research among families who have a child with Down Syndrome in Amman, Jordan. Replacing colloquial descriptions of “Mongolee” (Mongoloid) and/or majnun (crazy), Down Syndrome brings Jordanian families new frameworks of interpretation, dislodging older ideas that treat people with intellectual disabilities as threatening to the moral reputation of kin groups and the reproduction of social ties through marriage. Sargent argues that urban Jordanians, engaging with competing frameworks for understanding disability and rights, struggle to craft themselves as good parents, modern Muslims, and progressive members of society in relation to their children with Down Syndrome and the category of disability more broadly. The multiple criteria and conflicting obligations involved in evaluating “the good” amplify the ethical complexity of this struggle.
In the late 19th and early 20th centuries, thousands of New Guinean women served as “cheap” contract laborers in the German colonial indenture. They worked on Europeanowned plantations, at trading, governmental, and mission stations, and in the homes of white colonists. Thomas examines the complex social, cultural, and political worlds that these women occupied, while situating the labor system within the contexts of evolving, often conflicting, colonial understandings of gender, sexuality, and race. With a focus on the lived experiences of indentured women and those close to them, she shows how New Guineans negotiated European claims to their laboring— though often eroticized—bodies and confronted German efforts to align vernacular understandings of gender, sexuality, family, and labor with imperial concerns.
Ben Strassfeld, David and Mary Hunting Graduate Fellow, screen arts and cultures “The Detroit Model: Regulating Race and Pornography, 1950–1979” This project examines the history of media censorship and antiporn politics in Detroit during the 1950s, ’60s, and ’70s, a period of time that saw the methods used to regulate sex media radically shift as activists and city officials increasingly moved away from the religious-tinged moralizing rhetoric long favored by antiporn advocates. In its stead, a new antiporn discourse emerged, one shaped by contemporaneous fights over race and suburbanization. Through an examination of this history, Strassfeld charts how changes in antiporn politics in Detroit were shaped by, and in turn shaped, the broader history of the city. The project also makes the case for placing Detroit at the center of the history of media censorship, with the city’s innovative methods of regulating pornography exported to numerous other locales across the country.
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Lia Wolock, James Winn Graduate Fellow, communication studies
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“Producing South Asian America: Community, Digital Media, & Connectivity” This project examines the coming of age of a cohort of young, professional, secondgeneration South Asian Americans with a number of digital media technologies (e.g. blogging, podcasting, digital archiving) over the last decade and a half. This time period is marked for South Asian Americans by greater community visibility in civic life and popular culture, but also greater racialization and the attendant threat of violence against them in post-9/11 America. This community’s pioneering use of digital media, shaped by and shaping these social, political, and technological forces, is interconnected with the rising awareness within and beyond the community of the idea and identity of being South Asian American. Using ethnographic interviews, close readings of media and cultural exhibitions, and computer-assisted corpus analysis of websites, this project offers a careful study of the mundane and unremarked digital labor that sustains new imaginaries of belonging and coalition building. In the process, it reframes connectivity, arguing that connectivity is as much a cultural process and practice—of endless, mundane care—as a technological feat.
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s Anne Lafont, Norman Freeling Visiting Fellow During the spring of 2017, French historian Anne Lafont was in residence as the Norman Freeling Visiting Fellow. An historian of the art and visual cultures of the modern world, her work focuses on art in an 18th-century imperial context and on arts historiography in the contemporary era. Lafont spent a month in Ann Arbor engaging with students and the larger community. Her public events included a lecture at History of Art, a lecture at Afroamerican and African Studies, and a round-table discussion with professors Jean Hebrard and Meg Sweeney at the Insitute for the
Humanities. She also had several engagements with undergraduate and graduate students, and participated in the institute’s fellows seminar. Anne Lafont is associate professor in art history at the University of East Paris/ Marne-la-Vallée. She is the author of a monograph on the french painter Girodet (Paris: Adam Biro, 2005). She has edited Plumes et pinceaux. Discours de femmes sur l’art en Europe 1750-1850, 2 vols (Paris: Presses du Réel, 2012) and she just completed a book on Art and Race in the Age of Enlightenment after having published numerous articles on this topic.
Lafont
Saying à bientôt to Jean Hébrard In 2001, Jean Hébrard, a historian and Inspecteur Général of National Education in France, submitted an essay to the journal Comparative Studies in Society and History. The editor, Tom Trautmann, who was then director of the Institute for the Humanities, quickly decided to publish the article, titled “The Writings of Moïse (1898-1985): Birth, Life, and Death of a Narrative of the Great War,” and to invite Prof. Hébrard for a two-week visit to the institute. That visit opened the door to a decade and a half of collaboration between Jean and the institute. Jean’s first lecture at the institute, “Inventing the Material Base for the Early Modern Diary,” reflected his deep background in European cultural history. During that visit he also spoke on the uses of writing by slaves in Brazil, and introduced students in a law school seminar to the intricacies of baptismal records. He soon returned to teach at Michigan under various auspices—including the Department of History, the Department of Afroamerican and African Studies, and the Center for Latin American and Caribbean Studies—nearly always with an anchor (and an office) at the institute, first during the directorship of Daniel Herwitz, and then that of Sidonie Smith. Jean cherished the Wednesday fellows seminar, asking questions, suggesting bibliography, and stretching his already astonishing breadth of intellectual interests. In 2012 he published the prizewinning book Freedom Papers: An Atlantic Odyssey in the Age of Emancipation, co-authored with Rebecca Scott, which was launched at a memorable event sponsored by the institute, with commentary by Daniel Herwitz. Jean and his wife, the historian Martha S. Jones, will begin teaching at Johns Hopkins University in 2018. We nonetheless hope to see them both back on the U-M campus for activities of the Law in Slavery and Freedom Project, with which they will both remain affiliated. In the meantime, we wish them all the best, and will greatly miss the warmth, kindness, and intellectual rigor and curiosity Jean shared with all of us here at the Institute for the Humanities. —Rebecca Scott Charles Gibson Distinguished University Professor of History and Professor of Law, University of Michigan A nnual Re po rt 2016–17 | www.lsa.umic h.edu/ humanities 9
& s s t m n a e r v g E ro P
Author’s Forum
Annual Lectures
A series on books and ideas presented in collaboration with the University Library and Ann Arbor Book Festival.
Presenting distinguished visitors & conversations to enhance the humanities at Michigan.
Sharp Blue Search of Flame, a conversation with Zilka Joseph and Lolita Hernadez. Contemporary Korean Art: Tansaekhwa and the Urgency of Method, a conversation with Joan Kee and David Chung DIY Detroit: Making Do in a City Without Services and Beautiful Wasteland: The Rise of Detroit as America’s Postindustrial Frontier, a conversation with Kimberly Kinder and Rebecca Kinney Mother Figured: Marian Apparitions and the Making of a Filipino Universal, a conversation with Deirdre de la Cruz and Christi-Anne Castro Movie Freak, a conversation with Owen Gleiberman and Daniel Herwitz The Fortunes, a conversation with Peter Ho Davies and Douglas Trevor The Flood Year 1927: A Cultural History, a conversation with Susan Parrish and Perrin Selcer Gold Fame Citrus, a conversation with Claire Vaye Watkins and Emily Chew A Perfect Life, a conversation with Eileen Pollack and Tim McKay Thinking Sex with the Early Moderns, a conversation with Valerie Traub and Helmut Puff
Jill S. Harris Memorial Lecture Rebecca Solnit, “Hope and Emergency” Writer, historian, and activist Rebecca Solnit is the author of twenty books on feminism, western and indigenous history, popular power, social change and insurrection, wandering and walking, hope and disaster. In her book Hope in the Dark, she wrote about hope as not optimism, the belief that everything will be fine, but as uncertainty: as an uncertain future that leaves us room to act, as the possibility that we can shape that future in some way. Her other books include a trilogy of atlases and the books Men Explain Things to Me and River of Shadows, Eadweard Muybridge and the Technological Wild West, for which she received a Guggenheim, the National Book Critics Circle Award in criticism, and the Lannan Literary Award. A product of the California public education system from kindergarten to graduate school, she is a columnist at Harper’s. Marc and Constance Jacobson Lecture Matthew Desmond and Alex Kotlowitz , “Race, Poverty, and Housing in American Cities: What Do We Do Now?” Presented in conjunction with U-M Poverty Solutions. Matthew Desmond is the John L. Loeb Associate Professor of the Social Sciences and co-director of the Justice and Poverty Project at Harvard University. He is the author of the New York Times bestselling book, Evicted: Poverty and Profit in the American City. In 2015, Desmond was awarded a MacArthur “Genius” grant.
Solnit
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Kotlowitz
Alex Kotlowitz is an award-winning journalist and author who has been exploring issues of race and poverty in America for over twenty years. His 1991 book, There Are No Children
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Here: The Story of Two Boys Growing Up in the Other America, garnered national recognition for its compassionate and unflinching portrait of Pharoah and Lafeyette Rivers and their lives growing up in a public housing project in inner city Chicago.
Panels & Symposia Exchanges that explore and question. “Humanists in the Ford School of Public Policy Writing for the Public,” panel discussion with Gerald R. Ford School of Public Policy professors Shobita Parthasarathy, Paul Courant, Joy Rohde, moderated by Institute for the Humanities director Sidonie Smith
“A Cross-Disciplinary Discussion on American Racism,” with keynote by Claudia Rankine; presented in conjunction with the Institute for Social Research
Rebecca Scott, Jill S. Harris Memorial Lecture
Slave or Ex-Slave Circulations in the Atlantic World before and after the Revolutions mini-symposium Memory, Black Bodies, and Social Justice symposium, presented in conjunction with the School of Information Patents, Social Justice, and Public Responsibility symposium and book talk by Shobita Parthasarathy; presented in conjunction with the Gerald R. Ford School of Public Policy
Shobita Parthasarathy, Patents, Social Justice, and Public Responsibility symposium
“We are the 20 Percent: Women in Government,” panel discussion with Katherine E. White, Rebekah Warren, Rashida Tlaib, Simone Lightfoot, and Micah Briggs; presented in conjunction with Institute for Research on Women & Gender “Claudia Rankine on Citizen: An American Lyric,” presented in conjunction with the Institute for Social Research
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A nnual Re po rt 2016–17
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www.lsa.umic h.edu/ humanities
e v e n t s
The Hub Innovative exhibitions and arts programs. In a year focused on humanities and public policy, the Institute for the Humanities exhibition program explored a vast array of concepts and topics, reinforcing the arts as a deeply relevant and driving force for engagement, inquiry, and action within the humanities and public space. Throughout the year, with the cooperation of Stamps School of Art and Design, each visiting artist maintained a studio at Stamps’ graduate studio. This allowed for daily engagement between the visiting artists, students, and faculty, more fully integrating them into the U-M arts community and yielding even greater benefits for all involved. In September, emerging artist and Stamps School alumna Levester Williams’ practice extended outside of the gallery to Detroit, isolating and making impressions of potholes from Detroit residential roads in disrepair. He returned to the original holes, filling them with casts made from his molds and imbedded with pieces of clothing, as a way to reference vibrant communities and sustaining relationships that exist within these neighborhoods despite the challenges that face the city in its ongoing evolution. The Global Graffiti and Mural Project, in partnership with Modern Greek Studies and History of Art, engaged the campus and larger community with international artists who offered a global perspective on public art. Visiting Greek artists Cacao Rocks and Olga Alexopoulou completed street murals in Ann Arbor exploring contemporary Greek themes, while Iranian artist Mehdi Ghadyanloo’s mural (pictured on the cover of this report) within the Thayer Building portrayed the ongoing refugee crisis.
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Brooklyn artist Mary Mattingly travelled to the Upper Peninsula during her residency, exploring its terrain and cobalt mines. Back on campus, Mattingly engaged with students from diverse departments, collecting personal objects for a sacred burial on the Diag, a related project to her installation in the gallery. Each workshop included the ritual of tea and cake, storytelling, drawing but also 3D imaging that became part of her digital archives. Her timely exhibition in the gallery offered the understanding that our futures are dependent on the steps we take, and the stark reality of our bold choices…what we are willing to sacrifice in order to secure a sustainable way of life and respectful co-existence.
Objects Unveiled: Boxing, Rolling, Stretching and Cutting exhibition by Mary Mattingly
In January, the institute hosted Buffalo, New York artist Joan Linder, whose work focused on three toxic landscapes, two in Niagara Falls and one in Michigan. Each meticulously crafted drawing and expansive rubbing created from hours of observation at the site— often sitting covertly in her car—traced both the human and manufactured experience, alluding to unsuspected histories. California artist Tracey Snelling started off spring like a strong-willed breeze determined to open a backyard door. She calls her three dimensional representations of dwellings sculpture rather than diorama or models because she isn’t interested in the exact replica of location or contextualization of place, but rather the energy of community and its humanity. Her signature piece “One Thousand Shacks” (included in her exhibition along with new work created during her residency) pushed up against the challenges
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of economic inequalities, racial biases and imposed class divisions that often limit the options available to so many people. This year’s pop-up exhibitions in the Osterman Common Room—of the moment and diverse—ranged from the photographic series “Bureaucratics” by Belgian artist Jan Banning and contemporary graffiti-inspired paintings by Nicholas Williams, to photographs and film presentations examining modern day protests by artist and activist Shanna Merola. We also went on the road, hosting the John Cage trust with Laura Kuhn (a former visiting fellow), for performances of Cage’s “How to Get Started,” both at the institute and also at the Museum of Contemporary Art Detroit. Each performance incorporated both university and community members sharing their personal stories.
Levester Williams (left) at work on Any Holder but a Pot Holder exhibition
And finally, State of Exception—our exhibition based on the research of U-M anthropologist Jason De León in collaboration with myself and artist Richard Barnes—travelled to New York City, and was exhibited at Parsons New School Gallery in February 2017. —Amanda Krugliak Curator, Institute for the Humanities
Hub Events Any Holder but a Pot Holder, exhibition by Levester Williams. About the artist: Levester Williams is a graduate of the Stamps School of Art & Design, and holds an MFA in sculpture and extended media from Virginia Commonwealth University. Williams maintained a studio on North Campus, but also worked in the field, isolating and making impressions of potholes from Detroit residential neighborhood roads in disrepair. He worked with art and design students in the field, and also presented his project to art and design classes. Bureaucratics, pop-up exhibition by Jan Banning About the artist: Jan Banning is a Dutch autonomous artist/photographer based in Utrecht, the Netherlands. He was born in Almelo (Netherlands) in 1954 from Dutch East Indies parents and studied social and economic history at the Radboud University of Nijmegen. Both of these facts have had a strong influence on his photographic works, which always have a social focus. Additional events: • Bureaucratics pop-up exhibition by Jan Banning, Duderstadt Center Gallery • Artist talk with Jan Banning • Artist talk & book signing, Literati Bookstore
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Global Graffiti and Mural Project About the artists: Mehdi Ghadyanloo is an Iranian artist whose government-commissioned building murals in the country’s capital, Tehran, number in the hundreds. He is also known for his utopian and philosophical paintings that interrogate universal human precepts such as fear, hope and loss. Through the portrayal of minimal heterotopic environments, surreal architectural arrangements, and the repeated use of symbolic elements such as stairs, balloons and airplanes, Ghadyanloo invites us to consider new realities and the shared universality of our existence. While on campus he participated in class visits as well as a graduate critique session at the Stamps School of Art & design. Cacao Rocks was raised in the port of Piraeus near Athens, Greece, and began experimenting with graffiti at the age of 12. He studied French literature at the University of Athens, and in 2009 he took up video art and won the first prize in the national film festival Shoot It. He was also awarded a scholarship to Focus School of Art, Video, and Photography. Besides his work on the street, he has exhibited in galleries and museums in Mykonos and Athens, the UK, and Italy, among other places. He has participated in many street art and graffiti festivals in Greece and abroad. While on campus, he participated in class visits and created a mural with students from the Program in Modern Greek. Olga Alexopoulou was born in Athens, Greece, and is a graduate of the Ruskin School of Art of Oxford University. In the last years her works have been exhibited internationally. She was a 2014 “Artist in Spotlight” at the international exhibition Tio Ilar, Athens and was chosen to represent Greece in the global graffiti event “She’s a Leader.” While on campus she participated in class visits with students.
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Keaton Fox is a multi-disciplinary artist whose work documents, distorts, reflects, and explores the digital disarray of the modern world. Her work has been exhibited nationally, internationally, online and offline. She lives and works in Detroit.
Tracey Snelling at work on Here and There installation
Additional events: • Mural paintings by Greek artist Cacao Rocks, Panera Building • Mural painting by Mehdi Ghadyanloo, Thayer Building atrium • Mural painting by Olga Alexopoulou, Panera Building • “Street Art in Athens” discussion with artist Cacao Rocks • “Art on the Street: Detroit” conversation among artists and curators • Panel discussion moderated by Amanda Krugliak, Christiane Gruber, and Artemis Leontis, with Greek street artists Olga Alexopoulou and Cacao Rocks • I Don’t Speak digital graffiti installation by Keaton Fox, Thayer Building
Institu te fo r the Humanities
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Detroitography, pop-up exhibition
John Cage’s How to Get Started, sound installation About the artist: John Cage (1912–1992) was an American avant-garde composer, music theorist, writer, philosopher, and artist. A pioneer of indeterminacy in music, including electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avantgarde. Additional events • “Improvisation and the Experimental Music Tradition,” lecture by Laura Kuhn • “John Cage’s How to get Started” conceptual performance piece curated by Laura Kuhn and Aaron Levy, with performers Amanda Uhle, Martha Jones, and Greg Baise • “John Cage’s How to Get Started” conceptual performance piece curated by Laura Kuhn and Aaron Levy, with performers Michael Stone-Richards, Alison Wong, and James Cornish, Museum of Contemporary Art Detroit
Detroitography was founded by Alex B. Hill. Detroitography focuses on democratizing map making and refocusing data for peoplecentered innovation. Additional events: • “Detroitography” talk by founder Alex B. Hill Objects Unveiled: Boxing, Rolling, Stretching, and Cutting, installation by Mary Mattingly Mary Mattingly is a visual artist whose “Manifesto for Nonviolent Art” proclaims that art and utopian thought can cultivate systemic social change. Her work includes “Swale,” a floating food forest for New York, and “The Waterpod Project,” a barge-based public space and self-sufficient habitat that hosted over 200,000 visitors in New York. Her work has been exhibited internationally, and she is the recipient of numerous awards, including from the James L. Knight Foundation, Eyebeam Center for Art and Technology, Yale University School of Art, and the Harpo Foundation. Additional events: • Sacred Objects Diag installation • “Sacred Objects,” Penny W. Stamps lecture by Mary Mattingly • Mary Mattingly workshop with students Performance Capitalism and Its Discontents: Reports from an Invisible Theater, performance by Katie Grace McGowan in collaboration with artist/director Carrie Morse About the artist: Katie Grace McGowan holds an MFA from the University of Iowa in intermedia as well as MA and BA degrees in English from Wayne State University. Recent exhibitions and performances include Art as Research, at George Mason University (Fairfax, VA). She lives and works in Detroit.
John Cage’s How to Get Started installation
Nothing by Conquest, pop-up exhibition by Niki (NIKI) Williams About the artist: Niki Williams is an artist and recent graduate of the Stamps School of Art & Design.
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Ev e n t s
Atomic Highways and Byways, exhibition by Joan Linder
Another Country, pop-up exhibition by Shanna Merola
About the artist: Joan Linder is best known for her labor-intensive drawings that transform mundane subjects into conceptually rich images. Life sized representations of figures and objects explore themes such as the banality of mass produced domestic artifacts; the politics of war; and sexual identity and power. Linder has exhibited throughout the US and internationally. Awards include residency fellowships at MacDowell Colony, Smack Mellon Studios, Villa Montalvo, Virginia Center for the Creative Arts and Yaddo. Born in New York, Linder attended the Skowhegan School of Painting and Sculpture and received and MFA from Columbia University and a BFA from the School of the Museum of Fine Arts, Boston and Tufts University. Linder is currently represented by Mixed Greens Gallery in New York City, and is associate professor and chair of art at the University of Buffalo.
About the artist: Shanna Merola is an artist, activist, and documentary photographer. Working for civil rights attorneys, she photographs first amendment activity at protests and facilitates workshops on best practices during police encounters. Over the past five years she has been a human rights observer for social justice movements across the country. Her collages and constructed landscapes are informed by these rallies. Merola received an MFA in photography from Cranbrook Academy of Art and a BFA in photo and film from Virginia Commonwealth University. She lives and works in Detroit.
Additional events: • “Copy,” a lecture by Joan Linder and Paul Vanouse State of Exception, Parsons School of Design, New York State of Exception, created in 2013 by Richard Barnes, Jason De León, and Amanda Krugliak at the Institute for the Humanities, travelled to Parsons School of Design in New York. This is the 4th venue for the exhibition, which presents traces of the human experience—backpacks, water bottles, border patrol restrains, and other objects left behind in the desert by undocumented migrants on their journey into the U.S. Additional events: • Livestream discussion with Richard Barnes, Amanda Krugliak, Jason De León, and curator Rhadika Subranamiam
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Additional events: • “Off the Record,” lecture by Shanna Merola • “Legal Observing and Know Your Rights for Protest for Community Safety” workshop with Shanna Merola Here and There, installation by Tracey Snelling Through the use of sculpture, photography, video, and large-scale installation, Tracey Snelling gives her impression of a place, its people and their experience. Her work derives from voyeurism, film noir, and geographical and architectural location. Within this idea of location, themes develop that transport observation into the realm of storytelling, with reality and sociological study being the focus. Snelling had exhibited in international galleries, museums and institutions. Her short films have screened internationally. In 2015 she was awarded the Joan Mitchell Painters and Sculptors Grant. Snelling lives and works in Oakland, California and Berlin, Germany. Additional events: • “Multiple Realities,” Penny W. Stamps lecture by Tracey Snelling
Atomic Highways and Byways exhibition by Joan Linder
FellowSpeak
Data & Society
Ongoing exchange with our fellows past and present.
Humanities scholarship in and about digital environments.
“Discrediting the Red Scare: the Cold War Trails of James Kutcher, ‘The Legless Veteran,’” Robert Goldstein “Detroit City Study,” Shira Schwartz, Nick Tobier, and Natalie Davis “Memories of the Revolution: The First Ten Years of the WOW (Women’s One World) Cafe,” 2014–15 Norman and Jane Katz Fellow Holly Hughes, art & design, theatre & drama, women’s studies “Reform and Risk: Industrialists’ Housing in Model T Era Detroit,” 2013–14 Mary Fair Croushore Graduate Student Fellow Michael McCulloch, Kendall College of Art and Design “Forms of Life,” 2015–16 Helmut F. Stern Faculty Fellow Andreas Gailus, Germanic languages and literatures
“Digital Humans & Geography,” GIS mapping workshop led by Alex B. Hill, founder of Detroitography “Sound History and the Logistics of Social Recognition,” lecture and workshop with Josh Sheppard Digital Pedagogies lightning talks and workshop
Contexts for Classics Rethinking the discipline(s) of classics. “Psyche amongst the Victorians: An Aspect of Apuleian Reception,” Stephen Harrison, Corpus Christi College, Oxford “Situating Brecht’s Antigone Project,” Martin Revermann, University of Toronto
“A Humanist in the World of Genomics: Privacy, Big Data, and Science Policy,” Jay Clayton, Vanderbilt University
Film
“Plato’s Self-Moving Myth: The Circulation of Plato’s Charioteer from Late Antiquity to the Renaissance,” 2014–15 John Rich Professor, Sarah Ahbel-Rappe, Greek and Latin “Good Households and Household Goods: Material Culture and Burgess Identity after the Black Death,” 2013–14 Helmut F. Stern Faculty Fellow, Katherine French, history
Documentaries relevant to policy and political discourse. This Changes Everything film screening and discussion Agents of Change film screening and discussion Starving the Beast film screening and discussion
“Visual Representation of Gender and Class in a Changing China,” 2014–15 Helmut F. Stern Faculty Fellow, Wang Zheng, women’s studies and history “Fictions of Fabric: Art, Literature, Design” round-table discussion with visiting fellow Anne Lafont, Jean Hébrard and Megan Sweeney “Patrons of Policy: How Private Foundations Influence Public Education,” Megan Tompkins-Stange, public policy
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Initiatives
U-M Resources for the Professional Development of Graduate Students in the Humanities
Undergraduate Mini-Course “Seeking Collaboration, Building Community: Tracing the Development of Arts of Citizenship (1998-2016),” an undergraduate mini-course on the history of Arts of Citizenship, drew students from a range of disciplines not usually represented in the Institute for the Humanities programming, including kinesiology, business, engineering, and biomedical science. Undergraduate Advisory Group The Undergraduate Student Advisory Group convened this year to discuss content for our public events as well as work on ideas for strengthening student participation in the life of the institute. The nine student members represented diverse areas of study, including architecture, art history, cultural anthropology, and International studies. The advisory group provided an opportunity for these students to connect our programming to peers across the university. It also offered them a chance to interact with invited speakers, including the 2017 Jill S. Harris memorial speaker Rebecca Solnit, and reflect on the knowledge and practice of engaged humanities in the world.
This year we launched a directory of U-M resources for graduate students to hone their research, writing, and teaching competencies, as well as prepare for careers along the academic and non-academic spectrum. This list covers an expansive terrain from writing communities, modes of scholarly and public communication, and self-care to project management, grant proposal writing, and digital scholarship techniques, among others. http://myumi.ch/JD83X Humanities Without Walls For the third year, the Institute for the Humanities nominated a graduate student to represent the University of Michigan for the Humanities Without Walls pre-doctoral fellowship competition, funded by a grant from the Andrew W. Mellon Foundation. Megan Berkobien, U-M graduate student in comparative literature, was selected as one of the pre-doctoral fellows for 2017. Digital Humanities Pedagogy and Training In collaboration with Dr. Tazin Daniels, instructional consultant at the Center for Research on Learning and Teaching, we presented two workshops that fulfilled the integrating-digital-media-into-teaching requirement of the U-M Graduate Teaching Certificate in Digital Media. “Digital Humans and Geography,” led by Alex B. Hill, explored QGIS, an open source geographic information system, and its use as a mapping technique for analytical work. “Digital Pedagogies Lightning Talks and Workshop” brought five doctoral students in the humanities to deliver 10-minute lightning talks on their pedagogical innovations in classroom projects.
“Digital Humans and Geography” workshop
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Institu te fo r the Humanities
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University o f Michigan
Overflow audience at Marc and Constance Jacobson Lecture
Early Modern Conversions
Additionally, for the third year this winter, the institute offered grants to four graduate students to attend the Digital Humanities Summer Institute. The selected candidates were Amrita Dhar (English language and literature), Jallicia Jolly (American culture), Haley Laurila (Slavic languages and literatures), and Emily Sabo (linguistics). Contexts for Classics This was our fourth year of affiliation with Contexts for Classics (CFC), an interdepartmental faculty initiative founded in 2000 that aims to rethink the discipline(s) of classical studies from various critical, historical, and pedagogical perspectives. CFC sponsors several events annually and emphasizes curricular offerings across the university that explore the relationship between antiquity and modernity and interrogate the construction of a classical ideal. Co-sponsors include the College of Literature, Science and the Arts; the Horace H. Rackham School of Graduate Studies; the Department of Classical Studies; the Department of Comparative Literature; and the Program in Modern Greek.
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Early Modern Conversions is a multi-disciplinary project with sites for research at universities around the world. U-M is one of the funded sites for primary research. The goal of the project is to rethink early modern Europe as an “age of conversion” and to develop a historical understanding of conversion that will address corporeal, sexual, epistemological, psychological, trans-human, political, and spiritual kinds of transformation. A grant from the Social Sciences and Humanities Research Council of Canada has provided the primary funding for the five-year project, including support for graduate student research. McGill University in Montreal is the home of the project, directed by Professor Paul Yachnin. Kyle Grady, PhD candidate in English, served as this year’s Early Modern Conversions graduate student fellow in residence at the institute. —Kush Patel Assistant Director of Academic Programming and Postdoctoral Fellow
www.lsa.umic h.edu/ humanities
s u p p o r t
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he Institute for the Humanities is a center for innovative, collaborative study in the humanities and arts. To facilitate scholarly inquiry and communication, the institute provides year-long research fellowships for Michigan faculty and graduate students and short-term fellowships for visiting scholars and artists from around the world. Throughout the year, several series of events showcase works-in-progress and catalyze interdisciplinary exchange around emergent areas of humanities scholarship. The Hub series sponsors four–five curated exhibitions in the art gallery—and another four–six smaller pop-up exhibitions in the Osterman Common Room—expanding the reach of art practice and performance to the larger university community and the public. The institute has also launched a set of curricular initiatives addressed to undergraduate students and graduate students. Drawing on Michigan’s remarkable resources, we seek to become a national leader in advocating for the humanities in higher education and serve as a national and international center for scholarly research in the humanities and creative work in the arts. By engaging with the institute through your gifts, you directly support the university and the institute in our mission to: ◆ Engage and address the world as a premier institute that boldly integrates the humanities with the arts. ◆ Stand at the forefront of public outreach and service through the humanities and arts. ◆ Maximize scholarly impact by funding precious time and opportunities for Michigan’s best emerging scholars. ◆ Encourage and promote cutting-edge research across the humanities and the arts.
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Please support the Institute for the Humanities generously as together we make a profound and continuing difference in our university and the world.
Ways to Help Us Achieve our Aims We would be glad to talk with you about funding—fully or partially—any of the items below. Name and/or Endow the Art Gallery The institute’s museum-quality gallery has gained national attention for the high quality of its four-five curated shows mounted annually. An endowment to name the gallery and/ or three-four shows would ensure that the institute will continue the tradition of superb exhibitions that showcase the synergies between the work of humanities scholars and creative artists. It will also enable the institute to expand outreach to undergraduate students and the general public and to multiply the sites of curation across campus and in digital environments. Support Digital Humanities Innovation One of the major shifts in how humanists do their work is in the area of digitally assisted research—from the level of multimedia scholarly composition and communication to the mining of big data for the study of large-scale phenomena. The institute aims to be an incubator for the conceptualization and implementation of collaborative projects in and on digital environments. Through this start-up fund, the institute will seed new projects, help facilitate collaborative teams of faculty and students, and prepare teams to seek outside funding. The institute will also use these funds to pilot an undergraduate “digital humanities corps.”
Institu te fo r the Humanities
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University o f Michigan
Endow a Humanities and Public Policy Post-Doctoral Fellowship The institute would like to provide a one-year fellowship for a humanist working in a public policy arena—such as public policy and built environments, the expressive life, education policy, language policy, life-long learning and health, and social media and public policy. The public policy fellow will teach a graduate course in his/her area of expertise and advise graduate students on public policy projects. Build the Institute’s Strategic Fund Gifts to the Strategic Fund will provide unique opportunities to try new initiatives, experiment with new audiences, and infuse the institute with new programming ideas. Possible initiatives may include traveling humanities salons, innovative course development, production of multi-media white papers on public policy issues, and hands-on faculty development in new modes of scholarly communication.
How to Give One of the easiest ways to support the humanities is through an outright gift to the Institute for the Humanities. The University of Michigan makes giving such gifts very easy through a number of methods, including: ◆ Credit card, check, cash wire transfer. ◆ A secure gift either through the U-M Development website (http://leadersandbest.umich.edu/find/#/give/basket/ fund/307128) or by mailing appropriate documentation with assistance from the institute’s development officer Jennifer Howard (see below). ◆ Securities: A gift of securities can help you receive a valuable tax deduction and avoid capital gains tax. ◆ Matching Gifts: You can leverage your gift to the institute with a matching gift from your employer (check with the institute’s development officer or ask your employer if your company offers a match).
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◆ Gifts in Kind: You may donate items of personal property or physical assets that may be of value to the institute, such as books, works of art, etc. Please check with the development officer or the director of the institute for what kind of items are of best value to the institute. ◆ Payroll deduction for U-M faculty and staff. Endowments The Institute for the Humanities seeks support for programs that foster the humanities among the U-M campus community as well as for residents of Michigan and beyond. You can create a lasting fund in your name or in honor or memory of someone you love and respect by establishing an endowment at the University of Michigan, benefiting the institute. Gifts may also be given to any existing endowment. Endowments may be created through outright or deferred gifts. The institute’s development officer can help you structure an endowment gift that best fits your philanthropic and financial goals. All donors are recognized by U-M; the College of Literature, Arts & Sciences; and the Institute for the Humanities. Estate and Deferred Gifts The Institute for the Humanities continues to enrich and stimulate new generations of fellows. Through an estate bequest or deferred gift you can embrace future generations. Planned gifts provide many unique benefits that may reduce your estate and income taxes and help you avoid capital gains. The institute’s development officer can provide you and/or your financial advisors with the assistance necessary to explore and formulate a planned gift to the institute. To discuss your gift in more detail please contact us at humin@umich.edu, 734-936-3518 or contact the institute’s development officer Jennifer Howard, LSA Development, 734-6156239 or jhow@umich.edu.
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Staff Nina Barraco, graphic designer Lucy Cahill, gallery assistant Doretha Coval, fellows coordinator Stephanie Harrell, communications specialist Amanda Krugliak, curator Kush Patel, assistant director Sidonie Smith, director Sheri Sytsema-Geiger, administrative manager Institute for the Humanities Executive Committee Gregory Dowd, American culture Frieda Ekotto, French, comparative literature, Afroamerican and African studies Deborah Keller-Cohen; linguistics, women’s studies, education Keith Mitnick, architecture Lisa Nakamura, American culture, screen arts Douglas Trevor, English Anne Curzan, ex officio; associate dean, humanities; English, linguistics, education Sidonie Smith, ex officio; Institute for the Humanities Acknowledgements Savitski Design, graphic designer
Nondiscrimination Policy Statement The University of Michigan, as an equal opportunity/affirmative action employer, complies with all applicable federal and state laws regarding nondiscrimination and affirmative action. The University of Michigan is committed to a policy of equal opportunity for all persons and does not discriminate on the basis of race, color, national origin, age, marital status, sex, sexual orientation, gender identity, gender expression, disability, religion, height, weight, or veteran status in employment, educational programs and activities, and admissions. Inquiries or complaints may be addressed to the Senior Director for Institutional Equity, and Title IX/Section 504/ADA Coordinator, Office of Institutional Equity, 2072 Administrative Services Building, Ann Arbor, Michigan 48109-1432, 734-763-0235, TTY 734-647-1388. For other University of Michigan information call 734-764-1817. The Regents of the University of Michigan Michael J. Behm, Grand Blanc Mark J. Bernstein, Ann Arbor Shauna Ryder Diggs, Grosse Pointe Denise Ilitch, Bingham Farms Andrea Fischer Newman, Ann Arbor Andrew C. Richner, Grosse Pointe Park Ron Weiser, Ann Arbor Katherine E. White, Ann Arbor Mark S. Schlissel, ex officio
Front cover: “Days Ahead” mural by Mehdi Ghadyanloo at the Institute for the Humanities Inside front cover: “One Thousand Shacks” by Tracey Snelling Inside back cover: Olga Alexopoulou at work on her Thayer Street mural
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Institu te fo r the
Back cover: Marc and Constance Jacobson Lecture by Matthew Desmond and Alex Kotlowitz Humanities | University o f Michigan
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