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Good evening and thank you for joining us. For the third in a series of four terror lectures in American art,

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this series is sponsored by the Terror Foundation for American Art, which is dedicated to fostering exploration,

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understanding and enjoyment of the visual arts of the United States for national and international

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audiences in collaboration with the Department of the History of also Oxford and Wooster College.

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Foundation grants and annual fellowship to a leading scholar in American art.

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Amy Mooney is the Tara visiting professor for 2019 to 20.

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My name is Victoria McGinnis and I am head of cultural programming and Partnerships in the Humanities at the University of Oxford.

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We are delighted to be able to host this lecture series, particularly on this incredibly important topic.

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The series has been included as part of the live on line event series in the humanities cultural programme.

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One of the founding Stones of the future, Steve Nash, Schwartzmann Centre for the Humanities.

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Throughout this evening's lecture, please feel free to pop any questions you have into the YouTube chat.

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Your questions will be taken at the end of this session by our two speakers today.

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We are thrilled that this lecture will be introduced and chaired by Dr. Melanie Changeless,

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assistant professor in the Humanities, History and Social Sciences Department at Columbia College, Chicago.

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In progress manuscript saving the Race, Black Archives,

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Black Liberation and the Remaking of Modernity explores the founding and impact of early 20th century Blackhall archives.

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Melanie has a forthcoming essay in the edited collection, The Unfinished Book about the early years of Mallen Foundation Library in Washington, D.C.

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Melanie's research has been supported by the Ford Foundation,

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the by Nickey Rare Book and Manuscript Library and the Black Metropolis Research Consortium.

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It is my absolute pleasure to welcome Melanie this evening and without further delay, Melanie, I hand over to you.

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Thank you very much. Well, thank you, Victoria, for that introduction.

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Very excited to be able to moderate today's lecture.

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As Victoria just said, I think that this will be a very timely conversation about the role of art representation and social issues.

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So I'm very delighted to introduce Amy Mooney, who is an associate professor at Columbia College,

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Chicago, where she teaches courses on African-American art and visual culture.

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Her publications include a monograph on Chicago painter Archibald Jay Mottley Junior,

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which was part of the David C. Driscoll series on African-American art and was published in 2004.

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Amy has also contributed to a number of anthologies and catalogues, including Beyond Face, New Perspectives and Portraiture.

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Black is Black Ain't Mayor Bearden and the Modernist tradition for her work.

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Amy has received fellowships from the American Council of Learnt Society as

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the Black Metropolis Research Consortium with the Andrew Mellon Foundation,

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the Joyce Foundation, the National Portrait Gallery, the Smithsonian American Art Museum and the Terror Foundation for American Art.

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Most recently, Amy has been working with photography historian Dr Deborah Willis and the Museum

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of Contemporary Photography at Columbia College to launch a digital humanities

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project entitled Say It With Pictures Then and Now that recovers and critically

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examines the work of Chicago's African-American photographers from the 80s,

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90s into the 1930s. During our tenure as the Terra Foundation visiting professor of American Art this year, Amy will complete her second book,

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Portraits of Noteworthy Character Negotiating a Collective American Identity, a project that investigates the social function of portraiture.

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So welcoming. Thank you so much, Melanie. It is definitely a pleasure to be in conversation with you today.

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I look forward to sharing my work to that end.

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I go ahead and put up the set of slides that we are going to examine today.

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And I want to send greetings to everyone from the proposed lodgings.

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This is where I've been speaking here at Wooster College and also again to express.

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Thanks for joining us.

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My thanks also to an appreciation for the Department of History of Art here at Oxford and Wooster College who have so warmly welcomed me.

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And they must also offer profound gratitude to the Terra Foundation and to Columbia College, Chicago, for supporting such opportunities.

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And also, I would like to thank the students here at Oxford who might have been so privileged to work with.

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Finally, I'd like to express my sincere appreciation to our colleagues at the Oxford Research

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Centre for the Humanities for providing the platform for this evening's Lifestream.

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So this is the third of the fourth part lecture.

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As Melanie said, and it does, in fact, draw from my forthcoming book, Portraits of Noteworthy Character.

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And here, what I'm interested in doing is exploring the central role that portraiture in all of its forms played in fostering social change in

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the United States as progressive individuals and institutions relied on its cultural capital to further their political ideologies.

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At the turn of the century, the national identity of the United States was challenged by both migration and immigration.

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Anglo American progressives such as Jean Adams sought to improve the conditions of

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newly arrived immigrants and drew upon us from the strategies of racial uplift,

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adapting them to encourage both assimilation and cultural pluralism.

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Looking at images generated by Joseph Stella, Noel Hamilton and Louise HINH,

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I will consider how portraits of individuals were used to visualise and construct types of racial and ethnic identities,

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and then how those identities impact Americans collective national consciousness.

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As with the earlier lectures. I'd like to begin with the portraits of the Obamas in regards to their representation of our collective

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body politic collectivity is a central part of building and negotiating a national identity.

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It presumes shared values and purpose, as well as establishing symbols that communicate one's allegiance to set principles.

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In this way, these portraits serve as icons representing all who identify as Americans.

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A visual translation of the United States motto E Pluribus Unum out of many one.

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Up to this point think considering portraits generated by African-Americans for African-Americans.

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Yet, as evidenced in the diversity of the millions of people who've come to experience them,

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the appeal of these portraits is intersectional and necessitates a broader

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consideration of how we come to regard one another across the constraints of race,

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ethnicity, class, gender and sexuality.

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Many heralded the Obama presidency as socially progressive from the passage of the Affordable Care Act to the Marriage Equality Act.

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There was a momentum toward legislation that ensured human rights despite differences in its citizenry.

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Some went even so far as to call this a post-racial era.

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However, the hate crimes that occurred during the Obama presidency,

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including the horrific murder of Trayvon Martin and the tragic Charleston church massacre, unequivocally prove otherwise.

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Central to the work of being anti-racist is the necessity of examining the historic constructs that enable and perpetuate bias,

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prejudice and xenophobia.

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Like the Obama era, the progressive era brought forth substantive legislative reform aimed at improving the working living conditions of the poor.

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But it also saw the enactment of a series of laws that reify prejudice and discrimination along the lines of race and ethnicity,

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as evidenced in this caricature published in the satirical magazine.

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The Judge in 1983. For this lecture,

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I want to consider the complicated relationship between the static's and reform ideologies to the formation of

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racial and ethnic identities within the emerging practises of progressive social work in the United States.

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As noted by scholars such as Jacqueline Francis, Matthew Frei Jacobson, David Rohde, Ature Warner Sollers,

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amongst many others at the turn of the 20th century and well into the 1930s, the distinction between race and ethnicity was more fluid.

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Both were a means of discerning in designating non-white identities,

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and we're interchangeable in the works of sociologists and social workers in the eyes of the late 19th century commentators.

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Race was a fluid concept that entailed divisions amongst European groups regarded just

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as salient or pernicious as the distinctions that were being made between Asians,

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Africans, European and Latin next peoples. When immigration restrictionists warned of the danger America faced from the Irish,

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the Italians and Slavic races, they were not just newly being rhetorical or misusing the term,

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but imposing a moral classification schema that they were convinced has much scientific

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liberty as the more enduring construct of the so-called races of human kind.

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The pivoting point here is not just to simply consider the visual politics of other non-white identities,

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but to open up the discussion of how make the making of these identities not only short the construction of whiteness,

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but also give white progressives the privilege of purpose.

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Drawing from photography historian Alan Trachtenberg. I argue that portraits such as these by Lewis Hine served as a site of imagined empathy,

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by which I mean that the makers and viewers imagined themselves connecting with

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immigrant subjects and believing that seeing was equivalent to knowing the other,

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and that this knowledge with thereby result in a more just and equitable society.

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As observed by Trachtenberg Hinds,

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portraits invite and demand a particular kind of participatory viewing not only because of their aesthetic composition,

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but also because of their publication within progressive tax.

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Yet I would argue that the participatory nature of this view positioned one to look at not with.

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Despite the best intentions, white progressives failed to acknowledge the systemic discrimination in inequality across economic,

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social and political structures that prevented the possibility of knowing the other as an equal.

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The Skopec regimes that presented and circulated portraits of immigrants not only circumscribed ones field of vision,

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but also one's imagination to the point of limiting citizenship rather than extending it.

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At the time of these portraits were generated, there was no mutual relationship between the portraitist, the subject or the subsequent viewer.

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And too often, when literally facing the other.

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The portrait was employed to reduce a full and complex distinct being to an idea, a diminished person subdued under the subject's control,

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becoming representative of a problem rather than a person positioning portraits of immigrants as a social documents in journals,

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annual reports and solicitations for funding allowed for their study and negotiation,

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if not cultivation of racial antipathies rarely generated for the communities represented.

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It is critical to consider how and where such portraits were encountered.

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Even when artists and view their subjects with the aesthetics associated with fine art or in this case literally quoting from art history,

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the portraits of immigrants were seldom experienced as an honorific likeness that ensured an individual's recognition.

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Instead, we see their shift from evocative archetypes to a centralised ethno racial types.

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Amongst many aspects to consider within this chapter is the choice of medium and its relationship to temporality,

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as it affords an opportunity to January a historic narrative that aims to remove immigrants from the specifics of their contemporary circumstances.

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Promoting a sense of distance, as I will argue the portraits, evidence and incongruous perspective that relies on aesthetics,

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nostalgia and the politics of labour to generate a way of looking at immigrants that is contingent upon the codification of racial hierarchies.

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As representations of the exploited or dispossessed portraits of immigrants allowed audiences to imagine their circumstances and connect

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with their own inner humanity and believe that they were advocating on the behalf of immigrants schooled in specific visual codes,

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white progressives believe that their own moral intelligence and their values should be imparted to literally inform a more perfect union.

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Collectively, however, the portraits are part of a larger system of comparative taxonomies of difference that,

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as demonstrated by historian Ian Haney Lopez, reveal that, quote, Race does not exist as defined entities,

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but only as amalgamations of people standing in complex relationships with other such groups.

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And quote, For white, Progressive's race proved to be relational and a shifting, culturally defined category of difference.

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That is only manifest.

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That only manifests not only ideas, but in power over institutions and access to material resources through portraits of immigrants.

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They crafted visual evidence that justified the creation of spaces, programmes, publications and, most importantly, their own sense of purpose.

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For immigrants entering the United States on the East Coast, Ellis Island served as an attorney for ethnographic portraiture,

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is here within the processes of inspection and policing of entry,

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that the reading of race is inextricably linked to citizenship,

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cited as the best school for acquisition of knowledge of racial characteristics and physique, costume and behaviour.

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Photographers and artists were assigned to generate portraits of Ellis Island

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immigrants for journals such as The Outlook Everybody's magazine or Charities,

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and comments that such train readers on how to identify and associate the exterior signs of ethnicity

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with interior aspects of character in alignment with either their pro or anti-immigration ideologies.

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Commissioned by the Christian progressive journal The Outlook,

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the artist Joseph Steller rendered character studies at Ellis Island for publication in a series called Americans in the Rough,

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as suggested by the editor.

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The title indicates an unfinished process, as if the subject's nationalisation was unrealised and potentially may never be completed.

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Although the portraits constitute their own feature that stands alone,

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they are prefaced with an editorial by Lynn Abbott that little left little ambiguity as to how he believe the portrait should be interpreted.

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Published in 1985, during a massive influx of immigrants from Southern and Eastern Europe, Abbott questioned their viability to become true citizens.

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According to Abbott, quote, The nation is morally bound to see to it that only those aliens are admitted who are potential Americans,

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who are Americans in the rough. He proposes that the potential of an immigrant can be determined by examining their moral character.

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With this mandate, Stellas portrayals become a means by which viewers could, quote, exercise their discrimination.

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Learning to read out the vicious and the degenerate, end quote.

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To that end, each portrait is labelled by the subject's ethnicity.

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Irish types, Italians and Russian, Jew, as well as indications that they were all drawn by life.

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The designation of the artist process that Stella had first hand observation of the subjects extends the artist's

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acuity to the viewer so that they too can look closely to determine if the subjects were what Abbott called,

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quote, incurably aliens in temper. In these portraits are of particular note because of the artistic language that Stella used to convey.

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Interior states of character for each claiming that, quote, The eyes of the soul of the person should be seised at once in quotes.

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He relies on the subjects directed gaze to give insight to the morality by regarding how the immigrants performed.

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Looking as well as what they looked at,

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readers learnt in evaluative method that allowed them to shift individuals into ethnic types in the selection of the subjects.

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Stella stated that, quote, His preference was going to curious types,

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revealing the unrestrained eloquence of their mask, the crude story of their lives and what.

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In the portrait, Irish types Stellar rendered three figures looking in different directions.

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The matronly woman on the left gazes out through her spectacles with a slight smile on her face.

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She's rendered to the graphite in a very light handed manner to the effect that

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she has a sort of spectral light presence seemingly fading into the background,

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whereas the other two male figures have a heavier presence that pushes them toward the viewer.

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The man at the centre is positioned so that he is partially obscured,

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and yet his profile is incisively detailed from his wispy moustache whose raised eyebrow.

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The man on the right dominates the portrayal as Stella more fairly rendered his presence

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on his hat and suit and concentrated on carefully delineating his facial features.

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His hooded gaze does not meet the viewer's as he is directed to the side.

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And there's something slightly incongruous about the group, as if we are to understand the artist's encounter of them in line at Ellis Island.

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And despite the artist's careful rendering, there's a sort of ambiguity about their presence that suggests that the Irish types may not be,

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in fact, capable of becoming fully fleshed Americans in the rough.

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In comparison to contemporary character chairs,

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the carefully rendered features to these individuals seem to counter the widely held racist stereotypes.

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The position of the Irish as ignorant, uncouth drunkards who,

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like African-Americans at this time, were deemed inferior and unworthy of American citizenship,

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as implied in the Thomas Nast and G.C. tale illustrations for Harper's and Park Magazines capturers

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like this drew from the widely held subscription to Pseudosciences of Phrenology and Physiognomy

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that attempted to use physical characteristics to define interior character and the Aluna anxieties

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about the perceived threat to the Haeju Monic security and well-being of the American body politic.

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Though Stella does not evoke this simian like features for his Irish types,

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his rendering of their features corresponds with those listed by contemporary anthropologists who characterise the Irish as having,

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quote, smaller, rather upturned noses, smaller eyes and lower four heads.

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And further, the unfinished spectre like nature of his types implodes and uncertainty about their suitability for citizenship.

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In the portrait titled Italians, Stellas shifts to a rectangular format position is two subjects in profile.

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Again, the portrait is defined ethnicity with a male and female representative.

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Unlike the liminal space occupied by the Irish types,

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the Italians are grounded in the context of Ellis Island with a depiction of water and industrial ships in the distance.

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Their clothing suggests the picturesque old world.

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The man wears a sludge felt hat while the woman is wrapped in a shawl with a kerchief covering her head.

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The Convention of Portraiture in profile evokes a renaissance artistic tradition,

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and at the same time it allows for careful study of the subject's physiognomy placed in front of the man.

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The woman seems to overwhelm the composition, potentially suggesting a subversively dominant nature.

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The man behind her leans forward, keeping his gaze to himself while the woman casts her eye over the shoulder to confront the viewer.

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Her singular eye project's sepsis,

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countering the expectation for immigrants compliance as they endured the humiliating medical inspections that were required,

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especially for populations suspected of contagious diseases such as trachoma on its own.

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The portrait does not seem to condemn but to categorise, emphasising the experience of being closely regarded.

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Yet following the pseudo anthropological split second is the anomic characterisations of Italian stellar scribes prominent noses,

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long skulls, dark eyes and dark hair.

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Stew's figures and shadows the man's face with the so called seaworthiness typically associated with this ethnic type.

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When combined with the edict to examine the immigrants in order to ascertain their, quote, fitness for membership in the American household and quote,

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stuff as portrait's suggests some ambivalence as to the Italians admissibility to America.

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The last portrait in the series titled A Russian Jew is the Darcus, both in medium and in mood using charcoal.

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The artist rendered the likeness of the bearded man at the centre of the composition behind him.

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Two other figures are visible, but to a lesser degree. Dressed in a dark, heavy overcoat, these expansive shoulders occupy the entire picture plain.

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An exterior light falls on the man's face, highlighting his four head nose as well as the tips of his large ears.

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He does not make eye contact with the viewer. Rather, his eyes are downcast, as if he was introspectively engaged, combined with a furrowed brow.

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His expression simultaneously conveys the weariness and the wariness of his experience.

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As noted by art historian IRA Jaffe, quote In this series,

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Stellas Skilful Delineation is like the performances of an actor who is transforming himself by subtle combination of gesture and facial expressions,

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portrays a variety of characters instantaneously recognisable as types.

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And Jarvi suggestion of the performative nature of these portraits emphasises viewers negotiation and understanding

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these portraits as individuals versus their representation of ethno racial constructs in the popular imagination,

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which is seen in this race as capture by Frank Beard, associating the Russian Jew type with poverty, disease and anarchy.

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The seeing large ears, Convex Newill Bridge and the beard,

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maybe reference is part of this type's racial taxonomy, but still refrains from this character trait.

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Without the directive of title or editorial said, types Occupy Alemanno space precariously like the status of immigrants,

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their futures not entirely self-determined, whether they're subject to the judgement of others.

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Although some scholars read these workers sympathetic, perhaps informed by Stellas own experience as a recent immigrant,

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the imposition of the racialized captions and directive to determine whether or not these types are,

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quote, a menace to the maintenance of the American idea, unquote, prevents such an interpretation.

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I'd also like to contend that Stellas emphasis on the immigrant's vulnerability and apprehension, as expressed through their eyes,

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allowed progressive white viewers to learn the power of their own discerning gaze in their illustrative role subject to xenophobia text.

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The portraits contextualise the subsequent passage of anti-immigrant legislation,

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as reminded by Edward Sayeed, the psychology and politics behind the Western gaze.

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Even in its most benevolent manifestations,

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tends to be self-serving and tends to constrain the portrait of racial otherness to that of a mere image of the Western self.

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Within this framework, Stellas portraits reflect the fear and anxiety and suspicion of white viewers back to themselves.

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Stellas portraits of immigrants were also employed in support of assimilation of immigrants and can be evidenced in their illustrative role.

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But Ruiz pulls influential article, a mixing bowl for the Nations, published in 1910.

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The author directed readers to compare types disparate differences and how to recognise, quote, within the tremendous drama of mixing of nations.

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Which of the races will be the most successful.

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And the article deals details the author's tour of ethnic neighbourhood restaurants and gathering places in Chicago,

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where he observes and interacts with the patrons. Paul vividly describes his experiences of eating, drinking,

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conversing and watching immigrants seeking to authentically experience the other at what he calls real Guiney hangouts and Bohemian cafes.

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With the exception of the title page, the articles illustrated with portraits of Italian and Slavic men rendered in charcoal

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and graphite in the style of old Masters drawings heralded by the author as,

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quote, the pictorial recorder of this new America. And quote, Stella's portrait,

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her emphasises the individuality of his sideris with a sharp realism characteristic of artists of the 15th century, Germany and Flounders.

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Art historian Barbara Haskell has written that in that Stellas quote, My new recording of every facial detail and texture is technically breathtaking,

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while also evoking a psychological empathy and respect for the sitter.

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Perhaps if these portraits are seen on a gallery wall or illustrated in an art journal, this would be the case.

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But within the pages of everybody's magazine, the incongruous captions and narrative prevent full consideration of the subject's humanity.

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Instead, the viewer is presented with elderly, seemingly exhausted male labourers who both emerge from and recede into the mental space.

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Each is identified by ethnicity, along with the justification of their worth to America.

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A portrait of an Italian for Rome depicts an elderly man, bald, with a full beard with deeply wrinkled, closed eyes.

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As in most of Selous portraits, the figure emerges from an atmospheric background with no anchoring details, generating a sense of timelessness.

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There was a central component of old master drawings.

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Another quarter of an Italian directs the viewer to contrast this Italian Mombasa cotta with the Roman type.

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And in this likeness, the SIDOR looks out directly, including the viewer.

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He wears a heart open neck shirt and holds a pipe in his mouth,

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as in the previous portrait of a Roman still carefully renders his facial features recording every wrinkle and hollow of his countenance.

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The commanded comparison reflects the author's distinction made between northern and southern

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Italians the position northerners as superior and more desirable contributors to American society.

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Yet in East Portrait sells emphasis on individuality, resists such a centralisation.

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Instead, it's challenging to imagine a stayed elderly men participating in the author's narration of,

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quote, the tremendous drama of mixing of nations and evoking popular ethnic stereotype.

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Your other proclaims that the Italians will bring, quote, romance and singing that deep bread, love of beauty,

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childlike simplicity and hot blood of the South to be fused at last into the main stock of Chicago's future people.

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And yet Steller's portrait of classical calm, seemingly self realised, carefully delineated,

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needed individuals do not evidence a childlike simplicity when certainly not the hot blood of the South.

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In another example, commissioned for a mixing bowl for all nations.

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The profile portrait of one man is captioned the Slavic peoples after furnishing to Chicago.

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Huge, healthy peasants that are the best of raw material. With this portrait,

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the dialectical tension between text and image disrupts the viewing of the subject

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as an individual and instead positions him and a commodity to be put to use.

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Set within an oval frame and positioned against a plain background background with no surroundings.

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The subject is depicted in profile from the chest up with little detail focussed on his clothing.

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Rather, the artist concentrated on rendering the minutes wrinkled face some kind cheeks in closely shorn hair.

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The physical designations are huge and healthy, are at odds with the city's aged features.

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Instead, these verbal characterisations were more in keeping with the stereotypical portrayal of people of

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Slavic descent via the derogatory epitaph of hunky denoting their role as unskilled labourers,

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especially employed in steel industries. This trope characterised the Slavich as, quote, illiterate and ignorant,

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with proclivities toward excessive alcoholism and brutality and reckless fecundity.

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In contrast, the author asserts that these immigrants, quote,

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get ahead faster than the more recent races because they are raw material imbued with the capacity of change and their willingness to work hard.

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Thus, they are going to be our kindred are becoming Americans and quote,

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Stellas classically rendering read classical rendering does not seem to support the potential that the author sees.

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Instead, the solidity of figures suggests Stacie's rather than change a fixed and timeless presence rather than a raw and malleable material.

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Despite contradictions between the text and image, they do work together in attempt to salvage the reader's anti-immigrant anxieties,

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encouraging the imagining of immigrants as kindred as well as what they themselves might gain from mixing.

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Paul described it as, quote, an irresistible process by which all should be fused as a new race of men upon Earth, unquote.

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Not only does the author assert that immigrants want this, he also portends a future in which needed most.

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American readers will also participate in this amalgamation.

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The fear of miscegenation and whether immigrants were willing or capable of assimilation form the crux of Antine immigration policy and debate.

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By using studied classical technique in visualising those who were different Steller's portraits distance the viewer,

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casting the immigrant into the past that will fade away. In contrast to the contemporary threat posed by pools mixing up nations,

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Stella's portrayal counters the narrative of change and future of miscegenation, assuring viewers that the difference will become the past.

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That the incongruities between text and image are part of the politics of nation building that sought to foster a collective identity.

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At the same time that it sought to redefine racial hierarchies. Joseph Stello was not alone in his study of immigrants on Ellis Island.

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He was joined by myriad photographers who were commissioned to create portraits that could be used to illustrate magazine articles.

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Annual reports and other modes of propaganda that shaped ideas about immigrants and immigration policy.

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Of all the various photographers who worked on Ellis Island, Lewis Hines portraits of immigrants became the most iconic,

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appearing regularly on the covers and illustrated articles in progressive weeklies

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such as the survey extensively published and circulated during immigration debate.

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These portraits were used as social documents to justify a variety of positions and personal perspective,

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where she plays study with progressive such as John Dewey at the University of Chicago.

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Dewey's perspective on the lived experience as central to learning had a lasting influence on hind's approach to photography as pedagogy.

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Hind's first engagement with Ellis Island immigrants was through an outreach programme of the Ethical Culture School in New York in 1984.

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And as noted by scholar and Pegler Gordon Hinds, portraits from this period can be considered respectful,

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evoking bourgeois family or artistic portraiture and their posing.

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Yet they engage in racial taiping through their attention to ethnographic cultural details and casually as racial types.

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High interest in the immigrant portraiture led him to Holehouse Progressive Settlement

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Organisation that was established in Chicago in 1889 by Jean Adams and Ellen Stockades.

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Photographs were commissioned from Hine to illustrate Adams article autobiographical notes upon 20 years that Holehouse that chronicled the social,

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cultural and political reform work carried out by white elite women who lived and worked at Holehouse, publishes six instalments in American magazine.

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In 1910, Hind's portraits of immigrants are artfully arranged in columns of blocks,

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illustrating those who participated in Holehouse programmes or in the neighbourhood who benefited from the Progressive's largesse on these pages.

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We see a variety of people who, according to the captions, can be seen on the street outside a house in her text.

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Adams identifies these individuals as being from the Russian Jewish colony and details their anxiety

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when in nineteen eighty eight they were threatened with the possibility of an extradition treaty,

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which Adams successfully organised against. I'd like to focus our attention on the bottom portrait at the right of a young shoeshine boy.

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As one of the official unofficial photographers of Holehouse Height took hundreds

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of photographs that were then published in the organisation's annual reports,

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yearbooks and philanthropic solicitations for decades.

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The uncropped photograph, titled Boy Outside at the bulletin board Holehouse,

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appears in the May 1910 Hall has yearbook for this portrait of a shoeshine who

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is at first glance seems to be reading a bulletin board outside of Hillhouse

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high position the camera for a wide angle of the front of the building in City Street that provides a sense of scale denoting this subjects young age,

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a potential vulnerability facing the building with a shoeshine box slung over his back.

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He's staged as a representative of the boys club that was detailed in the

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accompanying text as featuring numerous programmes to augment public education.

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Yet with a closer look at the subjects, presumed literacy can be questioned as the young boy does not look up at the bulletins posted above him.

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Rather, he stares directly at the wall. His purpose seems simple work as if he's charged with performing the interest in the goings on a whole house,

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but not really a participant of the programming. In their study of child labour practises in Chicago.

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Holehouse residents reported that, quote,

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There is no body of self supporting children more in need with effective care than these newsboys and bootblack.

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They are ill fed, ill housed, ill clothed, illiterate and wholly untrained in unfitted for any occupation.

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And given the arduous work of the hours of the Shiner's, who also served as newsis rising before dawn to sell and distribute newspapers.

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It's unlikely that he could have attended any of the whole house programmes or clubs.

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Hind's photograph of the young boy outside on the street emphasises the necessity of the activities within that will save and reform him.

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His portrait reassures readers that they can solve this problem if they commit their energies to child labour reform.

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Adams had the opportunity to republish her Syria article as a book.

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It chose not to include Hine's photographs. Instead, she requested artist Nora Hamilton to translate symbol of Hine's photographs into line etchings

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and to contribute some of her own original illustrations of the people and places of Holehouse.

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The reason for this shift in media may have been as simple as accommodating.

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The already extent means illustration used by the publisher,

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thus saving costs prior to the development of half term printing photographs were frequently converted.

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To achieve that, would engravings that allowed for a greater reproducibility.

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Yet by 1910, this was no longer the typical case and seems to suggest Ann's choice was purposeful.

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The translation of one medium to another allows the artist to imbue the photographic portraits with different qualities.

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Certainly the debate around photography is an art form comes into play and given the hind's work was already identified as a form of photo journalism.

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Adams may have felt that that etching, a medium accepted as fine art, would appeal to the arts and crafts aesthetic of her audience.

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The whole has emphasis on the moral value of arts and craft,

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as well as the fact that Hamilton taught art classes there could have also influenced Adams request.

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In her preface, Adam notes, quote,

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It's a matter of great gratification to me that the book is illustrated from drawings made by Miss Nora Hamilton of Holehouse and quote,

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Perhaps Hamilton's translations better represented Adam's perspective than Hine's photographs.

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The expressive line quality of Hamilton's drawings seems more in keeping with the author's nostalgic.

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Remember says that explain the influences were and objectives in founding Holehouse.

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Whatever the circumstances, it's important to note that the interpretive shifts that are interpretive shifts afforded by each

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medium in the illustration index HIND'S credited as the source of four of Hamilton's drawings.

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Although it's clear that throughout the text she refers to many more of hind's

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photographic portraits in her version of consulting the Holehouse bulletin board.

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Hamilton eliminates the specifics of the story, keeping a mere outline of the building and the bulletin within the layout of the page of 20 years.

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The effect is such that the young boy loses the independence of his stance and purpose, unmoored from his environment.

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There's no caption that sets the image apart from the page whether its placement is integrated into the surrounding text,

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the accompanying narrative positions.

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Holehouse is a resource through which young boys could be empowered to follow a pathway to self-improvement period in this way.

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The boy becomes a generalised street urchin type in need of aid to ensure his future potential.

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This reading is supported on the following page, where Hamilton's portrait of the face of the presumably seen boy, also drawn from a hired photograph,

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illustrates the possibility that the immigrants aren't shifting to future citizen,

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as was inspired by Adams description of the whole House activities that were devoted to, quote, arousing a higher imagination, unquote.

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You'll have to forgive me for the blurriness of these images, I had intended to get higher resolution.

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Unfortunately, it was limited in my ability to travel back to the U.S., but they do serve a purpose here in this close up.

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The young man looks directly out of the viewer, smiling as if Adam's charge had imminent impact.

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Hamilton stands cross hatchings in the eyes of the facial features contrasts

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with her minimal outline of the boy's cap and the surrounding white space.

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She is not true attempt to translate the stares that can be seen in the background of Hind's photograph.

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Overall, the effect is a generalising timelessness. It becomes picturesquely evocative.

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But Dickinsonia and like character addressing the universal need to follow Adam's prescriptions to eradicate child labour.

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Notably know that the photographer nor the illustrator titled their images by subjects names.

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Rather, they both employ generic descriptors or ethnic designations that impose a typology upon their subjects.

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Yet Hind's photographs bear the index of a particular time place in interaction with the subject.

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In contrast, Hamilton's translations of his photographs remove the interaction from its passivity

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and allow it to represent a more general interpretation of character in appearance,

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shifting its two Poile registration into that of past Yelton.

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Also translated, Hine's photographs of the women who worked at the Labour Museum is spinners and allows us

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to consider Adam strategic employment of nostalgia as a means of fostering assimilation.

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Additionally, the shift in ethnic identities moving,

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as you can see in the captions from Italian to Scandinavian from one source, the other signals move signals.

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It reveals the performative nature of ethnicity at the whole house.

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But first, some context is history.

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In 1987, the U.S. Immigration Commission reported changes that raised concerns regarding the future of the United States.

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According to the report, unlike earlier immigrants who, quote,

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pushed westward expansion through their agrarian labour and who assimilated so quickly

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that the racial identity of their children was almost entirely boss and forgotten,

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new immigrants retained their cultural traditions, different languages,

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and settled in the urban ghettos, thus increasing poverty in the United States.

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In further, the report concluded that, quote, The old immigrant immigration came to be a part of the country,

395
00:42:41,120 --> 00:42:44,260
whereas the new comes with the intention of property.

396
00:42:44,260 --> 00:42:53,240
The two year way then returning to the old country and quote, thus reflecting the anxiety not only about immigrants place in the United States,

397
00:42:53,240 --> 00:42:59,240
but also about the United States itself, as noted by a particular Gaute Gordon.

398
00:42:59,240 --> 00:43:05,570
This nostalgia about past immigration was partially nostalgia for the pastoral well.

399
00:43:05,570 --> 00:43:14,840
The suspicion of new immigration was partially suspicion of urbanisation and industrialisation with which immigration had become closely associated.

400
00:43:14,840 --> 00:43:19,430
The National Centre for Past Immigration served at least two political purposes.

401
00:43:19,430 --> 00:43:26,660
Restrictions argued that restrictionists argued that new immigrants would never fully assimilate and therefore should be excluded.

402
00:43:26,660 --> 00:43:34,870
While many progress has maintained, assimilation was difficult but required an aggressive programme of Americanisation.

403
00:43:34,870 --> 00:43:37,950
According to the founding objectives of Holehouse,

404
00:43:37,950 --> 00:43:44,680
a national collective identity had to be just that collected and shared amongst its ever shifting constituents.

405
00:43:44,680 --> 00:43:49,540
Adams and her co-workers struggled to develop strategies that simultaneously embrace the past,

406
00:43:49,540 --> 00:43:55,420
with the present supporting the sharing of different traditions. Yet working towards the Malaysian establishment,

407
00:43:55,420 --> 00:44:00,640
the Labour Museum in 1981 sought to ensure an intergenerational validation of labour

408
00:44:00,640 --> 00:44:04,960
and craft that contributed to the collective national identity of immigrant.

409
00:44:04,960 --> 00:44:13,240
As worker in 20 years a whole house, Adam describes the purpose of the museum as a means to connect intergenerational immigrants,

410
00:44:13,240 --> 00:44:18,730
validating each through the mutual respect of Labour and its historic representation.

411
00:44:18,730 --> 00:44:24,010
She specifically speaks to the difficulty of establishing genuine relations with the Italian women,

412
00:44:24,010 --> 00:44:31,150
whom she reads as homesick and experiencing alienation with their assimilated children.

413
00:44:31,150 --> 00:44:36,040
Adams believed that a dramatic representation could build a bridge between American and

414
00:44:36,040 --> 00:44:42,020
European experiences in such a wise as to give them more meaning and a sense of relation in,

415
00:44:42,020 --> 00:44:52,600
quote, conceiving a historic sequence. Adam selected participants from Syria, Greece, Italy, Russian and Irish cultures whose efforts, quote,

416
00:44:52,600 --> 00:44:58,180
enabled that even the most casual observer to see that there was no break in orderly evolution.

417
00:44:58,180 --> 00:45:05,830
The industry developed similarly and peacefully, heedless of differences in language, religion and political experiences.

418
00:45:05,830 --> 00:45:12,250
And her positioning of industry as a common denominator and cultural equaliser reflects the ideology

419
00:45:12,250 --> 00:45:19,450
of a labour movement that fused work with morality and advocacy for humane working conditions.

420
00:45:19,450 --> 00:45:24,580
Adams imagined that understanding and that industry with emerged from these ancient crafts,

421
00:45:24,580 --> 00:45:28,660
spinning and weaving would validate the contemporary experience of sweatshop

422
00:45:28,660 --> 00:45:33,340
workers and by informing the mind of the finished product and its history.

423
00:45:33,340 --> 00:45:39,790
Adams imagined that the workers quote, daily life is lifted from drudgery to one of self-conscious activity,

424
00:45:39,790 --> 00:45:48,100
and her pleasure in the intelligence is registered in her product. Yet the voice and experience of those who talk demonstrated and represented these

425
00:45:48,100 --> 00:45:52,750
crafts was not incorporated into the contemporary discourse about the museum.

426
00:45:52,750 --> 00:46:02,050
Instead, the privilege social work, social workers of Holehouse, quote, often spoke about and for and of their immigrant neighbours.

427
00:46:02,050 --> 00:46:10,210
In doing so, flattened the specificity of their neighbours national identity in favour of emphasising diversity.

428
00:46:10,210 --> 00:46:14,590
The Labour Museum served as pedagogy not only teaching generation relations,

429
00:46:14,590 --> 00:46:20,140
but also artisan skills that were rendered obsolete by the industrial economy in Chicago.

430
00:46:20,140 --> 00:46:24,070
In her study of the gendered and racialized rhetoric of the Labour Museum,

431
00:46:24,070 --> 00:46:30,970
scholar Leon Malinovsky observes that quote, At the same time the museum performed this teaching function.

432
00:46:30,970 --> 00:46:37,930
It also objectified immigrant artisans and their cultural artefacts by rescrubbing older neighbourhood artisans as

433
00:46:37,930 --> 00:46:44,750
outside the contemporary moment by placing them and their labour prior to the present present industrial conditions,

434
00:46:44,750 --> 00:46:50,260
neighbourhood women were figured as objects of display through photographs caption to suggest that they are

435
00:46:50,260 --> 00:46:58,750
representations of different kinds of foreign womanhood situating of where and how these portraits were experienced.

436
00:46:58,750 --> 00:47:08,110
Further reveals Adams intentions for this endeavour. Because the American Labour Museum was truly a unique approach.

437
00:47:08,110 --> 00:47:14,740
It was heralded in the press and frequently featured in Holehouse Reports and publications in American magazines,

438
00:47:14,740 --> 00:47:19,360
Hine's photographs accompany the third instalment of Adam's autobiographical notes

439
00:47:19,360 --> 00:47:23,890
that focussed on the Labour Museum as one of the resources of the immigrant.

440
00:47:23,890 --> 00:47:29,710
Unlike other issues, the decorative impositions frame his photographs, emphasising their openness.

441
00:47:29,710 --> 00:47:37,360
The article includes five portraits of women from the Labour Museum, each modelling a different method of spinning and weaving in.

442
00:47:37,360 --> 00:47:44,440
Each photograph has the marquee of the Labour Museum at the top and at the bottom is titled by the subject's ethnicity.

443
00:47:44,440 --> 00:47:53,950
In two of the photographs, Russian woman spinning in Syrian woman spinning depict young women informally attired in their ethnic costume.

444
00:47:53,950 --> 00:47:58,420
Neither look toward the camera and both seem fully absorbed by their respective talents.

445
00:47:58,420 --> 00:48:04,310
The Russian woman is photographed from the side as she sits in a chair working on an upright spinning frame called

446
00:48:04,310 --> 00:48:11,200
a pre made in the wall Gullah region intensively laborious and the skill passed down from mother to daughter.

447
00:48:11,200 --> 00:48:16,060
The traditional spinners transformed raw and bleach flaks into thread that would then be woven

448
00:48:16,060 --> 00:48:22,180
into linen fabric similar to those that she models her clothing consistent upon their skirt,

449
00:48:22,180 --> 00:48:31,090
paired with the gathered on the string shirt with embroidered sleeves and apron, heavily decorated place and also the plucked off lives.

450
00:48:31,090 --> 00:48:39,520
The headscarf was mandatory for women, married women. Her dress is more appropriate for a celebration than a daily domestic task and connotes her

451
00:48:39,520 --> 00:48:46,750
participation in the creation of the archetype of a Russian past seeking elements of authenticity.

452
00:48:46,750 --> 00:48:50,470
Jane Addams requested that, quote, The living workers in the museum,

453
00:48:50,470 --> 00:48:58,760
dressed in their national historic costume and in the formality of her costume, also follows the correct prescriptive behaviour.

454
00:48:58,760 --> 00:49:06,400
Forgetting one's photograph, taken on the occasion of portraiture, necessitated the wearing of one's best and most proper clothing.

455
00:49:06,400 --> 00:49:09,970
I was amongst the means of fashion. The persona, the staging,

456
00:49:09,970 --> 00:49:17,410
the theatrical space that transforms the viewer into a different time and place were also in keeping with the expected role of photography.

457
00:49:17,410 --> 00:49:22,630
And when combined, these elements created a liminal image, one that was fictive yet real,

458
00:49:22,630 --> 00:49:27,970
one that relied on the specificity of an individual to represent a collective racial identity.

459
00:49:27,970 --> 00:49:31,810
Further, through their publication, Hine's photographs into social discourse,

460
00:49:31,810 --> 00:49:40,870
intent on honing viewers ability to identify and discern ethno racial characteristics within the narrative of a foreign past.

461
00:49:40,870 --> 00:49:47,560
The heightened portrait, titled Syrian Woman Spinning, seems especially oriented to the exotic and picturesque.

462
00:49:47,560 --> 00:49:53,120
In a vote about the spinners sits on a rug on the floor against a densely padded woven textile,

463
00:49:53,120 --> 00:49:57,110
in one hand she pulls thread from the spinning wheel and the other she cracks.

464
00:49:57,110 --> 00:50:05,690
Craig Spindle, as in the portrait of a Russian woman, she's elaborately costumed in a manner more befitting for a wedding than a task at hand.

465
00:50:05,690 --> 00:50:10,340
Although the intent of staging may have been to evoke a better intent in the desert,

466
00:50:10,340 --> 00:50:13,580
the photograph includes incongruous details such as the copper pots,

467
00:50:13,580 --> 00:50:20,390
the anchor, the hanging textile and other right, a carved wooden bench with a flounced chintz pillow.

468
00:50:20,390 --> 00:50:27,980
Importantly, these details count call out the fictional trajectory that sought to celebrate the specifics of his Syrian past,

469
00:50:27,980 --> 00:50:34,700
while at the same time replicating the contemporary reality of living through its discrimination.

470
00:50:34,700 --> 00:50:40,660
Because these portraits circulated so widely. They were more accessible than experiencing the Labour Museum in person.

471
00:50:40,660 --> 00:50:44,540
And the true audience of the Labour Museum was not only those who participated,

472
00:50:44,540 --> 00:50:50,690
but rather those who saw it caught a glimpse of the historic industrial order and whose hearts were thrill,

473
00:50:50,690 --> 00:51:00,350
the new sympathy in the pages of magazines. And further to that end, Holehouse generated postcards from Hind's photographic portraits,

474
00:51:00,350 --> 00:51:07,700
making it possible for viewers to share their experiences and link within the language of cultural tourism as postcards.

475
00:51:07,700 --> 00:51:15,920
These portraits shift further into the realm of social interaction that extended the power dynamics of the Labour Museum to the public sphere.

476
00:51:15,920 --> 00:51:23,020
Since its hosting of the 1893 World's Colombian Exposition, Chicagoans had become enamoured with world.

477
00:51:23,020 --> 00:51:32,330
Scholar Robert Rideout calls the exhibition area complex that included postcard production and demonstrated control of foreign bodies,

478
00:51:32,330 --> 00:51:41,930
putting people and their cultures on display. Built public support for national imperialist policies and stabilised the domestic social order.

479
00:51:41,930 --> 00:51:47,720
Further, such displays served as showcases for educating people about the significance of racial differences,

480
00:51:47,720 --> 00:51:52,370
especially for the term and the means and direction of human progress.

481
00:51:52,370 --> 00:51:57,890
In Adams perspective, the progress of technology resulted in the dehumanising sweatshops where workers

482
00:51:57,890 --> 00:52:03,050
lost their sense of self and humanity and by staging portraits of the past.

483
00:52:03,050 --> 00:52:08,660
She hoped to preserve the Knowledge's from different cultures as a form of validation.

484
00:52:08,660 --> 00:52:15,200
Yet the ensuing objectification and sense of superiority from one culture progressing over the other

485
00:52:15,200 --> 00:52:22,550
redescribe the Darwinist politics of the day given animes goals of validating the skills of the past.

486
00:52:22,550 --> 00:52:26,780
Hamilton's images are far more effective and evocative of nostalgia,

487
00:52:26,780 --> 00:52:33,620
suggesting the problems of immigration are of the past and that through the collective and Ragini experience of labour,

488
00:52:33,620 --> 00:52:38,240
we have arrived at a new world order where immigrants become Americans.

489
00:52:38,240 --> 00:52:44,840
And yet is ever so evident. This is not the trajectory of the history of the United States.

490
00:52:44,840 --> 00:52:53,600
There are other histories to write here from the ways that ethnic minorities resisted classification and saw agency through representation.

491
00:52:53,600 --> 00:52:58,520
But that was not my point in considering the wide array of sources in today's presentation.

492
00:52:58,520 --> 00:53:02,840
I wanted to call out the incongruities of a value to looking that was employed to

493
00:53:02,840 --> 00:53:08,300
construct whiteness in order to wrench the viewer out of customary habits of perception.

494
00:53:08,300 --> 00:53:13,960
To witness the dialectical between the verbal and the visual, the intent and the reception.

495
00:53:13,960 --> 00:53:22,430
And to come into consciousness of how our own negotiations of the body politic, especially the constructs of race and ethnicity.

496
00:53:22,430 --> 00:53:29,150
When we look to the ways that the Obamas lent their individual likenesses in service to the collective body politic,

497
00:53:29,150 --> 00:53:37,820
we must be mindful of the conflicts and contradictions inherent within the histories through which we experience representation.

498
00:53:37,820 --> 00:53:45,440
In fact, the experience of the portrait and its history again will become the themes explored in next week's final lecture.

499
00:53:45,440 --> 00:53:51,080
So thank you so very much for your attention. I look forward to your questions and I would love to know one way.

500
00:53:51,080 --> 00:54:01,590
Dr. Noelani, each of us to join the. Well, thank you for your incredible talk.

501
00:54:01,590 --> 00:54:06,510
Amy. When I think about how tricky the label of either progressive or liberal can be,

502
00:54:06,510 --> 00:54:15,180
I really appreciated how you unpack both the helpful and harmful sides of both images and the context in which they appear.

503
00:54:15,180 --> 00:54:21,430
I was wondering. Towards the end of your talk, if you could actually say a little bit more about how you're thinking about the word in Congress?

504
00:54:21,430 --> 00:54:30,510
A. have as a a framework. Because as empowering as the recent Black Lives Matter protests have been, we're also,

505
00:54:30,510 --> 00:54:37,410
at least within the US in the middle of kind of cancel culture kind of moment that has a much more encompassing,

506
00:54:37,410 --> 00:54:44,430
much more absolute reaction to someone's more problematic tendencies are outright racist behaviour.

507
00:54:44,430 --> 00:54:53,200
And so it's interesting to think of in Congress as a way of thinking about that negotiation when it comes to someone like Jane Addams,

508
00:54:53,200 --> 00:54:56,790
who is progressive and an activist in her own time,

509
00:54:56,790 --> 00:55:04,920
but also could be guilty of some of the more problematic tendencies that you explore problematic outcomes for her work.

510
00:55:04,920 --> 00:55:11,210
Be curious to hear you say more about that. Yes. Thank you so much for giving thought to that, Melanie and I.

511
00:55:11,210 --> 00:55:19,710
Absolutely. We need to be attentive to incongruity as a way of thinking about generating rhetorical consciousness

512
00:55:19,710 --> 00:55:24,870
when viewers react to these portraits and how they use them to support social agendas.

513
00:55:24,870 --> 00:55:32,310
It's amazing to me that one artist's work can be used to go pro and against and then somewhere kind of in that in-between space.

514
00:55:32,310 --> 00:55:39,150
And I'm really curious to give for the thought as to, well, what happens when we have these contradictions within ourselves.

515
00:55:39,150 --> 00:55:45,830
Can we denaturalised some of these stereotypical ways of looking and become conscious that we are in fact,

516
00:55:45,830 --> 00:55:51,700
in very much impacted by them, that we've come to accept them and kind of see them as a status quo?

517
00:55:51,700 --> 00:55:57,180
You know, some thinking about these incongruities as a destructive kind of gesture and to kind of

518
00:55:57,180 --> 00:56:04,050
call them up so that eventually we do kind of get to that kind of level of thoughtfulness.

519
00:56:04,050 --> 00:56:12,700
This perspective comes from a literary theorist, Kenneth Burke, who gives a lot of thought to the power of images to wrenches obey.

520
00:56:12,700 --> 00:56:19,200
And it's really kind of one of his key terms from that kind of dust distance measure

521
00:56:19,200 --> 00:56:23,660
to looking that we have used in especially the history of the United States.

522
00:56:23,660 --> 00:56:30,330
I could say just more globally to create these systems that taxonomies and hierarchies.

523
00:56:30,330 --> 00:56:33,510
I wonder if in your own practise, Melanie,

524
00:56:33,510 --> 00:56:41,190
you have experienced this kind of idea of using a text in the incongruous way to likewise tease out some of these intentions.

525
00:56:41,190 --> 00:56:46,260
And I'm thinking about maybe some of your work that you've done on Vivian Horesh who, like Jane Addams,

526
00:56:46,260 --> 00:56:52,200
is this massive figure that accomplishes so much during her lifetime, establishes libraries and the like.

527
00:56:52,200 --> 00:56:53,550
And I'm wondering, like, likewise,

528
00:56:53,550 --> 00:57:01,890
how do you negotiate someone that we want to appreciate but also have to be really mindful of their actions impacting others?

529
00:57:01,890 --> 00:57:07,980
Well, that definitely reminds me of actually one of the questions that will pivot to but it's about the importance of background as

530
00:57:07,980 --> 00:57:14,880
we're navigating some of the choices that individuals made by giving a harsh as someone who absolutely puts her career forward,

531
00:57:14,880 --> 00:57:18,950
who put their activism bore but tended to be a very private person.

532
00:57:18,950 --> 00:57:22,290
That then contributed to some of her erasure.

533
00:57:22,290 --> 00:57:30,120
So one of the things that was trying to negotiate and thinking about the young incongruous aspects of her work,

534
00:57:30,120 --> 00:57:34,410
who she was as an individual, were the people who were influencing her.

535
00:57:34,410 --> 00:57:40,950
And so for her, she was someone who was coming from an environment where there were many black club women who,

536
00:57:40,950 --> 00:57:43,570
as you had described, I think in your first lecture,

537
00:57:43,570 --> 00:57:51,880
the culture of dissemblers was one of the ways in which they navigated the possible threats or the possible missile and

538
00:57:51,880 --> 00:58:01,530
the possible attacks on their character that they relied on kind of keeping their personal lives somewhat private.

539
00:58:01,530 --> 00:58:08,010
And so that seemed to be a very different thing than what Harsha was doing of putting her activism in the building of

540
00:58:08,010 --> 00:58:15,420
collections and making sure that there are the records and the details that can go to support the changing of ideas,

541
00:58:15,420 --> 00:58:21,780
the changing of stereotypes. But it doesn't necessarily align with her own personal practise.

542
00:58:21,780 --> 00:58:30,480
So I think that kind of incongruous, that incongruity rather excuse me, is similar between harsh, but also the other Lybrand that their generation,

543
00:58:30,480 --> 00:58:35,880
where they really believe that the records were what mattered and not necessarily done personal stories.

544
00:58:35,880 --> 00:58:40,240
And so that's kind of interesting when thinking about the role of representation.

545
00:58:40,240 --> 00:58:49,620
It's really interesting to me to think about the idea that there should be records, but they should not be inclusive of one's own self.

546
00:58:49,620 --> 00:58:55,400
Yeah, it feels like on the one hand, when you were talking about the way in which morality enters into these conversations,

547
00:58:55,400 --> 00:59:02,150
like the expectation of shifting the focus away from oneself. But there's a certain point in which you do have to turn it towards you,

548
00:59:02,150 --> 00:59:11,900
which is what this in this conversation about representation ultimately is about, that you have to take control of your own image at a certain point.

549
00:59:11,900 --> 00:59:17,180
And so the idea was, if we can do it through records, if we can do it through print culture,

550
00:59:17,180 --> 00:59:20,270
then that was particularly important around that time period.

551
00:59:20,270 --> 00:59:30,260
Now, my larger project, I compare some of these portraits of immigrants that were generated through Holehouse with actual portraits of Jane Addams.

552
00:59:30,260 --> 00:59:35,150
And it's a really striking difference in terms of her self representation.

553
00:59:35,150 --> 00:59:40,760
Her narration of her autobiography, her conception of Holehouse versus how she sees others,

554
00:59:40,760 --> 00:59:45,860
you know, so there's the incongruities become even more profound.

555
00:59:45,860 --> 00:59:51,050
I imagine she focussed a little bit more on viewing or having people view her individuality,

556
00:59:51,050 --> 00:59:58,640
which isn't necessarily it sounds like the same opportunity that she gave others in representing their tapes.

557
00:59:58,640 --> 01:00:05,510
So one of the questions that was sent and just as a reminder, the torture team has been sending me questions behind the scenes.

558
01:00:05,510 --> 01:00:11,240
So don't forget, you can plug your questions into the YouTube chat box and add earlier that you can do it.

559
01:00:11,240 --> 01:00:14,580
The more likely we'll be able to answer them.

560
01:00:14,580 --> 01:00:26,000
But one of the earlier questions was about Joseph Stellas on background and how that impacted his characterisation of immigrants in the United States.

561
01:00:26,000 --> 01:00:31,270
And I suppose that could also be extended to Lewis Hine.

562
01:00:31,270 --> 01:00:35,530
And the last person. Last name Hamilton. No.

563
01:00:35,530 --> 01:00:38,090
No. Hamilton.

564
01:00:38,090 --> 01:00:48,290
So we know that Joseph Stiller comes to the United States for the first time in 1896, and he is sponsored by his brother, who is a physician.

565
01:00:48,290 --> 01:00:53,150
He comes here not really quite sure what he's going to wind up doing,

566
01:00:53,150 --> 01:01:00,590
but he finds himself really drawn to art and he winds up taking some classes in New York City and really refines his skills.

567
01:01:00,590 --> 01:01:05,620
He actually will at some point forgetting the day that he goes back to Italy and then back and forth.

568
01:01:05,620 --> 01:01:10,790
He's got definitely this kind of trans-Atlantic consciousness of what it's like to travel.

569
01:01:10,790 --> 01:01:17,270
But he's not travelling in the abject poverty that we see depicted in some of his work.

570
01:01:17,270 --> 01:01:21,080
He is interested in what he referred to as types. You know, again,

571
01:01:21,080 --> 01:01:28,460
thinking about walking the city streets of New York and experiencing the different kinds of cultures that we're mixing emerging at the time,

572
01:01:28,460 --> 01:01:38,150
hearing the different languages. And I think that is we can see in these images he's really drawn to the kind of classical old masters style.

573
01:01:38,150 --> 01:01:43,940
Now, if we look at his larger trajectories career, he becomes this phenomenal modernist,

574
01:01:43,940 --> 01:01:50,060
bringing in the language of abstraction and futurism in his later work.

575
01:01:50,060 --> 01:01:57,290
But there is at this point in his approach and subject this really kind of interest in something I think that was of the past.

576
01:01:57,290 --> 01:02:03,020
And I think that that really started to speak to me as I was thinking about all of these discourses around modernity.

577
01:02:03,020 --> 01:02:10,800
Right. And urbanisation and everything's shifting and changing. Why is it that he chooses this aesthetic to render these specific people?

578
01:02:10,800 --> 01:02:13,340
And so that's kind of the thing, the very beginning part,

579
01:02:13,340 --> 01:02:19,250
where I started to think about this concept of nostalgia and trying to look at people in that lens.

580
01:02:19,250 --> 01:02:25,460
And in that way, it creates a sense of distance and you don't have to feel quite so anxious about it.

581
01:02:25,460 --> 01:02:29,030
You know, you can say, oh, that's not really part of art that's over.

582
01:02:29,030 --> 01:02:37,450
We're now, you know, a mixing bowl of nations and it becomes kind of celebratory in that way for the other artists.

583
01:02:37,450 --> 01:02:40,970
Lewis Hine's born in the United States, as was North Hamilton.

584
01:02:40,970 --> 01:02:48,800
So I don't think that they negotiated in that same way, but they all had interactions around Holehouse, which can do.

585
01:02:48,800 --> 01:02:58,640
It was this phenomenal centre of possibilities for so many people, both in terms of art classes and language classes,

586
01:02:58,640 --> 01:03:04,560
American citizenship, but also, honestly, things like health care and kindergarten.

587
01:03:04,560 --> 01:03:12,490
It really supported a lot of their neighbours and we should obviously appreciate and recognise that.

588
01:03:12,490 --> 01:03:16,890
So one of the other questions from one of the viewers was about your description

589
01:03:16,890 --> 01:03:23,270
of Hamilton's translation of Lewis hind's images from one medium into another.

590
01:03:23,270 --> 01:03:28,560
They found a very fascinating. And so she asked the questioner or the viewer, ask the question,

591
01:03:28,560 --> 01:03:36,570
do we find people translating art into other mediums for progressive purposes in this period or even if the racist,

592
01:03:36,570 --> 01:03:45,300
stereotypical or lazy images recasts for the purpose of revealing the primary works, inherent biases?

593
01:03:45,300 --> 01:03:48,400
That would be a very challenging question to answer.

594
01:03:48,400 --> 01:03:55,260
Overall, overall, because I think I feel like I've got some competing information to work through it.

595
01:03:55,260 --> 01:03:56,840
Definitely we've got technology.

596
01:03:56,840 --> 01:04:05,370
We'll think about in terms of publications and how publications were utilising the advent of photography have tool printing,

597
01:04:05,370 --> 01:04:10,260
but also utilising the still continuing some wood engraving and wood etchings.

598
01:04:10,260 --> 01:04:20,220
Even Jacob Greeces publication of How the other half lives had some of his photographs translated into a wood engraving.

599
01:04:20,220 --> 01:04:25,080
So it's it's it's almost kind of like there's the necessity of having to do it.

600
01:04:25,080 --> 01:04:32,850
But then you also have to think about what those translations have effect and whether or not the individuals who were acting as

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01:04:32,850 --> 01:04:40,500
translators were trying to be true to the source or if they were trying to embellish and consider a different point of view.

602
01:04:40,500 --> 01:04:47,690
And I think between HINH and Hamilton, we see Hamilton really kind of taking this a bit further.

603
01:04:47,690 --> 01:04:51,840
And in the book, she not only worked with the photographs of Lewis Hine,

604
01:04:51,840 --> 01:04:59,610
I also talk about how she works with the photographs of well as Crooklyn, and in that case in Hamilton was really a master printmaker.

605
01:04:59,610 --> 01:05:03,480
So she really worked through etching, engraving and lithography.

606
01:05:03,480 --> 01:05:12,020
And in this case, she does a whole series of images that while it's Kirkland takes of Gypsy children at Holehouse and she translates them.

607
01:05:12,020 --> 01:05:21,920
And in her translations of the orthography, the children really start to bear these markers of exaggerated physiognomy.

608
01:05:21,920 --> 01:05:26,820
Their countenances become very dark and they emerge from the dark.

609
01:05:26,820 --> 01:05:30,270
They're surrounded by swirling dark lines. They're really quite vivid.

610
01:05:30,270 --> 01:05:41,730
So in this case, you really get a sense that she kind of vilifies these children and further embellishes on the tropes around Roma culture.

611
01:05:41,730 --> 01:05:43,800
So out of curiosity, I was wondering,

612
01:05:43,800 --> 01:05:49,350
as you were describing one of the things that you had separated about this lecture as being different from the others.

613
01:05:49,350 --> 01:05:57,600
Is that one was a focus on accurate community creating images for and by themselves or of themselves.

614
01:05:57,600 --> 01:06:02,870
But for this one, it was really a focus of how other people saw immigrant groups.

615
01:06:02,870 --> 01:06:08,610
So is there a way you could say a little bit more about what what might have been

616
01:06:08,610 --> 01:06:13,800
some of the efforts at self representation within these immigrant groups or how?

617
01:06:13,800 --> 01:06:17,300
Well, for sure that that is absolutely what is happening here.

618
01:06:17,300 --> 01:06:25,260
And there's such a wide array of scholars who have addressed this and thinking, again, as I cited and I Pilger Gordon's work to Jennifer,

619
01:06:25,260 --> 01:06:37,830
to the Ormeau, my our colleague, Dominic Pacyga, there's also a really exciting new work by sheep who waying researching photographer Frank.

620
01:06:37,830 --> 01:06:42,510
That's her art. There's lots of room to expand here. But for this project,

621
01:06:42,510 --> 01:06:47,760
I wanted to pivot here because I wanted to think about how the white gaze was building itself

622
01:06:47,760 --> 01:06:52,920
in opposition to the development of black subjectivity through the discourse of othering,

623
01:06:52,920 --> 01:06:59,310
using differences in ethnicity to buffer and to redescribe their own position of superiority.

624
01:06:59,310 --> 01:07:04,440
And it's not just enough to say that there is a counter, but rather in order to dismantle.

625
01:07:04,440 --> 01:07:10,200
I think that we have to consider the disjunctions and contradictions that have informed our way of looking in thinking.

626
01:07:10,200 --> 01:07:15,420
And when I'm hoping that this does within the book itself is that it sets up

627
01:07:15,420 --> 01:07:20,760
then for us to think about experiencing the portraiture in an interracial way.

628
01:07:20,760 --> 01:07:25,850
And we're going to be looking at next week a series of portrait painted portraits that were honorific,

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01:07:25,850 --> 01:07:32,700
that tour the United States for more than 10 years and that were intended to be seen by everybody together.

630
01:07:32,700 --> 01:07:40,650
And we'll see images of people looking together, posing for photographs, showing themselves to be interracial and progressive.

631
01:07:40,650 --> 01:07:44,230
There will be some critique of that, too, don't worry.

632
01:07:44,230 --> 01:07:51,780
But one of the questions from the audience was about the conflation of race and ethnicity playing out in politics in this period.

633
01:07:51,780 --> 01:07:55,860
And so it's interesting to hear you think about the creation of that merged

634
01:07:55,860 --> 01:08:01,530
collective national identity at a moment when you see that Tenjin or that hierarchy,

635
01:08:01,530 --> 01:08:10,170
like, really coming in to re or really coming in to play in this moment.

636
01:08:10,170 --> 01:08:16,410
So the question is. So the question is, how are.

637
01:08:16,410 --> 01:08:23,650
How might. How might you describe a little bit more or that might be the topic of the next lecture?

638
01:08:23,650 --> 01:08:30,550
What that conflation is doing of race and ethnicity when it comes to shaping the politics or to what extent?

639
01:08:30,550 --> 01:08:35,350
At the beginning, you were talking about immigration history as being part of that debate.

640
01:08:35,350 --> 01:08:42,100
Well, for sure. So doing this time period, we see quite a shift in immigration legislation.

641
01:08:42,100 --> 01:08:48,270
Again, initial bands to moving toward absolute quotas.

642
01:08:48,270 --> 01:08:59,530
And we also see the kind of militarisation of Ellis Island, both in terms of deportation and policing of immigrant bodies there.

643
01:08:59,530 --> 01:09:06,910
So I think that that's one of the things that certainly comes to mind in terms of an ethnic racial experience.

644
01:09:06,910 --> 01:09:17,710
And then imagine, again, kind of coming into the country and trying to make one's own with the Cirilli, having support systems and accessibility.

645
01:09:17,710 --> 01:09:26,410
I think that those are some of the elements that we can see, both in terms of United States history and in terms of personal experiences,

646
01:09:26,410 --> 01:09:34,120
diaries and the like in letters home chronicling what were those personal narratives experienced.

647
01:09:34,120 --> 01:09:40,960
And then again, to think about those experiences happening and overlaying African-Americans,

648
01:09:40,960 --> 01:09:46,390
I think especially about that horrific racist cartoon that Thompson listed,

649
01:09:46,390 --> 01:09:54,160
where you see, again, both African-Americans and Irish Americans being denied the right to vote.

650
01:09:54,160 --> 01:10:01,770
They know that they are not fit to be citizens. They think that this thing just reflects a lot of the very early Republican.

651
01:10:01,770 --> 01:10:11,890
And they don't mean party. I mean, the idea the republic values when we have a naturalisation act passed in 1790 that says,

652
01:10:11,890 --> 01:10:18,280
you know, the only people who are fit to be U.S. citizens have to be, you know, free white people.

653
01:10:18,280 --> 01:10:23,500
That is the fact that that's named in the very beginning. It never ships really, you know.

654
01:10:23,500 --> 01:10:30,340
And again, the question is, how did you become free? Who is the person who freed you?

655
01:10:30,340 --> 01:10:39,640
Likewise. What is their racial designation? It's so embedded in how our country has been formed and how we think of ourselves

656
01:10:39,640 --> 01:10:44,230
and even the tactics and the ways in which people are fighting similar battles.

657
01:10:44,230 --> 01:10:50,780
In this sense, by going back to the earlier question about how different stereotypes are, how different images have been recast,

658
01:10:50,780 --> 01:10:58,550
like you absolutely say the same thing with an African-American history where there is an awareness that people are taking on certain stereotypes.

659
01:10:58,550 --> 01:11:04,600
And one of the first things that came to mind is something like colourants Dunbar as we wear the mask, which is a wee earlier.

660
01:11:04,600 --> 01:11:09,520
But the poem acknowledges that there are all of these blackface images with the giant smile,

661
01:11:09,520 --> 01:11:13,660
but it doesn't necessarily align with the reality of the black experience.

662
01:11:13,660 --> 01:11:18,310
So that kind of how do we manoeuvre some of these changes that are solidifying

663
01:11:18,310 --> 01:11:26,090
these racial categories is very much apparent within within black history.

664
01:11:26,090 --> 01:11:29,440
Melanie, how about with your own experience in research,

665
01:11:29,440 --> 01:11:37,490
do you have a point of overlap between European immigrants and African-Americans during that really 20th century?

666
01:11:37,490 --> 01:11:45,080
I only tangentially somewhat touch upon it, but because it's within the progressive era so late 19th to early 20th century,

667
01:11:45,080 --> 01:11:54,530
librarians were very much within the same group as social workers who are trying to figure out how their work can be best used,

668
01:11:54,530 --> 01:11:57,350
especially to marginalised communities.

669
01:11:57,350 --> 01:12:07,550
And so with librarians, they were also trying to find ways to politicise their work or to make sure that their voices are represented within politics.

670
01:12:07,550 --> 01:12:11,750
So when I look at the creation of special Negro collections,

671
01:12:11,750 --> 01:12:18,230
they're very similar to the special collections that were created at branches in predominately immigrant communities.

672
01:12:18,230 --> 01:12:25,550
And so what you were saying before about settlement houses and the ways in which they needed to be everything for a particular community,

673
01:12:25,550 --> 01:12:32,330
it's very similar to how libraries operate. So I think that awareness of how you best serve the community,

674
01:12:32,330 --> 01:12:39,650
how you document one's history as evidence of all the things that would contradict the stereotypes,

675
01:12:39,650 --> 01:12:45,140
the misinformation about a group is very much shared within within my work to the

676
01:12:45,140 --> 01:12:51,860
extent that I've looked into immigrant branches that served immigrant communities.

677
01:12:51,860 --> 01:12:59,720
So there's one other question. We're very close to the end, but I at least wanted to be able to touch upon, which is about the role of public art.

678
01:12:59,720 --> 01:13:01,850
And so there have been a number of questions.

679
01:13:01,850 --> 01:13:09,350
That's anything from whether or not there has been the same reaction when it comes to visual art, as we see with sculpture,

680
01:13:09,350 --> 01:13:20,120
when it comes to either the rejection or the removal of certain pieces of art or what you think that we should do about the recent statue.

681
01:13:20,120 --> 01:13:23,510
I think it's the Colston's statue that was taken down.

682
01:13:23,510 --> 01:13:31,940
So how you're thinking about the role of image right now in this moment, especially when it comes to public art?

683
01:13:31,940 --> 01:13:36,260
Well, this is definitely a weighty question, and I would refer everybody to money.

684
01:13:36,260 --> 01:13:40,130
One of my favourite scholars, Renee Aitor, who's done substantive work on this.

685
01:13:40,130 --> 01:13:47,780
And again, she is the expert. But I think one of the things that comes to mind immediately, especially since you mentioned the Coulston,

686
01:13:47,780 --> 01:13:53,470
which was pulled down in Bristol just the other day as part of a support district for Black Lives Matter,

687
01:13:53,470 --> 01:13:58,820
is that it reminds us how powerful images and representations are and that where we have

688
01:13:58,820 --> 01:14:05,120
these bodies represented in our public sphere that are not representative of our values,

689
01:14:05,120 --> 01:14:09,370
of our character, of how we want to see ourselves,

690
01:14:09,370 --> 01:14:15,440
then they need to be removed or they need to be replaced and they need to have an evolving possibility.

691
01:14:15,440 --> 01:14:21,320
One of the things I know in Chicago we both share is the question of representation of events.

692
01:14:21,320 --> 01:14:26,840
You know, where is the honorific sculpture where we give tribute to her.

693
01:14:26,840 --> 01:14:30,920
Now, we do have a monument to Gwendolyn Brooks. Excellent.

694
01:14:30,920 --> 01:14:31,970
Let's keep going.

695
01:14:31,970 --> 01:14:40,100
You know, I mean, there are so many people that we should honour and recognise within our civic spaces that unfortunately have not been memorialised.

696
01:14:40,100 --> 01:14:44,390
And it goes, again, kind of back to your work of what's in the archive and what's not.

697
01:14:44,390 --> 01:14:46,800
You know, where do we see it? Where do we don't?

698
01:14:46,800 --> 01:14:58,040
I think the removal of statues here in Oxford also has a very significant history in the activist student movement.

699
01:14:58,040 --> 01:15:00,080
Rhodes must fall. In fact, actually,

700
01:15:00,080 --> 01:15:10,660
tomorrow there will be a protest in front of the Rhodes Scholar sculpture that sits atop one of the buildings here named in his honour.

701
01:15:10,660 --> 01:15:14,870
And as you know, that he supported apartheid and imperialism.

702
01:15:14,870 --> 01:15:19,790
Those are values that students at the university do not want to be associated with anymore.

703
01:15:19,790 --> 01:15:29,830
And so you can understand that with good cause. So it seems like an ongoing conversation that will hopefully have some very productive outcomes to it.

704
01:15:29,830 --> 01:15:36,310
So it looks like we are just about out of time. So thank you so much for sending in your wonderful questions for Amy.

705
01:15:36,310 --> 01:15:44,170
We're sorry that we were unable to answer them all. We'd also like to take this opportunity to thank Amy for her very engaging and thought provoking

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01:15:44,170 --> 01:15:50,650
lecture this evening and to the torch team for hosting tonight and making this series possible.

707
01:15:50,650 --> 01:15:56,140
Thank you also to all the viewers at home for watching as well. Please join us for next week's event,

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01:15:56,140 --> 01:16:04,090
the fourth and final instalment of the terror lecture series with Amy Mooney on Monday, June 15th at five p.m. U.K. time.

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01:16:04,090 --> 01:16:06,520
Next time, Amy will be joined by Jeffrey Batching,

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01:16:06,520 --> 01:16:14,050
who holds the professorship of the History of Art in the Department of History of Art and the Faculty of History at Oxford University.

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01:16:14,050 --> 01:16:50,037
We hope you'll be able to join us again at that time. Thank you again for watching.