The Herron Alumni Association has announced that Stephen Mueller (B.F.A. ‘76 with High Distinction) is this year’s recipient of the Distinguished Alumni Award. The award recognizes outstanding alumni who have brought honor to their alma mater by distinguishing themselves professionally or through extraordinary service to the school and university. Mueller has done both.
At a special gathering in the Basile Auditorium in Eskenazi Hall on Wednesday, October 8, Dean Valerie Eickmeier and Herron Alumni Association President Sara Love will present the award. The evening, which begins with a reception from 5:00 p.m. to 6:00 p.m., will include a conversation about entrepreneurship and public art led by the dean, Chicago artist John Himmelfarb and Mueller from 6:00 p.m. to 7:30 p.m. The event is free and open to the public.
Artist and entrepreneur Mueller is the co-founder of Vector Custom Fabricating, Inc., a Chicago company that specializes in the fabrication of architectural metals and monumental sculpture. Over the past 31 years, Vector has worked on the fabrication of large-scale works for renowned artists, including Vito Acconci, Mike Baur, Donald Gummer, John Himmelfarb, Terrence Karpowicz, Stephen Luecking, Neil Goodman, Martin Puryear, Christine Rojek and Bruce White.
Vector Fabricating’s architectural, sculptural and conservation services have benefitted Soldier Field, the University of Illinois, University of Notre Dame, Michigan State University and Governor State University, creating an inspiring environment for students, faculty and staff and the broader public alike at these institutions. Architectural works by Vector Fabricating can be found in the highest echelons of Chicago-area businesses.
Vector Fabricating donated its services to create and install the grand, ornamental staircase in Eskenazi Hall at Herron School of Art and Design. Mueller also has made significant gifts of art to the IU Art Museum, and to Herron in the form of Stacked, a sculpture by the late Professor Emeritus Gary Freeman.
Mueller and his wife, Deborah, are the creators of the High Lake Sculpture Garden, a private, one-acre sculpture park in West Chicago. This collection of monumental works focuses on contemporary Midwest artists.
Mueller’s work has been featured in 11 solo or group exhibitions since 2002. He joins recent recipients of the Distinguished Alumni Award, including Lois Main Templeton (B.F.A. ‘81 in Painting), 2013; Garo Antreasian (‘48 in Fine Arts), 2012; Mike Garber (B.F.A. ‘97 in Visual Communications), 2011; David Bowen, (B.F.A. ‘99 in Sculpture), 2010; Leah Traugott (B.F.A. ‘46 in Painting), 2009; and Lois Davis (‘47 in Painting), 2008.
Daniel Grant, whose frequent reporting on the visual arts appears in ARTnews Magazine, Huffington Post and The Wall Street Journal, will speak at Herron School of Art and Design in Eskenazi Hall’s Basile Auditorium on November 5 at 6:00 p.m. The event is free and open to the public.
Grant will present What Collectors Want: The Business, Law and Art of Art Sales as
the 2014 speaker for the Jordan H. and Joan R. Leibman Forum on the Legal and Business Environment of Art. His talk will focus on how artists may communicate—in person, in writings and online—with collectors, dealers and curators in ways that will help lead to exhibitions and sales.
“The key is to for artists to be entrepreneurial,” said Grant, “looking for ways to advance their own careers rather than relying upon someone else. For many up-and-coming artists, the goal is to get into a gallery. That is not necessarily synonymous with selling one’s work or supporting oneself from those sales. It is easy to get lost in the idea that a gallery equals prestige, art world acceptance and a ready group of buyers.
Grant has quoted studies that have shown a high percentage of artists are able to support themselves through their art and related skills—often flying in the face of preconceived notions about an arts education. What’s more, these studies have revealed artists to be happier with their lives than many others in higher-paying professions, at least in part because of their autonomous decision-making.
“A growing number of artists are looking at galleries as just one part—or, perhaps, not even a part at all—of their plans to show and sell work,” he said. “These artists are aware that they can speak for their art better than any third party and that, in fact, many collectors are eager to speak with the artists directly rather than with a gallery owner.”
Grant is the author of books including The Business of Being an Artist, Selling Art Without Galleries, and The Fine Artist’s Career Guide. He will take questions from the audience on all facets of being an artist or acquiring art. His books will be available for sale and autograph during the reception following the lecture.
The Leibman Lecture is a joint project of IU’s Kelley School of Business, the Robert
H. McKinney School of Law and Herron School of Art and Design—all on the campus of IUPUI. Past Leibman Lecture topics have ranged from The Art of The Steal
and The Monuments Men to U.S. Department of Treasury engraving practices and
wearable intellectual property.
Parking: Limited parking is available in the Sports Complex Garage just west of Herron. Park in the visitor side of the garage and bring your ticket to the Herron Galleries for validation, compliments of The Great Frame Up.
Herron School of Art and Design is proud to partner with PBS and Art 21 to once again provide screenings of some the upcoming episodes of the new season of Art in the 21st Century.
On Wednesday, October 22 we will screen Investigation and Secrets and on October 29 we will screen Legacy. Both screenings will start at 6:00 p.m.
The screenings are FREE and open to the public.
Limited parking is available in the Sports Complex Garage just west of Herron. Park in the visitor side of the garage and bring your ticket to the Herron Galleries for validation. Complimentary parking courtesy of The Great Frame Up.
Parking in the surface lot next to Herron School of Art and Design requires a valid IUPUI parking permit at all times.
Indiana University is pleased to announce the 2014-2015 Collaborative Research Grants program (IUCRG). This opportunity is open to faculty on all Indiana University campuses. The goals of this competition are to facilitate and support outstanding research and cutting edge discoveries by teams of experts who have not worked together previously in the project’s subject matter. Teams should include experts from different campuses, schools, departments, or disciplines. The maximum funding per project will be $75,000.
The intent of this initiative is to support research which will significantly advance a research field and in doing so, impact the lives of Indiana residents, the U.S. and the world. The program as a whole is designed to help increase Indiana University’s competitiveness for external funding involving innovative and transformative research; proposals must therefore include explicit plans for securing external funding for projects extending from the findings of the IUCRG. IUCRG recipients are required to submit a proposal for external funding within 18 months from the date that IUCRG funds are available. Applicants should make explicit their plans for targeting external funding including but not limited to the funding agency, their RFAs, and institute/program.
IUCRG will fund projects in emerging fields of study, innovative or multidisciplinary research with the potential to significantly increase Indiana University’s research competitiveness, reputation and funding. Proposals should fit at least one of the following subject areas:
Social and Behavioral sciences: innovative multidisciplinary or multi-collaborator approaches to issues of local, state, national or international significance; educational research including but not limited to effective approaches to K‐12 STEM education (not curricular development)
Biological and Health Sciences; innovative multidisciplinary or multi-collaborator approaches to issues in neuroscience, -omics, biological, biomedical or chemical sciences
Physical, Applied, and Computer Sciences: innovative multidisciplinary or multi-collaborator approaches to compelling issues in physical and applied sciences including material sciences, engineering research, or approaches to other areas of research that rely upon innovative uses of technology, engineering, or computer and applied sciences
All proposals should indicate which category or mix of categories from this list of areas best describes the proposed research. Arts and Humanities proposals that do not fit into these categories should be submitted to Indiana University’s New Frontiers seed funding program.
Eligibility: All faculty and staff whose appointments allow them to submit external proposals are allowed to apply. A minimum of two faculty members from different campuses schools or departments, or different disciplines from the same campus must collaborate as co-principal investigators on the proposed project. Projects must be for NEW areas of research for the investigators, within their areas of expertise, but not a continuation of previous or current research activities. Faculty previously submitting together for external funding (NIH, NSF, DOD, etc.) are not eligible unless the IUCRG proposal represents a new area of research, or a new collaborator(s) is added to enhance the breadth of the proposed research.
Submission Deadlines: Grant proposals must be submitted electronically by the close of business day (5pm) on December 3rd, 2014 via http://research.iu.edu/funding_collaborative.shtml.
For more information see Request for Proposals (PDF)
The sixth annual U.S. Intellectual History Conference in Indianapolis, Oct. 9-12th, 2014, will open with a special two-hour plenary session on THE IDEOLOGY PROBLEM IN TEACHING AND SCHOLARSHIP. This event will be free and open to the public.
We are also happy to announce that RICK PERLSTEIN will be joining our distinguished panel to discuss this subject. The suggestion to add Rick to this panel came from S-USIH’s own Mike O’Connor who noted, as any native Hoosier should, the close proximity of Chicago to Indy.
The panel will address a series of questions, including: Can the writer-educator avoid being “biased” in favor of a particular set of political or religious ideals? Are disciplinary norms of “objectivity” or “neutrality” themselves in service of partisan agendas? The “ideology problem” is one that has surfaced both explicitly and implicitly at the USIH Blog over the past few years, generating a lot of commentary. For example, see Andrew Hartman’s post of entitled Ideology and Teaching. Or a post by Ben Alpers called,“Disrespect and the Teaching of Intellectual History.” Or L.D. Burnett’s The Reluctant Historian.
The conference chairs thought it would make a great subject for a plenary to integrate questions of pedagogy as well as research, writing, and the historian’s public role in the debate over ideology and the practice of history. Presenters plan to ask if ideology really is out-of-place in the classroom and to take up some practical questions such as various efforts to ban Howard Zinn’s writings in Indiana schools. You can learn more about our panelists below.
Andrew Hartman is an associate professor of history at Illinois State University, and was the 2013-14 Danish Distinguished Fulbright Chair in American Studies. He is the author of Education and the Cold War: The Battle for the American School (Palgrave Macmillan, 2008), and A War for the Soul of America: A History of the Culture Wars (University of Chicago Press, 2015). Hartman is the founding president of S-USIH, one of the original USIH bloggers, and is chairing the 2015 S-USIH Conference to be held in Washington, DC.
David Sehat is associate professor of history at Georgia State University. His first book, The Myth of American Religious Freedom, won the Frederick Jackson Turner Award from the Organization of American Historians. His second book, The Jefferson Rule: Why We Think the Founding Fathers Have All the Answers, will be published in May of next year.
Rick Perlstein is the author of Before the Storm: Barry Goldwater and the Unmaking of the American Consensus, Nixonland: The Rise of a President and the Fracturing of America, and The Invisible Bridge: The Fall of Nixon and the Rise of Reagan. A frequent blogger and essayist for publications including the Nation, Rolling Stone, and the New Republic, he lives in Chicago.
Michael J. Kramer holds a visiting assistant professorship at Northwestern University, where he teaches history, American studies, digital humanities, and civic engagement and works an editor in the Design, Publications, and New Media Department at the Museum of Contemporary Art Chicago. His book, The Republic of Rock: Music and Citizenship in the Sixties Counterculture, was published by Oxford University Press in 2013. He is the co-founder of the Northwestern University Digital Humanities Laboratory and is currently developing a multimedia project about the Berkeley Folk Music Festival (1958-1970) and the history of technology and culture in the US folk revival. Additionally, he serves as director of the Chicago Dance History Project, a large-scale oral history and archival digital documentation of dance in the Chicago region, and he is the dramaturg for The Seldoms Contemporary Dance Company. He blogs about art, culture, and politics at Culture Rover.
Christopher Shannon is associate professor of history at Christendom College in Front Royal, Virginia. He is the author of two book in the field of U.S. Intellectual History, Conspicuous Criticism: Tradition, the Individual and Culture in Modern American Social Thought (Johns Hopkins, 1996) and A World Made Safe for Differences: Cold War Intellectuals and the Politics of Identity (Rowman and Littlefield, 2001). His forthcoming work, The Past as Pilgrimage: Narrative, Tradition and the Renewal of Catholic History (Christendom Press, 2014), co-authored with Christopher Blum, addresses the relation between faith traditions and the ideology of secularism in the writing of history.
Susan Curtis is Professor of History and American Studies at Purdue University. She is the author of A Consuming Faith(1991), Dancing to a Black Man’s Tune (1994), The First Black Actors on the Great White Way (1998), Colored Memories(2008), and the co-author of a letter to Purdue President Mitch Daniels challenging his support for efforts to ban the work of Howard Zinn from Indiana public schools (2013).
REPOSTED FROM S-USIH
INDIANAPOLIS — The Fall 2014 Rufus & Louise Reiberg Reading Series at Indiana University-Purdue University Indianapolis features poets Marcus Wicker and Marianne Boruch and novelist Randa Jarrar.
The Department of English in the IU School of Liberal Arts at IUPUI is the series sponsor. All events, which take place at various locations on the IUPUI campus, are free and open to the public.
The series kicks off with poet Marcus Wicker at 7:30 p.m. on Thursday, Oct. 9 in the IUPUI University Library Lilly Auditorium, 755 W. Michigan St. This event is co-sponsored by the Office for Academic Affairs at IUPUI.
D.A. Powell selected Wicker’s poetry collection, “Maybe the Saddest Thing” (Harper Perennial), for the National Poetry Series. Wicker received a 2011 Ruth Lilly Fellowship and his work has appeared in American Poetry Review and many other magazines. Wicker is an assistant professor of English at the University of Southern Indiana.
Wicker served as the final judge for the 2014 IUPUI Poetry Contest. Contest winners and finalists will share their original poems in an awards ceremony preceding the Wicker reading.
Poet Marianne Boruch will read her work at 7 p.m. on Thursday, Oct. 30 in the Emerson Hall Anatomy Lecture Hall, 545 Barnhill Drive. This event is co-sponsored by the IU School of Medicine, the Medical Humanities and Health Studies Program in the IU School of Liberal Arts at IUPUI, and the IUPUI Arts and Humanities Institute.
Boruch is the author of the recently published poetry collection, “Cadaver, Speak,” along with eight other books of poetry. Her poetry has been anthologized in the 1997 and 2009 editions of “The Best American Poetry.” Boruch, a Fulbright visiting professor at the University of Edinburgh, Scotland, in 2012, currently teaches creative writing at Purdue University.
Novelist Randa Jarrar will conclude the fall series with a reading at 7 p.m. on Monday, Nov. 17, at the Herron School of Art & Design Basile Auditorium, 735 W. New York St. This reading is part of the Al-Mutanabbi Street Starts Here Symposium and is co-sponsored by the IUPUI Arts and Humanities Institute in collaboration with the IUPUI Library. This event is free but registration is required.
Jarrar is an award-winning novelist, short story writer, essayist, and translator. She grew up in Kuwait and Egypt, and moved to the United States after the first Gulf War. Her novel, “A Map of Home,” was published in half a dozen languages and won a Hopwood Award, an Arab-American Book Award, and was named one of the best novels of 2008 by the Barnes and Noble Review. In 2010 Jarrar was named one of the most gifted writers of Arab origin under the age of 40.
The Rufus & Louise Reiberg Series was founded in 1997 in honor of former IUPUI Department of English chair and Professor Emeritus Rufus Reiberg and his wife, Louise. The series is made possible by the generous support of the Reiberg Family; the IUPUI Arts and Humanities Institute; the Office of the Vice Chancellor for Research; the Office of Academic Affairs; University College; and University Library.
Visitor parking for the readings is available in the North Street Garage, 819 W. North St.; the Vermont Street Garage, 1004 W. Vermont St.; and the Sports Complex Garage, 875 W. New York St.
For additional information, contact Terry Kirts at firstname.lastname@example.org or 317-274-8929 or visit http://liberalarts.iupui.edu/reiberg. Facebook user can “like” the series’ page at The Rufus & Louise Reiberg Reading Series @ IUPUI.
The Fifth Annual IUPUI Harvey Milk Dinner celebrates LGBT inclusion on the IUPUI Campus by inviting the entire Indianapolis community to join in our celebration. This year’s event will be held on National Coming Out Day – Saturday, October 11, 2014 – at the Indianapolis Marriott, 350 West Maryland Street, Indianapolis.
Faculty Staff and Community Tickets are $55. Student tickets (IUPUI, Ivy Tech, and high school) are $25. Guests can also support students by purchasing student tickets for those students who might not be able to attend the event due to financial constraints. The dinner planning committee will distribute those to students who might need extra help. Registration for this year’s event closes on October 3.
IUPUI Students can also purchase their tickets in the Office for Student Involvement (CE 370) using their JagTag student identification card.
Campus or community organizations interested in purchasing a table for this year’s dinner can contact Jayme Little at email@example.com or 317-274-1345.
Our keynote address will be actor Lea DeLaria. DeLaria is a comedian, actress, and jazz musician; DeLaria plays the role of “Big Boo” in Orange Is the New Black. She was the first openly gay comic to break the late-night talk-show barrier with her appearance on The Arsenio Hall Show in 1993. DeLaria has performed stand-up comedy for more than 25 years and is a prominent figure in the world of LGBT comedy. She began her career billing herself as “That [expletive] Dyke,” explaining that when she walked down the street, people would yell that at her.
DeLaria integrates musical performance into her stand-up comedy, focusing on traditional and modern be-bop jazz. In 2001 she released a CD of jazz standards called Play It Cool. This was followed by the album Double Standards in 2003 and by The Very Best of Lea DeLaria in 2008.
DeLaria has appeared in a number of TV and film roles, including Edge of Seventeen, The First Wives Club, and One Life to Live. She has appeared in a number of on and off-Broadway shows, including: The Most Fabulous Story Ever Told, The Rocky Horror Picture Show, and On the Town. She currently plays Carrie “Big Boo” Black in the Netflix series Orange Is the New Black.
For more information on this year’s keynote speaker, visit her website.
This November, Drew Cameron will return to Herron School of Art and Design with his internationally successful Combat Paper workshops, where veterans or anyone touched by war may bring uniforms or other cloth to be turned into paper and then made into works of art.
Established in 2007, the Combat Paper Project has grown from its San Francisco base to an international phenomenon that has helped to heal war-torn people from Canada to Kosovo.
In his own post-combat search for meaning, Cameron, the project’s co-founder, discovered that papermaking could be a transformative process that broadens “the traditional narrative surrounding the military experience and warfare.” The workshops are returning to Indiana at the urging of Juliet King, director of Herron School of Art and Design’s Art Therapy Program.
With the support of faculty and students from bookbinding, other fine arts programs and art therapy, the workshops will take place on Thursday and Friday, November 6 and 7, at the Eskenazi Fine Arts Center, 1410 Indiana Avenue, from 10:00 a.m. to 4:00 p.m. Lunch will be provided from noon to 1:30 p.m.
Cameron also will be providing a lecture series to graduate art therapy students where they will engage in an interactive discussion on the similarities and differences between therapeutic art experiences such as Combat Paper and the clinical profession of art therapy.
I knew absolutely nothing about Finland in November, 2010: I had the general impression that Finland was a snow-covered tundra peopled by reindeer and cross-country skiers. That changed at a conference in Scotland where I met some historical archaeologists from northern Finland, and their research on material life on the northernmost colonial reaches of Europe itself was fascinating and ambitious. I was keen to develop an international dimension to my research on the emergence of consumer culture, and Finland was a compelling if unexpected comparison to Indianapolis: my Finnish colleagues at the University of Oulu championed an historical archaeology of Finland that encompassed medieval trading centers, a rich history as Swedish and then Russian territories, and a 20th century heritage that witnessed independence, a civil war, and a distinctive if not unique World War II experience.
In 2011 I submitted an IUPUI Arts and Humanities Initiative Travel and Resource Support Grant to explore the material evidence of emergent capitalism in Finland over three centuries. Oulu is one of the world’s northernmost urban centers, a subarctic community settled by the Swedes in 1605 but part of a region in which people have lived for millennia. The grant proposal simply aspired to meet with my Finnish colleagues, inspect their excavated collections, share my own research, and perhaps craft a collaborative project in a discipline that is overwhelmingly focused on North America. The grant had a sound research agenda, but it also left some room to listen to my Finnish colleagues tell me what is important about their scholarship and heritage, and it allowed me to listen to my own curiosity.
The heart of my visit to Oulu was simply seeing the place, visiting the archaeological sites, and looking at the rich material culture the Finns had excavated from regional sites. One of the sites they had excavated was a merchant’s home in Oulu that burnt in a town-wide 1822 blaze. The merchant’s household contained an astoundingly massive assemblage of English ceramics that had been intended for trade in Oulu and into Arctic Lapland and east to Russia. During my Arts and Humanities grant visit we did some material analysis and started a paper on the assemblage that examined marketing and consumption on the margins of Europe. The paper compared the Finnish assemblage to marketplace patterns in the Atlantic World, which were in some ways very similar and in others quite different. That paper, “The Creamware Revolution on the Northern European Periphery: Creamware Marketing in 19th Century Northern Finland,” has since been published in 2013 in the International Journal of Historical Archaeology.
What may have been most important about the Finland trip were the projects that have followed despite not being part of the original research design: We subsequently have published a series of papers on colonial landscape surveillance, World War II landscapes, and medieval marketing, all of which would never have been research questions for me if I had not ventured beyond Indianapolis. The Arts and Humanities project provided sufficient preliminary research to support a Fulbright Finland proposal, and I received a Fulbright Scholar and returned to the University of Oulu in Fall 2012. I became a Docent in American Historical Archaeology at the University of Oulu in Fall 2013, an associate faculty appointment; my colleague Timo Ylimaunu is now an International Scholar at IUPUI.
It turns out that Finland is indeed covered by snow for much of the year and has lots of reindeer and skiers, but there were lots of intellectual and cultural surprises. Oulu, for instance, is home to the Air Guitar World Championships, whose astoundingly cheeky ambition is “to promote world peace – according to Air Guitar ideology, wars will end, climate change stops and all bad things disappear if all the people in the world play the Air Guitar”; at the edge of the Arctic Circle, Rovaniemi todays bills itself as the home of Santa Claus, with numerous Kris Kringles entertaining a host of tourists; and the legion of saunas covering the Finnish landscape are profoundly consequential cultural spaces and not simply sweaty showers. Much of what the grant aspired to do was successful, but some of the longer term research implications probably came from the experience of having good local colleagues and a bit of IUPUI support to start the project at all.
Paul R. Mullins is Professor and Chair of the Department of Anthropology at IUPUI; Past-President of the Society for Historical Archaeology; and author of The Archaeology of Consumer Culture and Race and Affluence: An Archaeology of African America. For more on his research see his blog Archaeology and Material Culture.
Thanks to support from the IUPUI Arts & Humanities Institute, the IU New Currents program, and several campus offices and departments as well as Indiana Humanities (the state affiliate of the National Endowment for the Humanities), the Frederick Douglass Papers will sponsor a gathering of scholars, teachers, students, and the general public to examine the historical and literary significance of Douglass’s novella, “The Heroic Slave” (1853), on our campus in October.
In preparation for this symposium several members of the Douglass Papers staff have been engaged in a small piece of literary detective work. Douglass’s “Heroic Slave” was originally published as a contribution to the short “gift book” entitled Autographs for Freedom, published in Boston by the firm of John P. Jewitt. Besides Douglass, this collection of essays, poems, and short fiction features many well-known mid-nineteenth century writers and political and reform leaders including Harriet Beecher Stowe, Charles Sumner, Horace Greeley, John G. Whittier, and Caroline Dall.
Among the diverse collection of black and white, male and female, American and British contributors to Autographs is the writer Annie Parker who published a poem “Story Telling” and the separate story, “Passages in the Life of a Slave Woman.” In the latter, the narrator, a slave woman, recounts the tragic outcome of a master/slave sexual relationship. In the past few decades this piece has been anthologized several times as one of the earliest works of fiction by an African American author. But who was Annie Parker? None of the anthologies or scholars writing about the story have ever been able to supply any biographical details about her.
Project assistant editor Jeffrey Duvall, graduate research assistant Rebecca Pattillo, and I have been at work trying to answer that question this summer. Frederick Douglass’s own Rochester-published newspaper contains a piece under Parker’s byline in the early 1850s and two other short journalistic pieces by her appear in a Geneva, New York-based temperance newspaper in that same era. Then the trail gets cold, very cold.
Genealogical sources turn up a few possible “Annie Parkers” in the upstate New York region but none of them has any known connection to the antislavery movement and all were white. Perhaps Annie Parker was not a runaway slave as others have speculated. This raises the possibility that “Annie Parker” was a pen name–but whose?
The most intriguing possibility is that Parker is none other than Harriet Jacobs, the author of the famous 1859 autobiography of her horrifyingly abusive career as a South Carolina slave. Jacobs had escaped slavery in the early 1840s and worked as a maid for the Massachusetts journalist Nathaniel Parker Willis, who is referred to twice obtusely in Parker’s own writings. In 1849-50, two years before the publication of the Autographs, Jacobs lived in Rochester and actually worked in the same building where Douglass edited his newspaper. While Jacobs had returned to working for Willis in Massachusetts by the time Autographs was compiled, those earlier connections might have led the gift book’s editor, Julia Griffiths, to have solicited a piece by Jacobs, although no evidence of such a solicitation has yet been found. The same year, Harriet Beecher Stowe also asked Jacobs to write a summary of her slave experiences to include in her Key to Uncle Tom’s Cabin, a response to critics of her condemnation of slave mistreatment in her earlier novel. The Douglass staff is exploring whether Jacobs might have wanted to tell her personal story herself in a safer fictional form in the pages of Autographs.
The product of this research will just be a small part of the upcoming symposium, where Douglass papers staff will be joined by seven widely-published scholars from several disciplines to explore various contexts of “the Heroic Slave.” The event is free and open to the public and we hope will be well-attended by many persons from the central Indiana community interested in Frederick Douglass and his campaign against slavery.
by Jack Kaufman-McKivigan
Dr. Kaufman-McKivigan is Mary O’Brien Gibson Professor of History at IUPUI; Co-Director, annual Madame C.J. Walker/Frederick Douglass Public Lecture and Workshop Series and Past-Director, annual Midwest Peace & Justice Summit (2005-2011); and Project Editor of the Frederick Douglass Papers Edition.