By Alisa Masterson | Posted April 30, 2021
This spring, the Graduate School Alumni Association sponsored the first of the new Alumni Conversations program, with the inaugural talk featuring the History of Art Department.
The Zoom session was hosted by GSAA board members and department alumni Carmen Bambach ’81, ’88 PhD, and Stephanie Grilli ’80 PhD, and was spearheaded by department chair Tim Barringer. It introduced alumni to current students, new faculty members, ongoing curricular initiatives, and to the recently opened facilities for object study and laboratory of conservation at West Campus.
“One of the aims of the doctoral program is to ensure that whatever their final research topics, students gain exposure to art of a wide range of media and periods and to a spectrum of methodologies of approaches that ranges widely across time and across global geographies,” Barringer said. “We are committed to the idea that art history is a glob
Last modified on Thu 22 Apr 2021 02.56 EDT
He was one of most influential African American writers of the 20th century. But Richard Wright found it hard to talk to his daughter about race.
âItâs like soldiers who go to war and then come back,â Julia Wright, who turns 79 this year, says in a phone interview with the Guardian. âThey donât always find the way to share what they did at war with their family. My father didnât really know how to share the pain about race with me.
âSo he had other ways of doing it. He would leave the doors of his office open so that I could have free range of his books and read everything I wanted to read, and thatâs how I picked up some clues on what he was going through as a black man.â
Elaine Chung In July 1941, Richard Wright, then America’s leading Black author, began writing the novel he felt was his masterpiece. Written “at white heat,” as Wright’s close friend, the Harlem Renaissance poet Arna Bontemps, described to Langston Hughes,
The Man Who Lived Underground was drafted in just six frenzied months, with Wright rhapsodizing of the book, “I have never written anything in my life that stemmed more from sheer inspiration.” Wright saw
The Man Who Lived Underground as a creative breakthrough: an allegorical and existential novel that stood in stark contrast to the literary naturalism of his name-making bestseller,
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