Rebecca Bush, Curator of History, The Columbus Museum

Proposal Type: Panel

Abstract: As public historians seek new ways to connect with contemporary audiences, interdisciplinary ventures suggest great potential for fresh perspectives and insights. Art, in particular, offers interpretive possibilities to illuminate and enhance historical topics and themes. This session presents exhibitions, public programs, and other initiatives that integrate historical research with artwork. Of particular interest are collaborations with living artists to address historical and contemporary issues.

Seeking: I would like to organize a session that examines interdisciplinary approaches to public history, specifically the integration of art and history. My institution, the Columbus Museum in Georgia, has a dual mission of American art and regional history, so this is a topic I’ve been considering quite a bit lately. We are steadily increasing the number of exhibitions and public programs that speak to both halves of our mission, and as someone with scant art history knowledge, I’ve found it incredibly stimulating to work with people from different academic backgrounds who share my commitment to museums and the power of objects.

Our most recent “integrated” exhibit, opening in August, showcases the work of a contemporary African-American artist who creates three-dimensional and digital collages to examine both historic and present-day Southern life. Lesser-known historical figures and legends of folklore mingle in his work, along with commentary on modern economic and social conditions. Nineteenth-century outlaws, civil rights pioneers, and Occupy movement protestors are all fair game. We are presenting this exhibit in a gallery traditionally used for history content, and the labels provide both artistic and historical context.

I would like to hear from other public historians who are embarking on similar endeavors integrating history and art. This could include working with a contemporary artist, using historic works of art to discuss the events and environment surrounding their creation, or including space for public art as part of a preservation project. How can we, as public historians, use art to see familiar topics in a new light? How can we connect historical themes and current issues through art? How can we work with artists to introduce each other to new audiences? And how can we gain fresh perspectives and knowledge by working with colleagues in other disciplines?

I have suggested the session as a traditional three-person panel, but I believe a roundtable discussion on this topic could also have potential. Additionally, if you are doing interdisciplinary work that addresses similar questions but through working with a different field, I’d be curious to hear your thoughts and experiences.

Related Topics: Museums/Exhibits, Material Culture, Civic Engagement

If you have a direct offer of assistance, sensitive criticism, or wish to share contact information for other people the proposer should reach out to, please get in contact directly: Rebecca Bush, rbush[at]columbusmuseum.com

If you have general ideas or feedback to share please feel free to use the comments feature below.

Discussion

6 comments
  1. Denise Meringolo says:

    The two things that come to mind are, first, the National Portrait Gallery which, I seem to recall, defines itself (at least in part) as a museum of biography and which has worked hard to balance history and art. Second, I think the city of Richmond –as described by Marie Tyler McGraw in a chapter in Slavery and Public History– has tried to figure out how to manage the space between art and history/ commemoration and interpretation.

  2. Denise Meringolo says:

    Hey! Did you notice Tawney Paul’s topic idea? You two should most certainly combine forces and put together a proposal for a session!

  3. Amy Lonetree says:

    It is really exciting to see a panel proposal that integrates visual culture studies and public history. This is long overdue and I imagine will inspire great conversations. I would be interested in participating as I am currently working on a visual history of the Ho-Chunk Nation drawing upon two photographic collections currently housed at the Wisconsin Historical Society. I’ve seen very few session panels on this topic and it is nice to see someone try to bridge visual culture studies and public history.

  4. Laura A Macaluso says:

    Hi Rebecca,
    Your panel proposal is of great interest to me, since I am the opposite of you–I am an art historian working with a traditional local history museum in New Haven, Connecticut. Thanks to the appointment of a new director two years ago, using art to offer new interpretations of local history has been a large part of the agenda. So much so, in fact, that I am a bit worried that art is overtaking history! I would be interested in sharing some case studies from this new approach at the New Haven Museum, and also share insights about my own efforts at crossing the boundaries from a very narrow field of practitioners (art historians) to the more “open” environment of public history. As stated above, the other proposal from Tawney about the relationship of art to public history seems like a very good fit to yours. Best wishes, Laura

  5. Susan Knowles, Center for Historic Preservation, Middle TN State University says:

    Hi Rebecca,
    This is an important topic and I would be willing to propose a presentation for your session or be part of your roundtable discussion. I too, have worked to join the work of contemporary artists with history and historical context in my career. In some ways public history and public art have a lot in common, but there can also be major philosophical differences in terms of authority and audience perception. For an upcoming exhibition based on my dissertation work in material culture, I hope to find funding for a sculptor/sound artist (whose work is already in progress as an independent project) to create a piece that would stand on its own but be presented as a way to combine experiential learning with traditional interpretation in a museum exhibition.
    Susan Knowles

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