The seminar began with a question: How can we use works of art to explore difficult histories and better understand
present-day issues in historical perspective? We often associate looking at works of art as a pleasure, one
typically enjoyed by elite audiences. But if we look closely and carefully at paintings, drawings, prints and
photographs—and even works such as maps and magazines not usually considered to be ‘art’—we
can all find powerful traces of the beliefs and practices of earlier generations. Looked at this way, museums become
as important as libraries and websites for understanding the past.
Histories of Art, Race and Empire: 1492-1865 addressed a key question of our times: how have race and
ethnicity been understood throughout the history of North America, and how can works of art help us understand and
critique this history? Each Fellow brought a different perspective to this, as well as distinctive training,
expertise and knowledge rooted in local communities. We began with a round-table discussion in which all the Fellows
reflected on the demographic and political contexts within which they were working, revealing a patchwork of
differing experiences sewn together by deep concern for a generation of students who had experienced the Covid-19
pandemic and the profound racial reckoning immediately occasioned by the murder of George Floyd on May 25, 2020, but
reflecting decades, indeed centuries, of inequality.
The seminar made distinctive use of original historical materials available on Yale’s campus, in New Haven and
elsewhere in Connecticut, to explore these troubling questions. We spent the second half of every session in either
the Yale University Art Gallery or the Yale Center for British Art, confronting and discussing works on the basis of
readings and classroom discussion in the first half of the session. The intention was not to limit the relevance of
curriculum units to those teaching within reach of Yale – quite the opposite. All the images of works in
Yale’s collections are available on line for use by anyone, anywhere, free of charge. Rather, the idea of the
seminar was to model the importance of working with real historical items, a practice suggesting the possibilities
for teachers across the country to use local museum collections and historic sites for teaching. We focused on how
to look closely and critically at images, objects and buildings in order to enhance students’ historical and
social understanding, their ability to relate past to present and to take the visual and material deposits of
history as seriously as the written word. In a world where images on screens are dominant, skills of visual
analysis and critique are ever more crucial.
Museums are by no means neutral institutions, however, as Amanda Pigott McMahon demonstrates in her curriculum unit
Curator as Detective: Looking for Missing Stories in Museums. A series of ingeniously designed projects and
classroom exercises encourage students to uncover the history of museum collections and to challenge the
ideologically freighted presentation of the past. Questions of restitution, not just of human remains, but of
culturally sensitive or looted items, are a hotly contested topic in contemporary museology and Amanda’s
curriculum unit allows high school students to participate in that critical thinking.
We began by looking at the history of the British Empire, beginning with early efforts at colonization and encounters
with Indigenous Americans in the sixteenth century. Here we turned to works of art created by Indigenous
people as well as representations of Indigenous life made by explorers and settler-colonists. In her curriculum unit
offering imaginative new approaches to The Crucible for high-school students, Tara Cristin McKee turned to
early American material culture, to colonial domestic objects and to early printed ephemera such as witchcraft
pamphlets. These objects vividly enshrine the lived experience of people in seventeenth-century America,
reflecting the hardships of life and the profoundly-held beliefs of the settlers. The denunciation of witches
(“a girl gang like no other” in Tara’s witty phrase) found obvious parallels with the horrific
bullying rhetoric so common in social media today. The distance between the 1690s and 2020s can seem to melt
away. JD DeReu’s curriculum unit similarly mobilizes the visual as part of a powerful strategy to engage
students with the life, and the words, of an enslaved woman of the British Empire, Mary Prince. By supporting and
enhancing The History of Mary Prince with a range of visual imagery, JD’s aim is that students will
“see the enslaved people as individuals worthy of empathy, develop a respect for their struggle, and recognize
the contribution they made to the trans-Atlantic world.” His curriculum unit is effective in its inclusion of
the recent history of Confederate monuments in Richmond and the work of graffiti artists as a commentary on racial
politics in our time. These contemporary events speak directly to the questions raised by Mary Prince’s
writings of two centuries ago.
Indigenous experience in North America is the key to a powerful curriculum unit developed by Jennifer Tsosie, a
member of the Diné Nation who turned to photographs of the Navajo Long Walk of 1868. Confronting these
moving, beautiful but often tragic images serves as a way to allow today’s Navajo children to engage with, and
empathize with, the experience of their forefathers. As Jennifer explains, “Navajo children on the Navajo
reservation live in two cultures; traditional Navajo and westernized U.S. culture. They have to navigate, function,
and incorporate the two worlds.” Art and material culture, craft traditions and inherited symbols and designs,
can enhance the sense of traditions continuing and thriving in modernity.
The seminar’s discussions covered a broad sweep of time and Raymond Marshall’s curriculum unit,
“Colours of Humanity: American representations of the ‘Other’” takes up the challenge of a
longue durée, examining the representation of Indigenous life, as seen through both art by the
colonial powers and by Indigenous peoples in North America and Africa. By presenting a carefully curated corpus of
objects and images, the curriculum unit allows students to consider how visual representations serve to define, and
sometimes to disrespect, people whose positionality places them as an “other” to the dominant or
aggressive power. Melissa Muntz’s curriculum unit, addressed to students in US History and Ethnic
Studies, likewise juxtaposes the experience of Black and Indigenous people since the founding of the United States.
The unit, “Clothing and Identity in Early America: Black Women and AmerIndian Men,” makes extensive use
of visual documents. It teaches high school students to look closely at images that could easily be swiped aside
with a finger on a touch screen, and to find encoded in them traces of historical constructions of both race and
gender. It draws attention to clothing as an expression both of shared culture and of individuality. The unit
teaches students that images do not simply mirror the appearance of things and people in the past, but rather bear
the ideological imprint of the artist and the social point of view of dominant fractions of society.
The seminar looked beyond the landmass of North America. We discussed histories of slavery in the Atlantic, noting
Paul Gilroy’s formation “the Black Atlantic,” a space of violation and forced migration, but one,
too, where new diasporic cultural forms were born. Brittany Zezima Dilworth’s curriculum unit, fostering the
teaching of French to middle school students, looks to the Francophone Caribbean and Africa not as peripheries to
the “center” in France, but as a dynamic global region with a lively visual culture. Describing vibrant
works of art such as Laurent Casmir’s Carnaval Haiti will allow students to develop their use of
adjectives and skills in describing.
Visual materials can provide a stimulating device to encourage students to engage with and interpret literary texts.
Thinking through the challenges and rewards of teaching in an “overwhelmingly Black school” in West
Philadelphia, TJ Holloway’s richly theorized curriculum unit explicitly recognizes that “in our present
moment, image and narrative are sites of struggle.” The unit juxtaposes Othello (c.1603) by William
Shakespeare with works of art including The Miracle of the Relic of the True Cross on the Rialto Bridge by
Vittore Carpaccio (c.1496), thinking through representations of civic life and the Black figure within that context,
in Renaissance Venice and in modern Philadelphia. The course then pivots to a contemporary Indigenous novel,
There, There (2018) by Tommy Orange, juxtaposed with paintings by Native American artists. Students will,
in response, journal to the question: “Have you ever felt like a target?”.
In a unit focusing on a single masterpiece of African-American drama, August Wilson’s Gem of the
Ocean, 1904, which is in large part a meditation on the legacies of slavery, Renee Patrick Mutunga uses
visual materials to evoke and discuss the larger historical context for high school students. Wilson’s play is
set in 1904. Some of the iconic materials she juxtaposes with Wilson’s text derive from the era of the slave
trade, such as the shocking engraving Description of a Slave Ship published by the London’s Society
for the Abolition of the Slave Trade in 1789. Others such as Kerry James Marshall’s Voyager offer
contemporary Black artists’ reflections on these traumatic histories. Finally, historic photographs of the
Pittsburgh locations that form the setting for Wilson’s play add documentary evidence. The creation of a
portfolio of visual comparators opens up possibilities for classroom discussion of the themes embedded in Gem of
the Ocean.
Adriana Lopez’s curriculum unit vividly illuminates race relations in the United States from the time of
Frederick Douglass to the present, using primary texts from Douglass’s own words to Childish Gambino’s
2018 song, “This is America,” which gives the unit its title. The unit, intended for grades 11 and 12,
attends to “Images and Histories of Racism and Exploitation.” By mixing media, from prose essays to
Blues songs by Billie Holliday, street photography and contemporary music videos, the curriculum unit brings history
vividly to life and explains the deeply-rooted nature of current economic, social and political inequalities. Great
care has been given to the teaching strategies that will “strengthen student skills through a variety of
thought-provoking texts and materials,” with a particular emphasis on SEL (social-emotional learning).
Many of the teachers in the seminar imagined new ways to bring the visual into a classroom where text was the
dominant mode. As an art teacher, Tina Berry’s challenge was to incorporate historical and political issues
into studio practice. Her tripartite structure examines representations of black lives across United States history,
Antebellum to the present, as seen from Tulsa, Oklahoma. Opening with a study of visual representations of
plantation slavery, it moves to the Harlem Renaissance, juxtaposed chillingly with the Tulsa Race Massacre whose
memory is still a vivid part of the local community’s imaginary, and concluding with the work of current Black
artists. Students are prompted to respond by learning about the media used in the artworks studied: wood engraving,
mural painting and textile collage. Here the visual arts offer a means of responding to historical and contemporary
questions of identity.
On a personal note, let me conclude by adding that two weeks of intensive discussion of Histories of Art, Race
and Empire: 1492-1865 with a group of committed, expert and profoundly engaged teachers offered many
revelations and insights that I will carry into my own classroom. We shared discussion of many of the challenges
faced by public school teachers in terms of resources, ideological intervention from school boards and students
still impacted by Covid-19. But above all I was hugely impressed by the resilience, creativity and commitment to
professional innovation shared by an extraordinary group of educators.