Roundtable: New York’s Original Fashion Industry

Roundtable: New York’s Original Fashion Industry

This Colonial Couture post is by guest contributor William Howard Carter, assistant professor of history at The College of New Jersey. He is currently revising his book manuscript, “The Hideous and the Beautiful: The Power of Bodily Decorations in Iroquoia, 1550-1850.” 

The Treaty of Penn with the Indians (Benjamin West, 1771-72)

The Treaty of Penn with the Indians (Benjamin West, 1771-72)

When was the fashion industry established in New York? With its eye towards the future and its accolades bestowed on the visionaries that best imagine the trends to come, it is hard for us to think of the fashion industry as anything but modern. Fashion tantalizes us with glimpses of the future that are not yet real but could, through the power of fashion, soon be made so. Yet those visions of possible futures are rooted in history. In Manhattan, that history stretches back over 400 years, before the supposed purchase of the island of Manhattan by Dutch colonists. Continue reading

Roundtable: Colonial Couture

Roundtable: Colonial Couture
juntofashion1

Christian Dior (2011) and Dorothy Quincy Hancock Scott (ca. 1772)

You’re invited…to The Junto’s first roundtable on fashion as history in early American life. In step with New York Fashion Week, we’ll present a new perspective daily on how the material question of “what people wore” shaped personal politics and national identity. We’re, er, bursting at the seams with guest contributors, so watch this space for a new post (or two!) every day. Thanks to a diverse array of scholars, over the next week we’ll get a better look at the sartorial identities of the enslaved; explore Native Americans’ role in the textile trade; take in the view from Benjamin Franklin’s Versailles; meet the artisans who bound up the loose threads of Atlantic World couture; and more. Continue reading

Reminder to join the conversation “Where Historians Work: A View from Early America”

Reminder to join the conversation “Where Historians Work: A View from Early America”

Do you hold a PhD titlesin early American history/literature/architectural history/art history/etc. or a related field, and have you chosen a career outside of the professoriate? The Junto wants to hear from you! There’s still time to participate in our conversation, “Where Historians Work: A View from Early America.”

Leave your stories in the comments of this post. Or, if you would prefer a less public forum, you may email The Junto (thejuntoblog@gmail.com) with the subject line “Career Diversity.” Please post comments or email by Friday, February 17. Continue reading

Where Historians Work: A View from Early America

Where Historians Work: A View from Early America

where-historians-work_graphicRecently the American Historical Association published Where Historians Work: An Interactive Database of History PhD Career Outcomes, “the only interactive, discipline-specific, and cross-institutional database of career outcomes for PhDs.” Using data collected from AHA directories and on the web, “Where Historians Work” presents a robust statistical overview of the varied employment sought by History PhDs from more than 30 degree-granting intuitions. For those historians who have long held positions outside of the academy, the database, part of the AHA’s broader Career Diversity for Historians initiative, is a welcome acknowledgement of what many have known anecdotally for years: History PhDs can—and do!—work in an array of fields.

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Q&A with James Alexander Dun

dangerous-neighborsJames Alexander (Alec) Dun is an Assistant Professor of History at Princeton University. He has published articles in the William and Mary Quarterly and the Pennsylvania Magazine of History and Biography, as well as a number of chapters in edited volumes on race and identity, radicalism and revolution, slavery and antislavery. His first book, Dangerous Neighbors: Making the Haitian Revolution in Early America (University of Pennsylvania Press, 2016), appeared last year. We are grateful that he took the time to answer some of our questions. Continue reading

Guest Post: Dress and West African Desire

Jessica Blake is a PhD candidate in U.S. History at the University of California-Davis, where she is completing a dissertation entitled, “A Taste for Africa: Imperial Fantasy and Clothes Commerce in Revolutionary-era New Orleans.” She is currently a dissertation fellow at the Winterthur Museum and Archive.

Linen Market, Dominica, by Agostino Brunias (1780), Yale Center for British Art

Linen Market, Dominica, by Agostino Brunias (1780), Yale Center for British Art

In 1808, the New Orleans trader John Joly placed an advertisement in the Moniteur de la Louisiane for a shipment of large Angola shawls (grands shals d’Angola), a rectangular cloth of African construction meant to drape over the shoulders. Joly marketed the cloth for the general consumer, making no indication that he considered it a product intended solely for use by enslaved or free people of color.[1]
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Reflecting on Digital History

digital-clioLast semester, I taught my first section of Digital History, following my participation in the 2016 NEH Doing Digital History Institute. The program, which is headed by Sharon Leon and Sheila Brennan of George Mason University’s Roy Rosenzweig Center for History and New Media, is designed for mid-career historians who come from institutions with little infrastructure or support for DH professional development. Owing to my library science background, I came to the Institute with a strong technological background, but the two weeks I spent in Arlington, Virginia last July definitely made me rethink my approach to digital history pedagogy. Continue reading

Guest Post: Janine Yorimoto Boldt, “Looking at Early American (Art) History”

Janine Yorimoto Boldt is a PhD candidate in American Studies at the College of William & Mary. She is writing a dissertation that explores the social function of domestic portraiture in Virginia between Bacon’s Rebellion and the American Revolution.

1956-561“Why should a historian read your dissertation? How can portraits tell us something new, rather than confirm what historians already know?”

The historian on my dissertation committee posed these questions during my prospectus colloquium. They haunt me when I sit in the archive and now it hangs over my head while I write. These questions only enhanced the feeling of the disciplinary divide between art history and history that I already observed. One of my comprehensive exam fields was early American cultural history. Reading early American history, I noticed how few historians engage art historical scholarship. Usually, the art histories are relegated to the footnotes as an obligatory afterthought. For example, after mentioning the fact that so-and-so had a portrait a footnote reads, “for more information on portraiture in the colonial period, see these [three sources here].”

To be fair, in the field of art history, there are few recent monographs that focus on early American art, and fewer that are object-centric. Wendy Bellion’s Citizen Spectator: Art, Illusion, and Visual Perception in Early National America (2011) and Jennifer Roberts’ Transporting Visions: The Movement of Images in Early America (2014) are recent and excellent studies of early art that place the object at the center of their analyses. Several cultural historians write about artists or write histories that revolve around art objects, but they tend to circle around the object instead of engaging in deep material and visual analysis. Biographical information about producers and consumers take center stage, rather than foreground the art as an agent. In the field of early American art, especially the colonial period (and on artists other than John Singleton Copley), there is a lot more work to be done.

When asked about current trends in historical scholarship, a recent visiting historian on campus told graduate students that we need to engage more with visuals. When they said this I was thrilled! I agree! Then, they said, “but not how to do visual analysis. That’s not important.” Why not? Why do so many historians dismiss the importance of the visual? Surely images can function as more than “wallpaper” and portraits can be used as more than illustrative of a historical figure’s likeness. At another event, after presenting an argument based on visual analysis of a woman’s portrait, a historian told me to “stick to evidence” from documents. However, this woman left virtually no archival evidence. All that she left to posterity was her portrait, and an unusual one at that. Do I not have an obligation as an historian to interpret this piece of historical evidence to the best of my ability in order to tell her story? Doesn’t the portrait count AS evidence in and of itself?

Certainly there are some disciplinary divisions in training and method. However, as the humanities become increasingly interdisciplinary, I hope that the divide between history and art history closes a bit and more historians choose to engage with art. We live in a hyper-visual world and historians can help students learn to think critically about historical images to prepare them for critically engaging with contemporary media. With that in mind, here are some suggestions for incorporating art into history classes and scholarship:

Discuss images in class. I have seen many historians use PowerPoints with images in lectures and presentation. Do more than use the images as simple illustrations. Pick a key image and dissect it as you would a primary source document. Ask questions like:

  • Where was it displayed? What does that say about visibility the intended audience?
  • How was it meant to be seen? Is it a small image meant to be held close? Was it part of a set of images? Was it a large statement piece?
  • Who made it? Who commissioned it? Why?
  • What can the image tell us about this event/person/culture that written documents cannot?

Think about assigning images as primary documents. In assignments that involve analyzing a primary source, consider using a image as an option. Or, consider pairing an image and a document.

Think critically about whether the image you include is appropriate. Are you using a images from the 1850s to illustrate an event in the 1770s? Include an image caption that references, at minimum, the date of creation and the artist. Dates matter!

Use images as evidence. Images are forms of material culture and are cultural texts. If your research brings you to images, try to do more than include them as “wallpaper” illustrations. Images are material, they are constitutive of culture, and visuality is formative.

As an American Studies graduate student, and an undergraduate with a double major in art history and history, I have taken a number of “traditional” history courses. Except for material culture seminars, I have not seen images used widely in the history classes. As an interdisciplinary scholar, I am interested in how other disciplines engage with art. Do you have any other suggestions for utilizing images? Do you regularly use images or assign art history texts?

Writing History As If It Matters (to Lots of People)

Writing History As If It Matters (to Lots of People)

tennessee_gentleman_portrait_of_andrew_jackson_by_ralph_e-_w-_earlIn a series of classic science fiction stories, Isaac Asimov imagined a scientific discipline called “psychohistory”: a way to predict the future of an interstellar empire. Psychohistory could not foresee individual choices, but it could supposedly predict collective behavior over the course of millennia. At one point in the Foundation series, however, a charismatic figure named the Mule threatened to upend psychohistory’s predictions: he was a mutant, acting in ways the original model could not anticipate. In the universe Asimov imagined, the Mule alone seemed to possess true individual agency. Resisting a powerful model of human behavior, he offered instead a story about a person.

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