Section of particular interest:
In Plain Sight: Breaking the Textual Bind
Celeste-Marie Bernier, ‘A “Typical Negro” or a “Work of Art?” The
“inner” via the “outer man” in Frederick Douglass’s Manuscripts and
Daguerreotypes’
Fionnghuala Sweeney, ‘Visual Culture and Fictive Technique in
Frederick Douglass’ The Heroic Slave’
Lisa Merrill, ‘Exhibiting Race “Under the World’s Huge Glass Case”:
William and Ellen Craft and William Wells Brown at the Great
Exhibition in Crystal Palace, London, 1851’
Taylor & Francis Online :: Slavery & Abolition: A Journal of Slave and Post-Slave Studies – Volume 33, Issue 2.
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Author: Camara Dia Holloway
I am an art historian specializing in early twentieth century American art with particular focus on the history of photography, race and representation, and transatlantic modernist networks. I earned my PhD at Yale University in the History of Art Department.
Besides my leadership role as the Founding Co-Director of the Association for Critical Race Art History (ACRAH), I am recognized for my expertise on African American Art, particularly African American Photography, and as a seasoned consultant for exhibitions, museum collections, and symposia/lectures planning.
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