Acknowledgments
The idea for this project sprang from several different sources. Before coming to the Bowdoin College Museum of Art (BCMA), my scholarly work addressed issues of war, colonization, gender, and sexuality in painting and visual culture from nineteenth-century France and Britain. I found myself often reading about and considering the representation and even the representability of violence, not just in the time frame of the nineteenth century but in the present and recent past as well. Then, during a visit to Maine-based artist Josefina Auslender’s studio in my first months here, I was struck when she recounted that she rarely depicted war but that living through a terrifying conflict moved her to express her experiences through artmaking. In that moment, I began to be curious about others who may have similarly turned to art (and often education and activism) to shed new light and change minds about individuals experiencing adversity or violence.
Putting some framework to this idea and seeing through the multiple facets of this project were immense undertakings, and I could not have succeeded—or even started—without the guidance, support, labor, and patience of my colleagues at the BCMA. First of all, I want to thank Co-Directors Anne Collins Goodyear and Frank Goodyear, who not only gave me the opportunity to see through this project but also consistently offered their insights and careful consideration both when I was brainstorming ideas and when I was working through some tough decisions. Former Curatorial Assistant and Manager of Student Programs Sabrina Lin freely lent her expertise about Bowdoin faculty, staff, and resources, and was always ready for a conversation on the possibilities and limits of “global” contemporary art. I cannot adequately express my gratitude to Curator Casey Mesick Braun, who was an incredible mentor while being frequently down in the trenches with me on this project and with our other many duties and responsibilities. The numbers of meetings, emails, words of advice, reviews and re-reviews of texts, in addition to the advocacy and untold behind-the-scenes work cannot be quantified or overstated.
The physical, digital, and logistical aspects of this project were intricate and ever-shifting. Registrar and Collections Manager Laura Latman’s herculean efforts to deliver acquisitions and loans to the Museum have been critical. Preparator José Ribas and Assistant Preparator Jo Hluska were indispensable in all aspects of layout and installation, including designing the space, painting the walls, framing and hanging works of art, and offering guidance. Assistant Registrar Theresa Choi made all the reproductions on the website and in this publication possible. David Francis both helped make the website a reality and encouraged me to think deeply about what the exhibition’s digital form might accomplish. Jeanne Wilcox is responsible for the superb design of this publication. Associate Director of Finance and Operations Amy Morin orchestrated many of the logistical and informational aspects of this project, facilitating conversations across departments, making sure to keep everything on track and in budget, all while acting as a sounding board. Amanda Skinner, both in her previous position as Events Coordinator and now as Assistant Director of Marketing and Communications, has helped me with everything from buying supplies to designing the exhibition’s graphic presence, online content, and publication, as well as developing and implementing artist talks and symposia. I need also to thank Danyelle Morgado, who stepped in as Coordinator of Public Programs and never missed a step with getting these programs up and running.
I want to single out the contributions of two talented and thoughtful Bowdoin College students. Emily Jacobs ’23, now the BCMA’s Curatorial Fellow and Manager of Student Programs, played a crucial role when this project was in its early stages. In her senior year, her work with the Bowdoin Art Society to bring Samira Abbassy’s painting to the BCMA made a valuable addition to the exhibition. As she stepped into the position of Curatorial Fellow, she has continued to offer her insights and support. Julia Smart ’25 threw herself into researching and drafting gallery texts, tracking down books, crafting incisive questions for visitor reflection, and offering ideas and feedback throughout most of this process. She has provided invaluable assistance in the process of developing this project.
Essential support has also come from several Bowdoin College faculty members who have offered insights, excitement, and sometimes just a friendly ear, including Irina Popescu, Barbara Elias, Pamela Fletcher, Kate Gerry, Germán Cárdenas-Alaminos, Salar Mohandesi, and Zahir Janmohamed. Whether they know it or not, they have all played important roles in the intellectual development of this project and my development as a scholar. My dear friends and colleagues Seda Kayim and Sascha Crasnow provided valuable questions and feedback for this publication. They were always available by text or call whenever thorny conceptual questions arose. Susan Siegfried and Alex Potts continued to be my steadfast mentors even across the Pond. Alex played no small part in bringing Reza Aramesh’s sculpture to the BCMA.
Lastly but certainly not least, I must express my profound gratitude to the artists and colleagues at museums, galleries, and studios for their willingness and enthusiasm to collaborate, even when most of these working relationships began with a cold call email. Reza Aramesh was one of the first artists I approached about this project, and he quickly and warmly welcomed me to his London studio. The subsequent conversations with him and his associates Bjorn Stern and Luca Asta have greatly enriched this project. Special thanks must go to Hormoz Hematian and Sam Roknivand at Zaal Gallery for their tireless help to bring Aramesh’s work to Bowdoin campus. I want to thank Hayv Kahraman for her enthusiastic response to the project and to Elisabeth Sann at Jack Shainman Gallery, Samantha Marques-Mordofsky, and Virginia Shore, for making a loan of artwork possible. It has been a great pleasure to work with and get to know artists Anthony Viti, Soraya Zaman, Bradley Secker, Joshua Rashaad McFadden, and Tanja Hollander over the months and even years of this process. A special shout-out goes to Katie Hornstein for putting Anthony Viti and me in contact. Hugh O’Rourke, Chris Barton, and the staff at Garth Greenan Gallery deserve appreciation for their help securing a loan of works by Cannupa Hanska Luger.
Thank you to the Andrew W. Mellon Foundation for its generous support of this postdoctoral curatorial fellowship, the exhibition, and this publication.
And of course, thank you, visitors to the exhibition and readers of this essay, for entering into a dialogue with me on these compelling works of art and timely issues.
Sean J. Kramer
Andrew W. Mellon Postdoctoral Curatorial Fellow
Bowdoin College Museum of Art