In the wake of the white-supremacist terrorism of August 11-13, we wish to highlight and paraphrase some of the comments of Ian Baucom, Dean of Arts and Sciences:
Be assured that the Art Department remains a space where all can pursue the dialogue that counters the lies of racism, anti-semitism, homophobia, and nativism.
We are prepared to stand up for and support those who have been singled out as targets for hatred. The courage of free thought opposing cowardice and bigotry endures and persists here despite violence.


Aquatint Empires

This project considers the importance of what used to be known as "English Coloured Books" to the conceptualization and visualization of the British Empire. Particular attention will be given to aquatint as a medium, and the ways in which this tonal intaglio process encouraged certain types of visual themes, historical narratives, and viewer responses. Making particular use of the J.R. Abbey collection of "Travel in Aquatint and Lithography" in the Yale Center for British Art, this project explores the production and reception of three ambitious and beautifully illustrated publications, Thomas Daniell's Hindoo Excavations (1803), William Alexander's Costume of China (1805), and Samuel Daniell's African Scenery and Animals (1804-5). What do these publications reveal about Britain's place in the world following the Treaty of Amiens? More broadly, this book considers seriality as empire; how did elaborate aquatint publications colour British visions of Africa, Asia, and beyond?