Cheryl Finley
Biographic Data
| ID | 3922342 |
|---|---|
| NAME | Cheryl Finley |
| GIVEN NAMES | Cheryl |
| FAMILY NAME | Finley |
| SIGNATURE | FINLEY C |
| AFFILIATIONS | University of Würzburg |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 8 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 1990 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 2 |
Visualizing Protest
Women and Migration(s) II
Women and Migration(s) II draws together contributions from scholars and artists showcasing the breadth of intersectional experiences of migration, from diaspora to internal displacement. Building on conversations initiated in Women and Migration: Responses in Art and History, this edited volume features a range of written styles, from memoir to artists’ statements to journalistic and critical essays. The collection shows how women’s experiences …
Visualizing Protest
For Bisi Silva (1962–2019) Abstract This essay surveys a number of contemporary artworks that address the recent migrations and perilous water crossings of African people to Europe, made by artists of the African diaspora. Paying specific attention to the deployment of photography, time-based media, and installation, we argue that artists like Isaac Julien, Alexis Peskine, Romuald Hazoumè, and others disrupt the photojournalistic portrayals of Af…
Photography and the Archive
This essay uses the case of an album of tintype portraits from the late nineteenth century to discuss the role of curatorial care for the archivist, curator, contemporary artist and scholar. The notion of historical fiction is introduced as a strategy of curatorial care for the curator, art historian and artist through a combination of material culture analysis and creative writing
Committed to Memory
Committed to Memory: The Art of the Slave Ship IconCheryl FinleyOne of the most iconic images of slavery is a schematic wood engraving depicting the human cargo hold of a slave ship. First published by British abolitionists in 1788, it exposed this widespread commercial practice for what it really was--shocking, immoral, barbaric, unimaginable. Printed as handbills and broadsides, the image Cheryl Finley has termed the "slave ship icon" was easil…
Whales and Nations
Journal Article Whales and Nations: Environmental Diplomacy on the High Seas Get access Kurkpatrick Dorsey. (Seattle: University of Washington Press, 2013. xxii, 365 pp. $34.95.) Journal of American History, Volume 101, Issue 4, March 2015, Pages 1339–1340, https://doi.org/10.1093/jahist/jav045 Published: 01 March 2015
Visual Legacies of Slavery and Emancipation
Visual Legacies of Slavery and Emancipation Cheryl Finley (bio) The history and memory of slavery and emancipation endured in the bodies and lived experiences of both former slaves and the generations of black Americans born in slavery’s wake. The extent and meanings of black people’s freedom, in their daily lives and on the national stage, took shape unevenly, haltingly, and often incompletely. —Deborah Willis and Barbara Krauthamer The 150th an…
Schematics of Memory
Since the early 1990s, the contemporary visual culture of slavery has been defined increasingly by installation, performance, and time-based media. This is particularly so for visual artists who chronicle Caribbean catastrophic history using the slave ship as a key iconic signifier. Their works, while presenting a contemporary perspective on the slave trade, slavery, colonialism, or postcolonialism, seem to do so by calling upon the viewer to be …
Of Golden Anniversaries and Bicentennials
Authenticating Dungeons, Whitewashing Castles
Newman, the Snapdragon, and Natural Theology
Of Golden Anniversaries and Bicentennials
Whales and Nations
Journal Article Whales and Nations: Environmental Diplomacy on the High Seas Get access Kurkpatrick Dorsey. (Seattle: University of Washington Press, 2013. xxii, 365 pp. $34.95.) Journal of American History, Volume 101, Issue 4, March 2015, Pages 1339–1340, https://doi.org/10.1093/jahist/jav045 Published: 01 March 2015
Committed to Memory
Committed to Memory: The Art of the Slave Ship IconCheryl FinleyOne of the most iconic images of slavery is a schematic wood engraving depicting the human cargo hold of a slave ship. First published by British abolitionists in 1788, it exposed this widespread commercial practice for what it really was--shocking, immoral, barbaric, unimaginable. Printed as handbills and broadsides, the image Cheryl Finley has termed the "slave ship icon" was easil…
Newman, the Snapdragon, and Natural Theology
Authenticating Dungeons, Whitewashing Castles
Of Golden Anniversaries and Bicentennials
Schematics of Memory
Since the early 1990s, the contemporary visual culture of slavery has been defined increasingly by installation, performance, and time-based media. This is particularly so for visual artists who chronicle Caribbean catastrophic history using the slave ship as a key iconic signifier. Their works, while presenting a contemporary perspective on the slave trade, slavery, colonialism, or postcolonialism, seem to do so by calling upon the viewer to be …
Visual Legacies of Slavery and Emancipation
Visual Legacies of Slavery and Emancipation Cheryl Finley (bio) The history and memory of slavery and emancipation endured in the bodies and lived experiences of both former slaves and the generations of black Americans born in slavery’s wake. The extent and meanings of black people’s freedom, in their daily lives and on the national stage, took shape unevenly, haltingly, and often incompletely. —Deborah Willis and Barbara Krauthamer The 150th an…
Whales and Nations
Journal Article Whales and Nations: Environmental Diplomacy on the High Seas Get access Kurkpatrick Dorsey. (Seattle: University of Washington Press, 2013. xxii, 365 pp. $34.95.) Journal of American History, Volume 101, Issue 4, March 2015, Pages 1339–1340, https://doi.org/10.1093/jahist/jav045 Published: 01 March 2015
Committed to Memory
Committed to Memory: The Art of the Slave Ship IconCheryl FinleyOne of the most iconic images of slavery is a schematic wood engraving depicting the human cargo hold of a slave ship. First published by British abolitionists in 1788, it exposed this widespread commercial practice for what it really was--shocking, immoral, barbaric, unimaginable. Printed as handbills and broadsides, the image Cheryl Finley has termed the "slave ship icon" was easil…
Visualizing Protest
For Bisi Silva (1962–2019) Abstract This essay surveys a number of contemporary artworks that address the recent migrations and perilous water crossings of African people to Europe, made by artists of the African diaspora. Paying specific attention to the deployment of photography, time-based media, and installation, we argue that artists like Isaac Julien, Alexis Peskine, Romuald Hazoumè, and others disrupt the photojournalistic portrayals of Af…
Photography and the Archive
This essay uses the case of an album of tintype portraits from the late nineteenth century to discuss the role of curatorial care for the archivist, curator, contemporary artist and scholar. The notion of historical fiction is introduced as a strategy of curatorial care for the curator, art historian and artist through a combination of material culture analysis and creative writing
Visualizing Protest
Women and Migration(s) II
Women and Migration(s) II draws together contributions from scholars and artists showcasing the breadth of intersectional experiences of migration, from diaspora to internal displacement. Building on conversations initiated in Women and Migration: Responses in Art and History, this edited volume features a range of written styles, from memoir to artists’ statements to journalistic and critical essays. The collection shows how women’s experiences …
History (9 works) · Archaeology (6 works) · History (6 works) · African history and culture studies (5 works) · Art (5 works) · Law (4 works) · Political science (4 works) · Sociology (4 works) · Diaspora (3 works) · Gender Studies (3 works)