New Bedford, Massachusetts, 2001; central image based on a cabinet card photograph by Matthew Brady taken in Washington D.C. in 1876, left-side image based on a daguerreotype by Edward White taken in New York City in 1844, right-side image based on a frontispiece engraving by J.C. Buttre from 1855 made from a lost daguerreotype; CC BY-NC-ND.
(African American neighbourhood), Philadelphia, Pennsylvania, 2002; based on acopy print from a lost daguerreotype taken in 1857; CC BY-NC-ND.
California, 2005; Douglass with Martin Luther King Jr., Rosa Parks, Sojourner Truth, Malcolm X and others, based on a daguerreotype made in 1853; CC BY-NC-ND
Philadelphia, Pennsylvania, 2006; Douglass coin alongside an Abraham Lincoln coin and an antislavery coin, based on a cabinet card photograph made by John Howe Kent in Rochester, New York, in 1883; CC BY-NC-ND.
2011; based on a copy print from a lost daguerreotypetaken in 1857; CC BY-NC-ND.
Northern Ireland, 2011; created by a community group of young adults from both sides of the Belfast interface, coordinated by community relations officer Marion Weir, after Dan Devenny’s New Bedford mural (see image 8) and the original Belfast mural also by Devenny (2006), central image based on a cabinet cardphotograph by Matthew Brady taken in Washington D.C. in 1876, left-side image based on a daguerreotype made in 1853; CC BY-NC-ND.
Avenue, Rochester, New York, 2013; older Douglass based on a photograph taken in 1884, younger Douglass based on a daguerreotype by Samuel J. Miller made in Akron, Ohio, in 1852; CC BY-NC-ND.
These textiles explore the influence of content, cloth and context on viewer perceptions. The images were developed to create a visual narrative about the experiences of John Edgar Bell, a Quaker and conscientious objector in WW1.
Underpinning the project was the concept of ‘practice-based research’: the idea that new forms of knowledge might be generated about texts, ideas, and spaces by recreating historical performances, over and above those created by literary, archival, or archaeological research alone. In this case we aimed to see what additional understandings of Lyndsay’s Satire and the culture which produced and received it could be created by performing a version of the 1540 interlude in its original setting in Linlithgow Palace and in Stirling Castle, and the 1552 text in Linlithgow Palace’s grounds, known locally as the Peel. Intensive rehearsals in Glasgow and Linlithgow brought together academics and theatre professionals to work on the script, set design, and costumes over five months from January to May 2013.