The 'Greek slave' by Hiram Powers : a transatlantic object
- Submitting institution
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The University of Warwick
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 6261
- Type
- B - Edited book
- DOI
-
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- Publisher
- Association of Historians of Nineteenth-Century Art
- ISBN
- 0-00000-000-0
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2016
- URL
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http://www.19thc-artworldwide.org/summer16
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This special issue of Nineteenth-Century Art Worldwide is rooted in the exhibition Sculpture Victorious, which Hatt and co-editor Droth co-curated (with Jason Edwards of York University). This included Powers’ Greek Slave and re-located the work in a transatlantic geography, rather than the insistently American national frame that characterises the scholarship. While Sculpture Victorious was on show at the Yale Center for British Art, Hatt and Droth convened a symposium, to explore this question further. They subsequently invited some of the participants, with other authors, to contribute to the special issue, with a view to re-framing The Greek Slave conceptually. Hatt and Droth worked with authors to refine the focus of their contributions, and to ensure that the essays spoke to each other. They edited drafts, and worked with authors on subsequent revisions. Since this was a digital humanities issue of NCAW, Hatt and Droth helped to develop digital features, through a series of meetings with the journal’s editors, and then worked with contributors on digital aspects of research and presentation. They also created a set of hyperlinks, to signal connections among the essays and with external sources. In addition to his essay in the special issue, Hatt co-authored the Introduction with Droth. Together, they conceived its methodological framework and undertook the necessary historical research. While Droth was principally responsible for the digital features attached to the introductory essay, which reconstructed the journeys of the six full-size marble versions of The Greek Slave, Hatt took the lead on determining its historical and methodological content. Thus, rather than simply collating a set of essays addressing a particular theme, Hatt co-conceived and led a coherent historical project, which offered both a new model for thinking about sculpture’s mobility and a template for presenting this in digital form.
- Author contribution statement
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- Non-English
- No
- English abstract
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