Exhibits

The Adaptations of Augie March: A Novel by Saul Bellow, A Play by David Auburn, A Production Directed by Charles Newell, An Exhibition by Special Collections and Court Theatre

Exhibition Dates: April 29 — August 30, 2019
Location: Special Collections Research Center Gallery, 1100 E. 57th Street, Chicago, IL 60637

Rendering of costume for Augie March with blue shirt and blue pants

Sally Dolembo’s costume design for “The Adventures of Augie March,” final rendering of Augie March

Saul Bellow’s 1953 masterpiece, The Adventures of Augie March, launched his reputation as a novelist and established the future Nobel Laureate’s literary renown. In 2015, Court Theatre commissioned the Pulitzer Prize- and Tony Award-winning playwright David Auburn, AB ’91, to adapt Augie March for the stage. This exhibit showcases treasures from Special Collections Research Center’s Saul Bellow Papers in juxtaposition with materials generated by theatre artists working toward Court’s May 2019 world premiere. On display are early handwritten drafts of Bellow’s novel; the original drafts of David Auburn’s stage adaptation; Charles Newell’s artistic notes and plans for building the world of the play; costume designer Sally Dolembo’s sketches; the mind-bending design work of shadow puppetry collective Manual Cinema; and John Culbert’s minimalist, non-literal design for a set capable of evoking disparate places. The exhibit invites visitors to step into the world of Augie March—as Bellow imagined it, Auburn adapted it, and Newell envisioned it on stage. 

Curator: Nora Titone, Dramaturg at the Court Theatre

Photo of David Auburn

David Auburn

 

Associated Production

The Adventures of Augie March
Court Theatre
May 9 — June 9, 2019

Use of Images and Media Contact

Images from the exhibition included on this page are available for download to members of the media and are reserved for editorial use in connection with University of Chicago Library exhibitions, programs, or related news. For more information and images, contact Rachel Rosenberg at ra-rosenberg@uchicago.edu or 773-834-1519.

Photo of Saul Bellow with his signature in passport

U.S. Passport, 1951, Saul Bellow Papers, Special Collections Research Center, The University of Chicago Library

The Fetus in Utero: From Mystery to Social Media

Exhibition Dates: January 2–April 12, 2019
Location: Special Collections Research Center Exhibition Gallery, 1100 East 57th Street, Chicago, IL

Diagram of fetus in utero

Du Coudray uses diagrams of the fetus in utero to help midwives-in-training see both the anatomical and emotional factors at play during pregnancy. Detail from Du Coudray, Abrégé de l’art des accouchements dans lequel on donne les préceptes nécessaires pour le mettre heureusement en pratique, 1777. RG93.L45 Rare. Special Collections Research Center, The University of Chicago Library.

Once restricted to the privacy of the doctor’s office, ultrasound images of the fetus are now immediately recognizable in the public arena through advertisements and social media, where posts tagged “baby’s first pic” are commonplace. Such depictions of the fetus in utero have become iconic and are arguably the most easily recognized medical image. How and why did this happen?

To answer this question, viewers are invited to embark on a 500-year visual journey, from Renaissance woodcuts to modern medical images. Along the way, they will encounter three major shifts in graphic representation. First, from 1450 to 1700, the fetus transformed from divine mystery to a topic deemed worthy of study. Second, from 1700 to 1965, the fetus achieved status as a medicalized subject whose visual ‘home’ was the obstetrical textbook. Third, from 1965 to the present, the fetus has achieved status in popular culture while maintaining its traditional medical role.

Through this rich visual culture, images of the fetus in utero have been used in the service of education, research, political agendas, patient-empowered medicine, and finally, entertainment. The images on view offer historical insights and a sweeping look at how the visual culture of the fetus in utero developed.

Hours: Mondays through Fridays, 9 a.m. – 4:45 p.m., and, when University of Chicago classes are in session, Tuesdays and Wednesdays, 9 a.m. – 5:45 p.m.

Curators

Brian Callender, MD, Assistant Professor of Medicine, The University of Chicago; and Margaret Carlyle, Postdoctoral Researcher and Instructor, Stevanovich Institute on the Formation of Knowledge, The University of Chicago

Life-size female manikin with fetus

This life-size female manikin served as a pedagogical tool for turn-of-the-20th-century medical students. Pilz anatomical manikin [female], [19–?]. New York: American Thermo-Ware Co. ffQM25.P545 19— RCASR. Special Collections Research Center, The University of Chicago Library.

Related Events

Curators’ Tours

Friday, January 4, 4:30–5 pm
Wednesday, January 23, 1:30–2 pm
Friday, February 8, 4-4:30 pm

1100 East 57th Street, Chicago, IL

Free 30-minute tours by the curators. Please meet in the front lobby of the Regenstein Library at the start time.

Opening Event

Thursday, January 24, 5–7 p.m.
5737 South University Avenue, Chicago, IL
This wine-and-cheese opening reception is hosted by the Stevanovich Institute on the Formation of Knowledge (SIFK).
RSVP required

Use of Images and Media Contact

Images from the exhibition included on this page are available for download to members of the media and are reserved for editorial use in connection with University of Chicago Library exhibitions, programs, or related news. For more information and images, contact Rachel Rosenberg at ra-rosenberg@uchicago.edu or 773-834-1519.

“Library Adventures in a Digital Age,” a history of medicine pop-up display

Library Adventures in a Digital Age

Join Dr. Mindy Schwartz, Professor of Medicine and Associate Program Director for Internal Medicine at the University of Chicago, in the Special Collections Research Center for a special pop-up display of rare medical history collections.

Library Adventures in a Digital Age:
Chicago Connections
Friday, October 26, 1:00 – 4:30 p.m.
Special Collections Research Center
Regenstein Library, 1st floor

View a selection of books and objects from our collections that enhance our understanding of the history of science and medicine, and learn how they can be used for research and teaching. A resource guide will be available.

For more information about the event, contact the Special Collections Research Center.

Place of Protest: Chicago’s Legacy of Dissent, Declaration, and Disruption

How have protesters in Chicago occupied space with their bodies, voices, and possessions? What do their strategies reveal about a protest’s purpose and message?

A large group of people with signs protesting

Strikers and sympathizers gather at Republic Steel rally, Chicago, Illinois, June 2, 1937. Source: Chicago History Museum.

Explore fifteen case studies of protest in Chicago spanning nearly 150 years of the city’s history in the Chicago Collections Consortium’s new digital exhibit, Place of Protest: Chicago’s Legacy of Dissent, Declaration, and Disruption, curated by Rachel Boyle, PhD.

From a makeshift bomb hurled into a crowd of police officers and laborers in Haymarket Square to a city-wide boycott of Chicago Public Schools in protest of continued segregation, the exhibit tells the stories of dissent among labor, civil rights, and antiwar protesters through archival images, documents, and oral histories curated from libraries and cultural institutions around Chicago. The interactive exhibit encourages navigation though a timeline of events as well as an interactive map that reveals how local declarations uniquely expressed national tensions and the ways in which memories of protest shape Chicagoans’ responses to urban conflict.

The University of Chicago Library contributed scans of items in its ACT UP Chicago collection to the Chicago Hilton and Towers, 1991 page of the web exhibit, which explores the ways the LGBTQ community asserted its needs outside a convention of medical professionals.

Protesters at Chicago HIlton and Towers, 1991

Nightlines Weekly, July 3, 1991. Source: ACT UP Chicago Records 1969 – 1996, University of Chicago.

About Chicago Collections and the University of Chicago Library

Chicago Collections is a consortium of libraries, museums, and other institutions with archives that collaborate to preserve and share the history and culture of the Chicago region.  The University of Chicago is a governing member of the consortium, and the University of Chicago Library’s Special Collections Research Center has contributed 356 archival finding aids describing collections that document Chicago urban history and 1078 digital images from its collections that depict Chicago urban settings and events in the city.

Censorship and Information Control

Censorship and Information Control: A Global History from the Inquisition to the Internet

The cover of the "Complete Unabridged" edition of George Orwell's "Nineteen Eighty-Four" with the title and author's name blacked out

In 2002 Penguin released this commemorative edition of “Nineteen Eighty-Four,” with the title and Orwell’s name blacked out as if censored, as a tribute to the book’s unique contributions to discourse about censorship. George Orwell. “Nineteen Eighty-Four.” New York: Penguin, 2002. On loan from Ada Palmer.

Exhibition Dates: September 17 – December 14, 2018
Location: Special Collections Research Center Exhibition Gallery, 1100 East 57th Street, Chicago, IL
Associated website: voices.uchicago.edu/censorship

Why do people censor? For ambition? Religion? Profit? Power? Fear? This global history of attempts to control or silence information, from antiquity’s earliest written records to our new digital world, examines how censorship has worked, thrived, or failed in different times and places, and shows how real censorship movements tend to be very different from the centralized, methodical, top-down censorship depicted in Orwell’s 1984, which so dominates how we imagine censorship today. From indexes of forbidden books, to manuscripts with passages inked out by Church Inquisitors, to comics and pornography, to self-censorship and the subtle censorship of manipulating translations or teaching biased histories, the banned and challenged materials in this exhibit will challenge you to answer: how do you define what is and isn’t censorship?

Hours: Mondays through Fridays, 9 a.m. – 4:45 p.m., and, when University of Chicago classes are in session, Tuesdays and Wednesdays, 9 a.m. – 5:45 p.m.

Free and open to the public.

Curator

Ada Palmer, Associate Professor History, The University of Chicago

Ada Palmer is a historian and novelist, who works on transmission of radical ideas in hostile intellectual environments. She specializes in the Renaissance and Enlightenment, but also looks from antiquity to modernity for patterns in the ways societies respond to unwelcome ideas.  Her publications include work on Lucretius and atomism in the Renaissance, on revivals of Platonism, Pythagoreanism, stoicism, and heterodox ideas about the soul and afterlife, and censorship of comic books in Japan after World War II.  She is also the author of the science fiction series Terra Ignota, which imagines censorship’s evolution into the 25th century.

Related Events

A public dialogue series brings together scholars of print revolutions past and present with practitioners working on the frontiers of today’s information revolution.  Eight dialogues will unite historians, editors, novelists, poets, and activists, and will be filmed and shared online, to let the public enjoy and continue the discussions.

Sessions are open to the public, and will take place Fridays from 1:30 to 4:20 pm on the University of Chicago Campus, in Kent Room 107, on October 5, 12, 19, 26, November 2, 9, 16, and 30.

Visit voices.uchicago.edu/censorship/dialogueseries/ for more information.

 

Use of Images and Media Contact

Images from the exhibition included on this page are available for download to members of the media and are reserved for editorial use in connection with University of Chicago Library exhibitions, programs, or related news.

For more information, contact Rachel Rosenberg at ra-rosenberg@uchicago.edu or 773-834-1519.

War, Trauma, Memory

Soldier in front of flag on cover of the Anzac Book

Cover, The Anzac Book. 1916. Special Collections Research Center, The University of Chicago Library.

Exhibition Dates: April 30 – August 31, 2018
Location: Special Collections Research Center Exhibition Gallery, 1100 East 57th Street, Chicago, IL

It seems an understatement to note that war is traumatic to those who experience it in any way, shape or form. The pieces in this exhibition reflect their creators’ experiences in wars from the 16th century through the present day. Each was published or made public by their creators; by that action the creator invites us into the captured moment. We see, not a moment of trauma itself but a time after that moment, whether that be seconds or years. In this exhibition, the trauma of war is represented by that very absence of trauma, through the experience creators share with viewers, listeners or readers.

Here, photographs by soldiers or journalists at the scene share space with expressions of the effect of war created at a greater remove. Events are recounted at a personal, intimate level as in portraits of families or on a grand scale: the destruction of Dresden. Over time, images retain their power but may no longer serve the purpose for which they were made. For example, some of the items were created to be propaganda and here are displayed as art or as a curiosity. At times an overt intent of the creator or bias of the image is evident, and at others we need to remind ourselves that creators may have emotions hidden even from themselves. With images of war, in particular, the observer’s relationships to the conflict will affect the ways in which the object is understood. How many recall the stakes of the 30 Years War?

Drawing of soldiers

Jean Louis Forain. Le Poilu psychologue, [1918]. Special Collections Research Center, The University of Chicago Library.

Anchoring the exhibition is Francisco Goya’s Los desastres de la guerra, a book of prints etched in the early 19th century, left unpublished until 1863 for fear of censorship. The suite of plates Goya created in response to suffering he witnessed during the Napoleonic wars is considered to contain the first eyewitness images of war reporting. The book is opened to Plate 44 “Yo lo vi” (I saw it).

Indeed “Yo lo vi”: the images, sculpture, poetry, and music here are haunted by the very absence of violence and the persistence of memory.

Hours: Mondays through Fridays, 9 a.m. – 4:45 p.m., and, when University of Chicago classes are in session, Tuesdays and Wednesdays, 9 a.m. – 5:45 p.m.

Free and open to the public.

Yo lo vi

Francisco Goya. Plate 44, “Yo lo vi,” Los desastres de la guerra, 1893. Special Collections Research Center, The University of Chicago Library.

Related Event

In the Wake of the Bombs: Germany, 1945

May 14, 5 p.m.
Regenstein Library, Room 122

Professor Françoise Meltzer will speak about the book she is currently completing on the bombing of Germany in World War II: Through a Lens, Darkly. The talk is based on a series of photographs of the ruins taken by her mother in 1945.

Meltzer is the Edward Carson Waller Distinguished Service Professor in the Humanities, Professor in the Divinity School and the College, and Chair of Comparative Literature.

Cost: Free

Use of Images and Media Contact

Images from the exhibition included on this page are available for download by members of the media and are reserved for editorial use in connection with University of Chicago Library exhibitions, programs, or related news.

For more information, contact Rachel Rosenberg at ra-rosenberg@uchicago.edu or 773-834-1519.

Science and Conscience: Chicago’s Met Lab and the Manhattan Project

Reunion of atomic scientists on the 4th Anniversary (1946) of the first controlled nuclear fission chain reaction, December 2, 1942, pictured in front of Bernard A. Eckhart Hall at the University of Chicago. University of Chicago Photographic Archive, apf3-00232, Special Collections Research Center, University of Chicago Library.

Exhibition Dates: February 19 – April 13, 2018
Location: Special Collections Research Center Exhibition Gallery, 1100 East 57th Street, Chicago, IL

On December 2, 1942, scientists at the University of Chicago produced the world’s first self-sustaining nuclear chain reaction beneath the West Stand of Stagg Field, the University’s athletic stadium. This experiment, crucial to the control of nuclear fission, drove a rapid nationwide expansion of the Manhattan Project, the secret federal research and engineering program charged with producing a nuclear bomb.

Chicago’s role in the Manhattan Project did not end with the successful operation the first nuclear reactor.  Buildings across the University of Chicago campus were converted for use by the code-named Metallurgical Laboratory.  The Met Lab conducted extended research on the structure of uranium, developed the process for separating plutonium from uranium, and investigated nuclear radiation’s biological effects and safety issues.  At the end of World War II, the Metallurgical Laboratory was transformed into the first United States federal laboratory, Argonne National Laboratory.

Chicago’s Met Lab also took the lead in organizing scientists’ political response to the devastation caused by atomic bombs at Hiroshima and Nagasaki.  Concerned about the future development and use of nuclear weapons, Met Lab veterans created the Atomic Scientists of Chicago and began publishing the Bulletin of the Atomic Scientists.  They joined scientists from other Manhattan Project sites across the country and pressed successfully in 1946 for the passage of the Atomic Energy Act (McMahon Act) and creation of the civilian Atomic Energy Commission.

The Met Lab scientists achieved great technical success in their contribution to the creation of a powerful new military weapon.  Yet the sobering consequences of their work moved them to enter the political arena and make the first critical arguments to control nuclear weapons and turn nuclear energy toward peaceful ends.

Based on archives and manuscripts in the Special Collections Research Center, Science and Conscience presents unique historical documents and artifacts, many not previously exhibited.  Items on display are drawn from records of scientists’ organizations and the papers of those who worked on the Manhattan Project and at Chicago’s Met Lab, including Enrico Fermi, James Franck, Herbert L. Anderson, Samuel K. Allison, Samuel Schwartz, Francis W. Test, Lawrence Lanzl, John H. Balderston, Jr., Albert Wattenberg, Eugene Rabinowitch,  Paul Henshaw, William B. Higinbotham, and Donald MacRae, among others.

Hours: Mondays through Fridays, 9 a.m. – 4:45 p.m., and, when University of Chicago classes are in session, Tuesdays and Wednesdays, 9 a.m. – 5:45 p.m.

Free and open to the public.

Use of Images and Media Contact

Images from the exhibition included on this page are available for download by members of the media and are reserved for editorial use in connection with University of Chicago Library exhibitions, programs, or related news.

For more information, contact Rachel Rosenberg at ra-rosenberg@uchicago.edu or 773-834-1519.

Red Press: Radical Print Culture from St. Petersburg to Chicago

The Red Press exhibition has been extended.
Exhibition Dates: September 25, 2017 – February 2, 2018
Location: Special Collections Research Center Exhibition Gallery, 1100 East 57th Street, Chicago, IL 60637

Socialist Revolution poster

“Long Live the Worldwide Socialist Revolution,” undated. Dr. Harry Bakwin and Dr. Ruth Morris Bakwin Soviet Posters Collection, The University of Chicago Library.

Samuel N. Harper, the first American scholar to have devoted a career to the study of Russia, was a first-hand witness to Russia’s revolutions of 1905 and 1917. An avid collector, over four decades, Harper built a unique archive that provides a street-level view of many of the historic events of the period. Broadsides, handbills and pamphlets attest to a long war of ideas—and to a decisive battle for explanatory power in the months leading up to the Revolution.

Presented on the centenary of the 1917 Russian Revolution, the exhibition also draws from other archives in Special Collections, including materials documenting the development of revolutionary print culture in the USSR, the spread of revolutionary ideas and methods from Russia to the Far East and to the streets of Chicago, and anti-revolutionary texts such as the fraudulent, anti-Semitic Protocols of the Elders of Zion. Together they allow us to trace visual genealogies from the political satire of the post-1905 period to the mortal derision of Stalinist propaganda in the 1930s and the HUAC hearings of the 1950s.

Curators (from University of Chicago unless otherwise indicated): Robert Bird, Professor, Department of Slavic Languages and Literatures and the Department of Cinema and Media Studies; Christy Brandly, Ph.D. student in Political Science; Monica Felix, graduate student in Comparative Literature; Erin Hagood, student in the College; Austin Jung, Ph.D. student in Comparative Literature; Zachary King, Ph.D. student in Russian Literature; Zdenko Mandusic, Assistant Professor, Saint Louis University; William Nickell, Associate Professor and Chair of the Department of Slavic Languages and Literatures; Claire Roosien, Ph.D. student in the Department of Near Eastern Languages and Civilizations and the Department of History; and Kaitlyn Tucker, PhD student in Slavic Languages and Literatures.

Hours: Mondays through Fridays, 9 a.m. – 4:45 p.m., and, when University of Chicago classes are in session, Tuesdays and Wednesdays, 9 a.m. – 5:45 p.m.

Free and open to the public.

Related Events

Socialist poster

“Here and There and Everywhere We’re Building Socialism!,” 1930. Dr. Harry Bakwin and Dr. Ruth Morris Bakwin Soviet Posters Collection, The University of Chicago Library.

Exhibition: Revolution Every Day
September 14, 2017 – January 14, 2018
Smart Museum of Art, 5550 S. Greenwood Ave., Chicago, Illinois 60637

Presented on the centenary of the 1917 Russian Revolution, this exhibition immerses visitors in the distinct textures and speeds of everyday life that arose—and have lingered stubbornly—in the wake of revolutionary upheaval. Revolution Every Day juxtaposes works of Soviet graphic art—primarily posters from the 1920s and 1930s, many by female artists such as Valentina Kulagina—with works on video and film, including excerpts from Dziga Vertov’s documentary films from the 1930s, post-Soviet videos by artists like Olga Chernysheva, as well as a new commission by Cauleen Smith.

Humanities Day—Guided Tour of Red Press: Radical Print Culture from St. Petersburg to Chicago
October 21, 12–1 p.m.
Special Collections Research Center, The University of Chicago Library, 1100 East 57th Street, Chicago, IL 60637

Trace the worldwide spread of revolutionary and anti-revolutionary media and ideas through rare printed sources. Professor and co-curator William Nickel leads a tour of the Bolshevik revolution of 1917 as it was waged through broadsides, pamphlets, periodicals, and posters.

Registration: This tour is full. If you would like to be added to the waitlist, please email humanities@uchicago.edu.

Revolutionology Workshop: The Bolshevik Contagion
November 3–4
Neubauer Collegium for Culture and Society, 5701 S. Woodlawn Ave., Chicago, IL 60637

Presenters at this two-day workshop, the first in a series sponsored by the Neubauer Collegium research project Revolutionology: Media and Networks of Intellectual Revolution, will focus on key texts and images emerging directly from the revolutionary struggle in Russia and the early Soviet Union.

Use of Images and Media Contact

Images from the exhibition included on this page are available for download by members of the media and are reserved for editorial use in connection with University of Chicago Library exhibitions, programs, or related news.

For more information, contact Rachel Rosenberg at ra-rosenberg@uchicago.edu or 773-834-1519.

Art in the Stacks: Selections from Special Collections

Exhibition Dates: June 19–September 15, 2017
Location: Special Collections Research Center Exhibition Gallery, 1100 East 57th Street, Chicago, IL 60637

Installation view: In the foreground: Edouard Benedictus’s “Nouvelles variations, soixante-quinze motifs décoratifs en vingt planches,” [1928?]. In the background: Henri Matisse’s “Jazz,” 1947. Special Collections Research Center, The University of Chicago Library.

 

The Special Collections Research Center is known for being the University of Chicago Library’s center for rare books, manuscripts, and university archives. Nestled within these materials, there is a lesser known aspect of our collections—art. Art in the Stacks highlights these holdings with a selection of original paintings, drawings, and sculptures, in addition to artists’ books and other works on paper produced in the 20th and early 21st centuries.

Stephen Longstreet’s collages

Installation view of Stephen Longstreet’s collages. Stephen Longstreet Collection. Special Collections Research Center, The University of Chicago Library.

Among the featured items are Picasso etchings, selections from Matisse’s Jazz book, pen and ink drawings by  Harold Haydon (PhB’30, AM’31), Professor Emeritus in Art, University of Chicago, and a bronze sculpture by Ruth Vollmer.

Hours: Mondays through Fridays, 9 a.m. – 4:45 p.m., and, when University of Chicago classes are in session, Tuesdays and Wednesdays, 9 a.m. – 5:45 p.m.

Use of Images and Media Contact

Images from the exhibition included on this page are available for download by members of the media and are reserved for editorial use in connection with University of Chicago Library exhibitions, programs, or related news.

For more information, contact Rachel Rosenberg at ra-rosenberg@uchicago.edu or 773-834-1519.

Tensions in Renaissance Cities

Exhibition dates: March 27 – June 9, 2017
Location: Special Collections Research Center Exhibition Gallery, 1100 East 57th Street, Chicago, IL 60637

Cicero. Philosophical treatises

Cicero. Philosophical treatises, ca. 1400. Ms. 956. Special Collections Research Center, The University of Chicago Library.

Venice, Florence, Rome, Mexico City, Geneva, London: the rapidly transforming cities of the Renaissance used art and literature to express their growing power, and growing pains. In the centuries of recovery after the Black Death, wealth, trade, and technology accelerated exponentially. Urban centers existed in a web of interdependence, in which the borders of fluctuating kingdoms were overlaid by geographies of mercantile connections, and information networks whose influence exploded with the arrival of the printing press. This new invention let news of new discoveries or disasters sweep through Europe in weeks, rather than years.

Moving geographically, this exhibit charts the interconnected tensions of great capitals from Venice to Mexico City. As Venice looked both eastward towards Islamic cultures of the Mediterranean and inward toward the microcosmic tensions of diversifying populations, Mexico City grappled with cultural and religious clashes between native Mesoamerican and imported European traditions. Florence and Rome looked backward toward the golden dream of antiquity and upward into a celestial geography. Magic, science, humanism and theology each played a role in filling in the blanks in current knowledge of the world and the universe. Concurrently, Geneva saw conflict in shifts from Latin to the vernacular and changing Calvinist and Catholic devotional practices, and London sought to establish itself as a major intellectual center that was both in dialogue with and distinct from continental centers.

Arch of Titus

“Arch of Titus.” Etching and engraving. Cavalieri, Giovanni Battista de’ Dosio, Giovanni Antonio, engraver [1569]. From the Speculum Romanae Magnificentiae, Special Collections Research Center, The University of Chicago Library.

 

The treasures presented in this exhibit from the Special Collections Research Center and Smart Museum of Art at the University of Chicago offer a look into the Renaissance not as a single, coherent cultural movement, but rather a set of many simultaneous and often contradictory developments across scholarship, politics, and religion. Many of the cultural, political, and religious tensions experienced during this period are just as relevant today. In an effort to create a neat narrative, the history of a period can be cleaned up too much. By examining the nuances and complexities of the early modern past, this exhibition hopes to shed light on just how messy history can be in both the past and the present.

Curators:  Ada Palmer, Assistant Professor, Department of History and the College, The University of Chicago; Hilary Barker, PhD student, Department of Art History, The University of Chicago; Margo Weitzman, MAPH’15, The University of Chicago

Hours: Mondays through Fridays, 9 a.m. – 4:45 p.m., and, when University of Chicago classes are in session, Tuesdays and Wednesdays, 9 a.m. – 5:45 p.m.

 

 

 

 

 

Related Events

Curator’s Open House for the Renaissance Society of America Conference

March 29, 2017, 12 noon – 5 p.m.
Special Collections Research Center, Regenstein Library, 1100 East 57th Street, Chicago

Curators Ada Palmer, Hilary Barker, and Margo Weitzman will be on hand to discuss and give tours of the exhibition Tensions in Renaissance Cities.

Free and open to the public.  Those attending the Renaissance Society of America Conference can sign up for transportation on the conference events page.

Library Society Lecture and Exhibition Viewing

May 10, 2017 – 5 p.m.
Special Collections Research Center Exhibition Gallery and Room 122, Regenstein Library, 1100 East 57th Street, Chicago

Lecture by Ada Palmer, Assistant Professor, Department of History and the College, The University of Chicago

Use of Images and Media Contact

Images from the exhibition included on this page are available for download by members of the media and are reserved for editorial use in connection with University of Chicago Library exhibitions, programs, or related news.