Iconoclast Art History

Caro Fowler and Scott Nethersole discuss the evolving stakes of Renaissance art history amid the rise of “global” approaches. Rather than assuming seamless networks of exchange, Nethersole questions whether such frameworks can obscure the uneven, often disjointed nature of historical encounters, particularly in early European-African contact zones. The conversation revisits foundational disciplinary tools such as comparison and periodization, while considering how attention to moments of disconnection might reframe familiar narratives. Together, they reflect on the methodological and ethical challenges of writing art history that resists totalizing claims without abandoning interpretive ambition.

In this episode, Caro Fowler and Rob Slifkin discuss the paradox of the artist biopic, a genre Hollywood keeps returning to despite its frequent critical and commercial struggles. Drawing on films from Pollock to Basquiat and Final Portrait, they explore why these movies often feel constrained by historical accuracy, struggle to depict artistic genius, and lean into romantic myths of the solitary, suffering artist. Along the way, they unpack recurring themes like patronage, gender dynamics, and the tension between storytelling and education, ultimately asking what these films reveal not just about artists, but about Hollywood’s own aspirations, limitations, and fascination with the idea of art itself.

In this episode, Caroline Fowler speaks with Judith Noorman on the category of the “woman artist,” examining its limits within feminist art history while acknowledging its strategic value. Noorman’s research on the 17th-century Dutch art market challenges entrenched assumptions by demonstrating the central role of women not only as artists but as patrons and consumers, notably through a re-evaluation of archival evidence surrounding Johannes Vermeer and his likely patron Maria de Knuijt. By exposing gendered biases in the interpretation of documents such as wills and probate inventories, the episode highlights how historiography has systematically obscured women’s agency.

In this episode, Caroline Fowler is joined by former Clark/Oakley Humanities Fellow Darius Bost to unpack the enduring impact of Hortense Spillers’s 1987 landmark essay “Mama’s Baby, Papa’s Maybe.”  The conversation situates the essay within its historical context, including its critique of the Moynihan Report and its intervention in Black feminist and Black Studies discourse. They also reflect on why the essay continues to be widely cited—yet sometimes insufficiently understood—within art history and beyond. The episode considers how Spillers’s ideas open up possibilities for reimagining visual culture, embodiment, and Black queer futures today.

In this episode, Caroline Fowler engages former RAP fellow David Scott in a reflective conversation on generational consciousness, intellectual inheritance, and the shifting horizons of political and artistic imagination. What begins as an observation of a quiet rupture between senior scholars and emerging voices unfolds into a rich dialogue about the languages we inherit—and the ones we fail to share. Drawing on Scott’s formative experiences in post-independence Jamaica and his work founding the Caribbean journal of criticism Small Axe, the episode probes how different generations inhabit distinct temporalities shaped by hope, disillusionment, and the afterlives of historical transformation. This conversation invites listeners to reconsider what it means to belong to a generation, to inherit a past, and to imagine futures that remain, however tenuously, within reach.