Exhibits

Exhibitions and Spring Art Books

This spring, we’re distributing three gorgeous art books that correspond with exhibitions at the Brooklyn Museum, the Nasher Museum of Art at Duke University, and the Black Mountain College Museum + Arts Center. We’re happy to extend the reach of these important and beautifully designed catalogues, published by each respective museum, and we hope you can make it out to an exhibition or two.

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Faith Ringgold (American, born 1930). For the Women’s House, 1971. Oil on canvas, 96 x 96 in. (243.8 x 243.8 cm). Courtesy of Rose M. Singer Center, Rikers Island Correctional Center. © 2017 Faith Ringgold / Artists Rights Society (ARS), New York

A landmark exhibition on display at the Brooklyn Museum through September 17, We Wanted a Revolution: Black Radical Women, 1965–85 examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism. It showcases the work of black women artists such as Emma Amos, Maren Hassinger, Senga Nengudi, Lorraine O’Grady, Howardena Pindell, Faith Ringgold, and Betye Saar, making it one of the first major exhibitions to highlight the voices and experiences of women of color. In so doing, it reorients conversations around race, feminism, political action, art production, and art history in this significant historical period.

The accompanying Sourcebook republishes an array of rare and little-known documents from the period by artists, writers, cultural critics, and art historians such as Gloria Anzaldúa, James Baldwin, bell hooks, Lucy R. Lippard, Audre Lorde, Toni Morrison, Lowery Stokes Sims, Alice Walker, and Michelle Wallace. These documents include articles, manifestos, and letters from significant publications as well as interviews, some of which are reproduced in facsimile form. The Sourcebook also includes archival materials, rare ephemera, and an art-historical overview essay. Helping readers to move beyond standard narratives of art history and feminism, this volume will ignite further scholarship while showing the true breadth and diversity of black women’s engagement with art, the art world, and politics from the 1960s to the 1980s.

We Wanted a Revolution is curated by Catherine Morris and Rujeko Hockley. In addition to the Brooklyn Museum, it will also be on display at the California African American Museum in Los Angeles from October 13, 2017, through January 14, 2018; the Albright-Knox Art Gallery in Buffalo, New York, from February 17, 2018, through May 27, 2018; and the Institute of Contemporary Art/Boston from June 26, 2018, through September 30, 2018. Find more details about the exhibition or purchase the Sourcebook.

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Nina Chanel Abney, Incite (COM), 2015. Unique ultrachrome pigmented print, acrylic, and spray paint on canvas; 48 x 36 inches (121.92 x 91.44 cm). Collection of Isis Heslin and Jacqueline T. Martin. Image courtesy of Kravets | Wehby Gallery, New York, New York. © Nina Chanel Abney.

Nina Chanel Abney: Royal Flush, an exhibition at the Nasher Museum of Art at Duke University, is a ten-year survey of one of the most provocative and iconoclastic artists working today. Abney is at the forefront of a generation of artists that is unapologetically revitalizing narrative figurative painting, and as a skillful story-teller, she visually articulates the complex social dynamics of contemporary urban life. Her works are informed as much by mainstream news media as they are by animated cartoons, video games, hip-hop culture, celebrity websites, and tabloid magazines. She draws on these sources to make paintings replete with figures, numbers, and words that appear to have tumbled onto the canvas with the stream-of-consciousness immediacy of text messages, pop-up windows, a Twitter feed, or the scrolling headlines of an incessant twenty-four-hour news cycle. By engaging loaded topics and controversial issues with irreverence, humor, and lampooning satire, Abney’s works are both pointed contemporary genre scenes as well as scathing commentaries on social attitudes and inequities.

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Abney poses with her work First and Last, part of the Nasher Museum’s collection and featured in the exhibition Nina Chanel Abney: Royal Flush. Photo by J Caldwell.

Abney’s first solo museum exhibition, Royal Flush comprises the artist’s large-scale paintings, along with smaller collages and watercolors. While her work has strong ties to important modernist forebears such as Robert Colescott, Stuart Davis, Romare Bearden, and Faith Ringgold, among others, its distinct and arresting visual articulation of the human condition is inherently suited to the rapid-fire and unceasing quality of the Digital Age. Her dense and colorful iconography, a skillful engagement with serious issues, and the provocative way in which she addresses them has brought this young artist increasing critical acclaim in the contemporary art world.

Royal Flush is on display at the Nasher Museum through July 16. The exhibition will travel to the Chicago Cultural Center (February 10–May 6, 2018) and then to Los Angeles, where it will be jointly presented by the Institute of Contemporary Art, Los Angeles, and the California African American Museum (September 23, 2018–January 20, 2019). The final venue for the exhibition is the Neuberger Museum of Art, Purchase College, State University of New York (April 7–August 4, 2019).  Learn more about the exhibition or buy the catalogue.

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Jonathan Williams, Beauty and the Beast: Joel Oppenheimer and Francine du Plessix Gray, Black Mountain College, 1951, gelatin silver print. Black Mountain College Museum + Arts Center Collection. Gift of the Artist. Courtesy of Yale Collection of American Literature, Beinecke Rare Books and Manuscript Collection. Permission to reproduce courtesy of Thomas Meyer.

During its relatively brief existence (1933–1957), Black Mountain College was an experimental liberal arts college that placed the arts at the center of its curriculum. Its faculty included leading members of the American avant-garde such as Josef and Anni Albers, John Cage, Merce Cunningham, Buckminster Fuller, Charles Olson, and Robert Creeley. While Black Mountain College is best known for its contributions to the visual arts, literature, music, and dance, Begin to See: The Photographers of Black Mountain College, curated by Julie J. Thomson, shows how photography was also an important part of the curriculum. Photography began as an informal workshop in the 1930s and was taught through 1953. Josef Albers and Hazel Larsen Archer played important roles in this, including inviting many notable photographers to teach during the college’s summer sessions.

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Nancy Newhall and Anni Albers, Untitled (Photogram), 1948, vintage gelatin silver print. ©1948, Nancy Newhall, ©2017, the Estate of Beaumont and Nancy Newhall. Permission to reproduce courtesy of Scheinbaum and Russek Ltd., Santa Fe, New Mexico. Courtesy of the Josef and Anni Albers Foundation.

While thousands of photographs were made at Black Mountain College, there has not been a detailed examination of photography at the college. Begin to See is the first in-depth exhibition and catalog devoted to this topic. Organized around the themes of Available Light, Bearing Witness, Performing for the Camera, Experimentation, and Place, this catalog includes essays, photographer biographies, and a chronology about photography at Black Mountain College. It features over 100 photographs by more than forty artists including Josef Albers, Hazel Larsen Archer, Harry Callahan, Robert Haas, Barbara Morgan, Beaumont Newhall, Nancy Newhall, Andy Oates, Robert Rauschenberg, Aaron Siskind, Cy Twombly, Stan VanDerBeek, Susan Weil, and Jonathan Williams.

Read more about the exhibition, on display through May 20 at the Black Mountain College Museum + Arts Center, or purchase the catalog.

Society for Cinema and Media Studies, 2017

We spent last weekend in Chicago for the 2017 Society for Cinema and Media Studies conference—it was wonderful to see authors, sell books and journals, and celebrate prize-winning books!

Allison McCracken’s Real Men Don’t Sing was a co-winner of the Best First Book Award. Birth of an Industry by Nicholas Sammond received the 2017 Award of Distinction for the Katherine Singer Kovács Book Award, and Homay King’s Virtual Memory received the 2017 Award of Distinction for the Anne Friedberg Innovative Scholarship Award. Congratulations to these outstanding authors!

In case you missed seeing our authors at the conference, we snapped a few photos:

Nicholas Sammond and Michael Boyce Gillespie

Birth of an Industry author Nicholas Sammond with Film Blackness author Michael Boyce Gillespie

Rosalind Galt and Karl Schoonover

Queer Cinema in the World authors Rosalind Galt and Karl Schoonover

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Award-winning author Homay King with Virtual Memory

Nicholas Sammond

Nicholas Sammond with his award-winning book Birth of an Industry

You can still order books from our website using the conference discount—just use coupon code SCMS17 at checkout for 30% off your order!

Association of Asian Studies, 2017

This past weekend, we enjoyed meeting authors and selling books and journals at the Association for Asian Studies Annual Conference in Toronto.

Congratulations to author Tania Murray Li, who won the George McT. Kahin Prize from the AAS Southeast Asia Council for her book Land’s End: Capitalist Relations on an Indigenous Frontier!

On Friday we had a reception celebrating the launch of Archives of Asian Art. The reception was a fun way to celebrate the first issue of the journal published by Duke University Press with editor Stanley Abe and readers of the journal. Learn more about the journal here.

We snapped a few photos during the conference:

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Rebecca Karl with her book The Magic of Concepts

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Arnika Furhmann with her book Ghostly Desires

Maggie Clinton

Maggie Clinton, whose book Revolutionary Nativism was just published

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Congratulations, Tania Murray Li!

If you missed AAS this year or didn’t grab all the books you wanted, don’t worry! You can still take advantage of the conference discount. Just use coupon code AAS17 for 30% off your order through our website.

American Historical Association, 2017

C1gClKkWgAAcmcK.jpgWe had a wonderful time meeting authors and selling books and journals at the 2017 American Historical Association Annual Meeting in Denver, Colorado!

We were thrilled that several of our authors received awards at the conference:

C1g0062UUAErJJp.jpgNancy Rose Hunt won the Martin A. Klein Prize in Africanist History for her book A Nervous State.

Barbara Weinstein’s The Color of Modernity won the Conference on Latin American History’s Warren Dean Memorial Prize.

Christopher Boyer’s book Political Landscapes received honorable mention for this year’s Bolton-Johnson Prize for Best Book in English on Latin American History from the CLAH.

And Mary Kay Vaughan, author of Portrait of a Young Painter, won the 2016 Distinguished Service Award from the CLAH. Congratulations to these outstanding authors!

It was great to visit with authors and editors who stopped by our booth:

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Robyn Spencer, author of The Revolution Has Come

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Ernesto Bassi, center, with his book An Aqueous Territory

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Hispanic American Historical Review editor Pete Sigal

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Natasha Lightfoot stopped by to take a photo with her book Troubling Freedom–only to find it was already sold out!

Missed AHA this year? Didn’t have enough room in your suitcase for all the books you wanted? Don’t worry–you can still stock up with our 30% conference discount. Just use coupon code AHA17 during checkout at dukeupress.edu.

2017 Modern Language Association Highlights and Wrap-Up

We had a great time selling books and journals, meeting authors, and congratulating award-winners at the 2017 annual meeting of the Modern Language Association (MLA) in Philadelphia last week. Thank you to all who stopped by our exhibit booth to browse and buy. In case you couldn’t attend, here are some conference highlights!

The convention kicked off with the Council of Editors of Learned Journals (CELJ) awards on Thursday. Congratulations again to David Scott, editor of Small Axe, for his 2016 Distinguished Editor Award! Read more about David Scott, the award, and Small Axe here.

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Nadia Ellis, author of Territories of the Soul: Queered Belonging in the Black Diaspora

Several Duke authors were also honored with awards this year. Nadia Ellis won the William Sanders Scarborough Prize Honorable Mention for her book, Territories of the Soul: Queered Belonging in the Black Diaspora.

From the GL/Q Caucus of the MLA, Petrus Liu won the Alan Bray Memorial Book Prize Honorable Mention for his book, Queer Marxism in Two Chinas.

Jose David Saldivar, co-editor of Junot Diaz and the Decolonial Imagination and author of Trans-Americanity, was awarded the American Literature Society’s Hubbell Medal for Lifetime Achievement in American Literary Studies.

Jasbir K. Puar, author of the Social Text #124 article “Bodies with New Organs: Becoming Trans, Becoming Disabled,” won the GL/Q Caucus’s Crompton-Noll Prize for Best LGBTQ Studies Article. Read the article, made freely available.

A Friday reception celebrated the minnesota review and Mediations.0106171938a

We were also happy to see some of our authors and journal editors stop by our booth. Here are a few photos:

Couldn’t make it to the convention? Are there still books you want to buy but couldn’t fit in your suitcase? Don’t worry—you can still stock up on books and journals at dukeupress.edu using our conference discount. Just use coupon code MLA17 at checkout through the end of February!

Duke Mathematical Journal by the Numbers

Duke University Press is attending the Joint Mathematics Meeting (JMM) this week, January 4-7, in Atlanta, GA. If you are there too, stop by the DUP booth #131 and say hello.

We will be talking to JMM attendees about our math publishing program, which includes five journals in the field. Duke Mathematical Journal is one of the world’s top ten mathematics journals and is an essential resource for mathematics faculty and postgraduate programs. As a flagship journal in its field, DMJ has been published by Duke University Press since its inception in 1935. But there is a lot more to know about DMJ. Check out our infographic below.

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Does your library subscribe? Visit dukeupress.edu/dmj to learn more.

American Studies Association 2016

1We had such a wonderful time selling books and journals at the American Studies Association last week in Denver, Colorado.

On Friday we had a reception celebrating Small Axe‘s fiftieth issue and twentieth anniversary. The wine and cheese were great, but the Small Axe swag was an even bigger hit!

The reception was fun way to celebrate with editor David Scott, managing editor Vanessa Pérez-Rosario, editorial board members, and readers of the journal. Keep the celebration going by reading Small Axe #50.

Friday night also included a reception for GLQ: A Journal of Lesbian and Gay Studies. It was great to see so many scholars and contributors to the journal, as well as co-editors Beth Freeman and Marcia Ochoa, celebrating the journal.

Several of our authors won awards for their books. Simone Browne won the 2016 Lora Romero Prize for her book, Dark Matters, and Lisa Lowe’s Intimacies of Four Continents was a finalist for the 2016 John Hope Franklin Prize, both from ASA.

It was wonderful to see so many authors and editors stop by our booth. We loved seeing them with their books, and especially enjoyed E. Patrick Johnson and Kai Green’s reenactment of the No Tea, No Shade cover!

Not able to make it out this year? Are there a few more books or journal issues you wish you would have grabbed? Don’t worry—you can use the coupon code ASA16 on our website through the end of the year to stock up on our great American studies titles for 30% off.

American Anthropological Association 2016

The weather in Minneapolis may have been a little chilly, but we had a great time meeting people, selling books and journals, and celebrating our authors at the 2016 Annual Meeting of the American Anthropological Association.

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Eben Kirksey, author of Emergent Ecologies, with editorial director Ken Wissoker

Our authors won several awards for their books. Eben Kirksey’s Emergent Ecologies won the Diana Forsythe Prize, awarded by the Society for the Anthropology of Work and the Committee on the Anthropology of Science, Technology and Computing.

John Collins won the Leeds Award in Urban Anthropology, awarded by the Society for Urban, National, and Transnational/Global Anthropology, for his book Revolt of the Saints.

Diane Nelson’s Who Counts? was the runner-up for the Gregory Bateson Prize by the Society for Cultural Anthropology, and Zoë Wool’s After War received honorable mention for the same prize.

James Ferguson won the Elliott P. Skinner Book Award, by the Association for Africanist Anthropology, for his book Give a Man a Fish.

Aimee Meredith Cox’s Shapeshifters won third place for the Victor Turner Book Prize in Ethnographic Writing, awarded by the Society for Humanistic Anthropology. Gastón R. Gordillo’s Rubble and Liisa H. Malkki’s The Need to Help both received honorable mention for the same prize.

Kelly Ray Knight’s addicted.pregnant.poor received honorable mention for the Society for Medical Anthropology’s Eileen Basker Memorial Prize.

Congratulations to these outstanding authors!

receptionOn Friday we enjoyed a wine and cheese reception to celebrate the launch of our series Global Insecurities, edited by Catherine Besteman and Daniel M. Goldstein.

The series currently includes Besteman’s Making Refuge, Goldstein’s Owners of the SidewalkExiled Home by Susan Bibler Coutin, and Endangered City by Austin Zeiderman.

We were glad to see so many of our authors stop by the booth. We snapped several photos:

Not able to make it out this year? Are there a few more books you wish you would have grabbed? Don’t worry—you can use the coupon code AAA16 on our website through the end of the year to stock up on our great anthropology titles for 30% off.

Postcard from Columbus: Kendall McKenzie attends IFLA 2016

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Library Sales Specialist Kendall McKenzie is attending the 2016 International Federation of Library Associations and Institutions (IFLA) World Library and Information Congress in Columbus, Ohio, from August 13-19. We recently sat down with Kendall to chat about what she wants to learn from librarians, what she is excited to talk to attendees about, and what she is most interested in eating while visiting The Biggest Small Town in America.

What are the things you’d like to talk to IFLA attendees about?

I’m excited to talk about our two new e-book subject collections: the Latin American Studies collection and the Gender Studies collection. These subject collections are great resources for specialty schools or schools with a strong program in either Latin American studies or gender studies. I’d love to hear from librarians about their experience and thoughts when assessing a subject collection, and would appreciate any and all feedback. Oftentimes with our e-Duke Books and e-Duke Journal collections, we might be in conversation with universities, so I think we’ll have more chances to work with a full range of schools, including community colleges and specialty libraries.

What do you want to learn from librarians?

I’d like to talk about our open-access offerings, including Project Euclid, Environmental Humanities, and the Carlyle Letters Online. We want to learn what librarians would like to see for the future of open access in the humanities. I’d also be interested to hear about what kind of models for evidence-driven acquisitions (EDA) librarians have used and really like. And of course, I’d love to learn how international libraries are structured, and what kinds of content interests them.

What are you planning to do and see while you’re in Columbus?

I am most excited about walking around the city and taking a ton of photos. I like to try to be really subtle and not look like a tourist but still explore the city. I’m also really looking forward to the restaurants. I hear there’s a hot dog place that I have to try—Dirty Frank’s Hot Dog Palace—that has a hot dog called Sarva’s Tot-cho Dog. It’s smothered in tater tots, cheese sauce, jalapeños, and onions. It looks delicious. The German Village Historic District is close to downtown and is full of restaurants and bakeries—I hope to visit and walk around.

Will you be attending IFLA 2016? Stop by and see Kendall at Booth E107 in Hall D during the conference.

The World Library and Information Congress is held each year in a different region of the world. 2016 marks the congress’ return to the US for the first time since 2001. Follow along with the 2016 IFLA congress on Facebook and Twitter. We’re looking forward to attending IFLA 2017 in Wrocław, Poland next year!

 

Scholarship Should Be Fun, Dammit!

We are thrilled to present today’s guest blog post by Janine Barchas and Kristina Straub, co-authors of “Curating Will & Jane,” featured in Eighteenth-Century Life. The article addresses the curation of Will & Jane: Shakespeare, Austen, and the Cult of Celebrity at the Folger Shakespeare Library. Here, Barchas and Straub discuss non-traditional forms of scholarship and how delightfully fun they can be to work with.

“Fun” might not be the first word that comes to mind in association with curating a serious museum exhibition for the Folger Shakespeare Library, but we have been using it a lot lately in reference to our work on Will & Jane: Shakespeare, Austen, and the Cult of Celebrity, opening in Washington, D.C. on 6 August 2016. Will & Jane looks at literary celebrity historically as well as in real time, focusing on the 200-year marks after the deaths of these authors to explore the processes by which two great writers became literary superheroes. At the time of this exhibition, Shakespeare logs in at 400 and Austen at 200 years, so we are witnesses to a new milestone in their fame. A solemn moment? Well, only if bobbleheads make you feel reverent. Will & Jane brings together high and low culture, juxtaposing precious art objects with the mundane and even ridiculous, to tell a story about how literary celebrity works in 200-year cycles.

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Figurines of Richard III with different actors’ faces

We are literary nerds, an Austen scholar and a theater historian working on Shakespeare in the 18th century, so our definition of fun inevitably encompasses the pleasure of historical research and discovery, and there is plenty of that in Will & Jane. As curators we were struck again and again by the parallels between the afterlives of these two very different authors. Dozens of porcelain figurines depicting Richard III in the same pose (although with three different actors’ faces) taught us an important lesson about material production and fame: repetition makes celebrity. In the 20th century, the medium shifts to the electronic, as the same repetition effect is created for Austen in the spectacle of a damp-shirted Colin-Firth-as-Darcy emerging countless times in YouTube reenactments of that famous scene in the 1995 BBC adaptation of Pride and Prejudice which has inspired numerous spoofs and restagings.

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Colin Firth as Mr. Darcy in the BBC Pride and Prejudice TV Mini-Series

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“The Shirt”

Once word got out that our exhibition would display “The Shirt” worn by Firth in the making of this scene, the New York Times and New Yorker each joined in the spirit of our exhibition, smartly making sport of the centrality of this garment to Austen fandom. Prompting, however indirectly, a satire in the New Yorker is the stuff that doth overflow any academic’s cup!

Will and Jane’s respective ascensions to literary greatness were each kicked off by media extravaganzas marking, roughly, the 200th anniversaries of their life and work. In 1769, actor and entrepreneur David Garrick organized a Shakespeare Jubilee in Stratford-upon-Avon. In 1789, John Boydell opened the popular Shakespeare Gallery, the first museum dedicated to the Bard. The television “bonnet drama” of the 1990s is to Austen as these 18th-century public spectacles were to Shakespeare. Assisted by Hollywood, the BBC awarded Austen, and her characters, special star status as she approached her bicentenary. As literary historians, we take great pleasure in these moments of resemblance and the discernment of patterns in the history of literary fame.

Our scholarly desire to understand Will’s and Jane’s literary celebrities often, however, led us away from the literary, indeed, to some extent, even away from books (although books as material objects tell many fascinating stories in our exhibition). The heady rush of discerning the historical traces of celebrity in advertisements for laundry soap and gin, in household objects like rolling pins and salt and pepper shakers, in children’s games and babies’ board books definitely carried a different kind of pleasure than the traditional printed page. Standing in the vaults of the Folger and looking at shelves of what our spouses call tchotchkes and ban from our mantelpieces at home in the interests of good taste taught us a lot about material culture and celebrity, but it was also just plain fun. So was wading through hordes of Austenalia, including shoeboxes and a finger puppet of Mr. Collins as a mouse, at the Goucher College Library. Not only were plastic action figures a nice change of pace from the printed page, our research for this exhibit allowed us to indulge in a cheekiness that is usually off-limits for sober scholars. Will & Jane encouraged us in a kind of play that made us participants, performers in as well as observers of fan culture.

Naturally, our preparatory labors over the last three years leading up to the exhibition have not been utterly painless. We’ve weathered freak snow storms during site visits, endured the grit of travel and monastic accommodations, and participated in what seems like a lifetime’s worth of planning meetings, conference calls, and assessments. We’ve drafted and redrafted so many texts, promotional statements, and brochures that our waking thoughts now seem to consist entirely of label fragments. Yet, at every conference presentation or press interview our enthusiasm for this exhibition remains genuine. At a time when the Humanities are under scrutiny and so many of us cannot get jobs, we’ve been unabashedly enjoying ours. We hope that some of this joy is contagious and, with a little luck, infects even the general public.

We hope visitors to the Folger will join us in the long-running performance of literary celebrity that is Shakespeare and Austen. It is a performance about longing, about the desire to see, touch, feel, and know all there is to know—in this case about two writers about whom we actually know very little. That’s why, for 400 years in Shakespeare’s case and for 200 in Austen’s, fans have written sequels, adapted their texts into a variety of genres and media, painted portraits, and generally imagined as much as can be imagined about their personal lives and loves. If, at times, the performance tips into parody, travesty, and even kitsch—all the more fun for us and the many visitors whom we hope will join us at the Folger between August 6 and November 6, 2016.

Meanwhile, and for those who like to mix their sweet intellectual delights with scholarly fiber, take a look at our account of the exhibition just published by Duke University Press in Eighteenth-Century Life. The article “Curating Will & Jane” will prepare you for all the serious facts behind the fun.

Read the article, made freely available throughout the exhibit.