Papers by Laura A. Macaluso
Architectural Tour Notes, The Victorian Society Summer School, Newport, RI and Environs, 2000
Connecticut Preservation News, 2002
7\ l w Haven's 2,200-acre park 1 V ;ystem, arguably the best in Connecticut, is an over-looked hi... more 7\ l w Haven's 2,200-acre park 1 V ;ystem, arguably the best in Connecticut, is an over-looked historic and cultural resource. In urban areas, small wildlife and trees, benches and basketball courts are the kind of resources many people associate with parks. These resources require specialized knowledge for maintenance, programming and education, and planning. The same parks are also home to a variety of historic and cultural treasures, such as monuments, historic buildings, and, of c· ourse, designed landscapes, all of which also demand specialized knowledge and training for proper maintenance, programming and interpretation, and planning. These cultural resources are unique and valuable parts of New Haven's collective heritage.
Material Culture in America, Understanding Everyday Life, 2008
The French Interdisciplinary, A Graduate Journal for French and Francophone Studies, 2003
Connecticut Explored , 2017
The year 1917 brought the United States into World War I, and with the federally mandated quotas ... more The year 1917 brought the United States into World War I, and with the federally mandated quotas to fill for servicemen, states such as Connecticut reformed their National Guard units into regiments like the 102nd--formed from the First and Second C.N.G. in August 1917. Sgt. Stubby, the most famous American mascot of WWI, was here, too. The 102nd became part of the 26th "Yankee" Division, and were among the first Americans to fight without French support in early 1918. The memories and legacy of the 102nd is discussed in this brief essay.
A short overview of the Oberlin Memorial Windows, a series of five stained glass windows installe... more A short overview of the Oberlin Memorial Windows, a series of five stained glass windows installed in Hamden Memorial Town Hall in 1939 by the the Town of Hamden with assistance from the New Haven Chapter of the Yankee Division Veterans Association. The windows tell the story of A. Frederick Oberlin and the Battle of Seicheprey (northeastern France), on April 20, 1918. The windows demonstrate how closely men of the 102nd Regiment, 26th "Yankee" Division remained in their post-war lives, coming together throughout the 1920s and 1930s to continue the remembering process of their WWI experiences.
Material Culture, The Journal of the International Society for Landscape, Place, & Material Culture, 2016
This research paper brings into focus a commemorative medal created in 1838 in New Haven, Connect... more This research paper brings into focus a commemorative medal created in 1838 in New Haven, Connecticut. Although on continuous display in the city’s history museum, the lack of scholarly attention — perhaps due to its diminutive size and placement behind Plexiglass — has resulted in a
series of half-attributions or misattributions over the course of one hundred years. As demonstrated in this paper, the so-called Second Centennial Medal, which celebrated New Haven’s 200th birthday,
is a tangible symbol of the city’s first attempt to shape a cohesive identity through a visual medium.The medal was a great success, entering a second edition, and thus transmitted this identity, which
emphasized both Puritan heritage and entrepreneurial activities, through a work of visual and material culture. The Second Centennial Medal also reflects the growing network of historians, artists, and civic leaders who worked together to literally write New Haven history for the first time — in both text and image. Previously passed over by both historians and art historians, the object is a singular statement about how New Haven presented itself in the first half of the nineteenth century, an image
that retains power and is continually reused to this day.
Connecticut Explored, 2015
Introductory essay that accompanies exhibit titled "An Artist at War: Deane Keller, New Haven's M... more Introductory essay that accompanies exhibit titled "An Artist at War: Deane Keller, New Haven's Monuments Man" at the New Haven Museum, December 7, 2014-May 9, 2015.
Talks by Laura A. Macaluso
These images accompany the paper titled "The Spirit of 1776/1917: Town and Gown Go To War."
In the summer of 1917, Americans began preparations to enter the European War. Cantonments and ca... more In the summer of 1917, Americans began preparations to enter the European War. Cantonments and camps sprang up around the country, making doughboys out of farm hands, clerks, factory workers and college students. The "Spirit of 1776" was utilized by Americans, but none more so than the 26th "Yankee Division" of which the 102nd Regiment, based in New Haven, Connecticut was part, to unite town and gown in wartime preparations. This paper examines the regional and local revival of the Spirit of 1776 in 1917 to unite town and gown, identifying the use of monuments and sites of significance to do this work. The paper concludes by noting the breakdown of the Spirit of '76, during the "Red Scare" or Summer of 1919, when the doughboys return to the Elm City.
Book Reviews by Laura A. Macaluso
CRM: The Journal of Heritage Stewardship, 2005
Material Culture, The Journal for the International Society for Landscape, Place, & Material Culture, 2017
Visions from the Forests: The Art of Liberia
and Sierra Leone
Edited by Jan-Lodwick Grootaers and... more Visions from the Forests: The Art of Liberia
and Sierra Leone
Edited by Jan-Lodwick Grootaers and Alexander Bortolot
Seattle and London: The University of Washington Press, 2014. 240 pages. Color images, catalogue of
objects, notes, bibliography, and index. $39.95 (paper), ISBN 9780989371810.
Conference Presentations by Laura A. Macaluso
The Columbus Monument in Wooster Square, New Haven, Connecticut, is the oldest monument placed by... more The Columbus Monument in Wooster Square, New Haven, Connecticut, is the oldest monument placed by a non-Protestant ethnic group in the State of Connecticut (1892). Like Baltimore’s Columbus Monument, vandalized and damaged in 2017, the Columbus Monument in Wooster Square has been the object of protest and vandalism, including this year, when it was spray-painted red.
This symposium is a platform for sharing a forgotten history of the installation of the monument as a vehicle through which immigrant Italians created a place for themselves on the landscape of a heavily Protestant Yankee place. The Columbus Monument (the original of which, seen in the upper right corner, was actually hammered copper over a steel armature, a bronze replacement was installed in 1955) continues to serve as the centerpiece for Italian American celebrations and identity in the State of Connecticut, one of the smallest states in the union, but also a state with one of the largest percentages of Italian American heritage. A wreath-laying ceremony, parade, walking tour of the neighborhood and Italian festa, are some of the activities that use the monument as a centerpiece for cultural expression and celebration. In other words, the cultural and geographical landscape around the monument is an equally important part of this story.
At the same time, of course, is the growing challenge to the Columbian story, often from indigenous people who view the Columbus narrative from a wholly different perspective. Columbus Day is quickly becoming replaced across the country by Indigenous Peoples’ Day, as more and more communities reject the traditional Columbian narrative as a discoverer and view instead Columbus as, in one protestors sign, a murderer. There are many nuances of history, identity and community story in each and every monument; documenting and teasing out their complicated histories is an essential task for public historians and art historians—before these historic objects are removed or vanquished from view completely.
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Papers by Laura A. Macaluso
series of half-attributions or misattributions over the course of one hundred years. As demonstrated in this paper, the so-called Second Centennial Medal, which celebrated New Haven’s 200th birthday,
is a tangible symbol of the city’s first attempt to shape a cohesive identity through a visual medium.The medal was a great success, entering a second edition, and thus transmitted this identity, which
emphasized both Puritan heritage and entrepreneurial activities, through a work of visual and material culture. The Second Centennial Medal also reflects the growing network of historians, artists, and civic leaders who worked together to literally write New Haven history for the first time — in both text and image. Previously passed over by both historians and art historians, the object is a singular statement about how New Haven presented itself in the first half of the nineteenth century, an image
that retains power and is continually reused to this day.
Talks by Laura A. Macaluso
Book Reviews by Laura A. Macaluso
and Sierra Leone
Edited by Jan-Lodwick Grootaers and Alexander Bortolot
Seattle and London: The University of Washington Press, 2014. 240 pages. Color images, catalogue of
objects, notes, bibliography, and index. $39.95 (paper), ISBN 9780989371810.
Conference Presentations by Laura A. Macaluso
This symposium is a platform for sharing a forgotten history of the installation of the monument as a vehicle through which immigrant Italians created a place for themselves on the landscape of a heavily Protestant Yankee place. The Columbus Monument (the original of which, seen in the upper right corner, was actually hammered copper over a steel armature, a bronze replacement was installed in 1955) continues to serve as the centerpiece for Italian American celebrations and identity in the State of Connecticut, one of the smallest states in the union, but also a state with one of the largest percentages of Italian American heritage. A wreath-laying ceremony, parade, walking tour of the neighborhood and Italian festa, are some of the activities that use the monument as a centerpiece for cultural expression and celebration. In other words, the cultural and geographical landscape around the monument is an equally important part of this story.
At the same time, of course, is the growing challenge to the Columbian story, often from indigenous people who view the Columbus narrative from a wholly different perspective. Columbus Day is quickly becoming replaced across the country by Indigenous Peoples’ Day, as more and more communities reject the traditional Columbian narrative as a discoverer and view instead Columbus as, in one protestors sign, a murderer. There are many nuances of history, identity and community story in each and every monument; documenting and teasing out their complicated histories is an essential task for public historians and art historians—before these historic objects are removed or vanquished from view completely.
series of half-attributions or misattributions over the course of one hundred years. As demonstrated in this paper, the so-called Second Centennial Medal, which celebrated New Haven’s 200th birthday,
is a tangible symbol of the city’s first attempt to shape a cohesive identity through a visual medium.The medal was a great success, entering a second edition, and thus transmitted this identity, which
emphasized both Puritan heritage and entrepreneurial activities, through a work of visual and material culture. The Second Centennial Medal also reflects the growing network of historians, artists, and civic leaders who worked together to literally write New Haven history for the first time — in both text and image. Previously passed over by both historians and art historians, the object is a singular statement about how New Haven presented itself in the first half of the nineteenth century, an image
that retains power and is continually reused to this day.
and Sierra Leone
Edited by Jan-Lodwick Grootaers and Alexander Bortolot
Seattle and London: The University of Washington Press, 2014. 240 pages. Color images, catalogue of
objects, notes, bibliography, and index. $39.95 (paper), ISBN 9780989371810.
This symposium is a platform for sharing a forgotten history of the installation of the monument as a vehicle through which immigrant Italians created a place for themselves on the landscape of a heavily Protestant Yankee place. The Columbus Monument (the original of which, seen in the upper right corner, was actually hammered copper over a steel armature, a bronze replacement was installed in 1955) continues to serve as the centerpiece for Italian American celebrations and identity in the State of Connecticut, one of the smallest states in the union, but also a state with one of the largest percentages of Italian American heritage. A wreath-laying ceremony, parade, walking tour of the neighborhood and Italian festa, are some of the activities that use the monument as a centerpiece for cultural expression and celebration. In other words, the cultural and geographical landscape around the monument is an equally important part of this story.
At the same time, of course, is the growing challenge to the Columbian story, often from indigenous people who view the Columbus narrative from a wholly different perspective. Columbus Day is quickly becoming replaced across the country by Indigenous Peoples’ Day, as more and more communities reject the traditional Columbian narrative as a discoverer and view instead Columbus as, in one protestors sign, a murderer. There are many nuances of history, identity and community story in each and every monument; documenting and teasing out their complicated histories is an essential task for public historians and art historians—before these historic objects are removed or vanquished from view completely.
Multiple questions are raised from the examination of these two historical markers. While the Turner marker makes note of her music “winning praise from both black and white audiences,” how—and for whom—did Turner “promote” African American music? In what ways did her efforts assist African Americans who shared their music with her? Did the musical lives of Turner and Jordan ever cross paths? No mention is made of the turbulent times in which Turner and Jordan lived and worked, therefore we ask, how does their music fit into the political, economic and social practices of the Jim Crow era in which both lived?
This presentation uses the installation of these two historical markers to examine the practice of public history in Lynchburg. In the broader context, we ask, what stories are given attention in Lynchburg and who instigates this work? And, in sharper detail, what—if anything—do these two markers contribute to a more inclusive history of Lynchburg?