Exploring the Legacy of Wedgwood’s Antislavery Medallion: A Talk by Andrea Feeser

Students and the public are invited to attend a talk titled "Color and Wedgwood's 1787 Antislavery Medallion," given by Professor of Art and Architectural History Andrea Feeser from the Department of Art in the College of Architecture, Arts and Construction, on Tuesday, October 1, from 5:30 to 6:30 p.m. in 1-100 Lee Hall. During the event, Feeser will share insights from her recent sabbatical research published in Journal 18, "When Blue and White Obscure Black and Red: Conditions of Wedgwood's 1787 Antislavery Medallion."

In her research, Feeser delves into the complex history of the famous 1787 antislavery medallion designed by Josiah Wedgwood, a prominent potter and abolitionist. She explores how the medallion, which features a kneeling enslaved man in chains with the inscription "Am I Not a Man and a Brother?," symbolized the antislavery movement in Great Britain and the United States. However, by investigating the object's layered visual and material elements, Feeser reveals that the medallion is embedded in the theft of American Indian land and the dehumanization of the enslaved at the heart of colonization.

"Wedgwood's medallion carried significant cultural weight, but we must also acknowledge that its production and circulation were tied deeply to systems of profound injustice," Feeser explains. "This piece of pottery, while revolutionary in its message, is literally shaped by colonization's predatory and exploitative structures."

This research builds on Feeser's broader work, which often links historical artifacts to their socio-political contexts. Known for her interdisciplinary studies, Feeser explored indigo's impact in her book "Red, White and Black Make Blue," revealing how colonial indigo culture shaped race relations and land use in South Carolina.

Feeser brings new perspectives to the intersections of art, history, and cultural dynamics through her recent sabbatical work. Her talk sheds light on and invites dialogue about one of the most iconic symbols of abolition. Her work also uncovers how hidden histories of art and objects resonate with contemporary socio-political and cultural issues.