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Kailani Polzak

Kailani Polzak Portrait
Assistant Professor
Art and visual culture in eighteenth- and nineteenth-century Europe; visual constructions of race; material cultures of empire and colonialism; natural history illustration; histories of print production and circulation.
Research Interests: 

Kailani Polzak’s research focuses on European visual culture in the eighteenth and nineteenth centuries with particular attention to histories of science, aesthetic philosophy, race, colonialism, and intercultural contact in Oceania. Her current book project, Difference Over Distance: Visualizing Contact between Europe and Oceania, examines the graphic and printed works created in relation to so-called “Voyages of Discovery” conducted by Britain, France, and Russia in Aotearoa New Zealand, Australia, and Hawaiʻi in the late eighteenth and early nineteenth centuries and traces how these pictures were marshaled in arguments about the origins of human difference in Europe and the United States. She also maintains a methodological interest in the questions raised by writing about and curating colonial histories from multiple perspectives.

Office: 
Porter D-211
Selected Publications: 

“Making Material Histories: Institutional Memory and Multivocal Interpretation,” in Sierra Rooney and Jennifer Wingate, eds. Teachable Monuments: Using Public Art to Spark Dialogue & Confront Controversies (London: Bloomsbury, Forthcoming 2021)

 

“From the Horizon to the Shore: Coastal Contact and Contestation in the Pacific” in Beate Fricke and Lucas Burkart, eds. Horizonte: Eine Linie und ihre Bewegung in Kunst,Geschichte und Literatur, Colloquium Raricum XVII (Berlin: De Gruyter, Forthcoming 2021)

 

Co-authored with Julia Lum, “The Time of Captain Cook: A Conversation,” Journal 18 (April 2020)

 

Exhibition: 

Co-curated with Sonnet Coggins, “The Field is the World: Williams, Hawaiʻi, and Material Histories in the Making.” Williams College Museum of Art (September 1, 2018 -January 2, 2019)

Selected Presentations: 

“Race, Universality, and the Beau Idéal,” Kenyon College, 2020

 

 “Making Material Histories: Polyvocal Interpretation and Institutional Collections,” Art and Decolonization public seminar convened by MASP and Afterall, Museu De Arte De São Paulo Assis Chateaubriand, 2019

 

“From the Horizon to the Shore: Coastal Contact and Contestation in the Pacific” Horizonte – eine Linie und ihre Bewegung in Kunst,Geschichte und Literatur Colloquium Raricum XVII, 2019

 

“Making Room for Dialogue in Global Histories of Art,” Andrew W. Mellon Writing Global Histories of Art Workshop, Clark Art Institute, 2018

 

“A Civilized Nature: Picturing Australia and Aboriginal Australians on the Baudin Expedition (1800-04),” Race and Representation: Nineteenth-Century Case Studies Composed Session, College Art Association Annual Conference, 2017

 

“Varieties of Inscription: Sydney Parkinson and the Māori Moko,” Difference/Distance: Picturing Race Across Oceans in the Eighteenth and Nineteenth Centuries, University of California, Berkeley, 2016 

 

“Face, Plate, Paper, and the Problem of Engraving Race,” American Society for Eighteenth-Century Studies Annual Meeting, 2015

 

“Spain, France, Moor, and Mameluke: Visual and Ideological Confusion in Goya’s Second of May 1808,” Eyes on Protest: Contestation and Visuality, University of British Columbia, 2013

Honors and Awards: 

Association of Print Scholars Collaboration Grant, 2020 [Co-awarded with Jennifer Chuong for our 2021 colloquium, Imprinting Race

Mellon Society of Fellows in Critical Bibliography Junior Fellowship, 2018-2020

C3 Mellon Postdoctoral Fellowship, Williams College, 2016-2018

Social Science Research Council Mellon International Dissertation Research Fellowship, 2013

Georges Lurcy Fellowship for Dissertation Research in France, 2013

Education and Training: 
Ph.D., History of Art, University of California, Berkeley
B.A., History of Art and Visual Culture, University of California, Santa Cruz