Verso

I'm a junior at Princeton University studying art history, with minors in European cultural studies and humanistic studies. I spent the summer as an intern in The Huntington's American art collections to gain a deeper understanding of how an art museum functions.

When creative filmmakers set their sights on illuminating neglected corners of history, magic can happen. Such is the case with Bill Morrison's riveting new documentary Dawson City: Frozen Time, which weaves a story about the interconnections between Hollywood and the Klondike

Just a couple of hours east of Los Angeles is a vast expanse that few Californians know by name: the California Desert Conservation Area, which contains roughly 25 million acres—or one-quarter of the state's land mass.

This is one of the most exhilarating times at The Huntington—when the new cadre of research fellows arrive on our beautiful campus to explore our collections and take part in the intellectual life of this institution.

In this edited excerpt from the introduction to the exhibition catalog, Visual Voyages (Yale University Press, 2017), Daniela Bleichmar, associate professor of art history and history at the University of Southern California and co-curator of the exhibition, focuses on a 17th-century feathered cape created by the Tupinambá people of Brazil.

In the first half of the 18th century, Hans Sloane (1660–1753)—the collector, physician, and president of the Royal Society—was the acknowledged center of a web of international relationships that brought objects, letters, and visitors into his house

A photograph of the actress, director, and producer Olga Nethersole (1867–1951) shows her descending from a pedestal on which she had been posing as a statue. Men crouch and kneel beneath her.

It's one thing to read about history in a school textbook. It's quite another thing to engage with it first-hand: to make personal connections with history and, by doing so, to gain perspectives on the past.