The Salem witch trials were a significant event in American history that took place in colonial Massachusetts in 1692. During this time, a wave of hysteria spread throughout the town of Salem, resulting in the execution of 20 people and the imprisonment of many more. The trials were characterized by accusations of witchcraft and the use of spectral evidence, where individuals claimed to have seen the accused person's spirit committing acts of witchcraft. Artistic depictions of the Salem witch trials have played a crucial role in preserving the memory of this dark period in American history. These artworks often aim to capture the fear, paranoia, and religious tension that dominated the time. Through various mediums such as painting, sculpture, and illustration, artists have depicted both the accused and the accusers, as well as the courtroom scenes and the puritanical atmosphere of the era.
Through various mediums such as painting, sculpture, and illustration, artists have depicted both the accused and the accusers, as well as the courtroom scenes and the puritanical atmosphere of the era. One of the most famous artistic representations of the Salem witch trials is Arthur Miller's play, "The Crucible." Although a work of fiction, the play explores themes of mass hysteria, persecution, and the questioning of truth and justice.
‘Community at its absolute worst’: revisiting the horror of the Salem witch trials
“T he Salem witch trials are an example of a community at its absolute worst.” This is what Anna Danziger Halperin, associate director of the Center for Women’s History at the New-York Historical Society, answered when I asked her why she thinks they have remained a powerful part of the American imagination for well over 300 years. “It’s something that we look to as example of what not to do, and yet we keep repeating these mistakes.”
Reflections on mortality: Alessandra Sanguinetti on her eerie images of the midwest Read moreDanziger Halperin has been thinking a lot about the witch trials lately, as she is the coordinating curator of the New-York Historical Society’s new exhibition, The Salem Witch Trials: Reckoning and Reclaiming, which runs from 7 October through 22 January 2023. The show brings together a wide array of historical artifacts to help ground audiences in the history behind the witch trials, and it also intends to leave its own stamp on these events by drawing attention to oft-neglected issues of race and gender.
Beginning in February 1692 and lasting for well over a year until May 1693, the witch trials engulfed more than 200 residents of the Salem community and resulted in 19 executions. The trials were not technically completed until July of this year, when Elizabeth Johnson Jr became the last of the accused to be formally cleared of all charges of witchcraft. These events have been a mainstay of American culture, being retold by writers like Nathaniel Hawthorne, Arthur Miller and Sarah Ruhl, used as a rhetorical shorthand for incidents of mass hysteria, and claimed by feminist activists for their clear examples of patriarchal and misogynist thinking. They even received the greatest of pop cultural tributes, being parodied by The Simpsons in Treehouse of Horror VIII from the long-running show’s ninth season.
“There are countless popular and media versions of this story, and we really want to challenge visitors to think about what they do know,” said Danziger Halperin. “I’m a historian of women’s activism, so I’m really drawn to the idea of reclaiming the story. Women’s rights advocates for generations have looked to witch-hunts for evidence of patriarchal control of women.”
Cotton Mather – The Wonders of the Invisible World, 1693. Photograph: Patricia D Klingenstein Library, New-York Historical Society
Reckoning and Reclaiming finds numerous ways to undertake that reclamation, starting with Tituba, an Indigenous woman from Barbados who was enslaved and brought to Salem, and who was among the first to be convicted of witchcraft. As Danziger Halperin explained, because there is so little documentation of Tituba left in the historical record, exhibitions often exclude her, focusing on wealthy, white victims whose higher social status allowed them to leave more historical artifacts behind. In giving Tituba and other marginalized women their due, Reckoning and Reclaiming aspires to center those who are often left at the periphery of these events, challenging popular conceptions of what the witch trials were.
“If we only focus on those whom we have material objects remaining of, we’re left with stories of the wealthier people in the community, mostly men,” said Danziger Halperin. “But in reality, the accusations were overwhelmingly hurled at women, and it helps us say, ‘This trial started with the scapegoating of ostracized members of the community.’ It started with marginalized women who were in one way or another more easily scapegoated, and then it spread to these wealthier and sometimes male figures.”
Reckoning and Reclaiming also bring in artists’ responses to the trials, drawing from the realms of fashion and photography. On exhibition is a dress from fashion designer Alexander McQueen’s collection In Memory of Elizabeth Howe, 1692, which McQueen made to honor his ancestor, the titular Howe. Runway photos of the dress in action are paired with papers documenting Howe’s condemnation as a witch and eventual exoneration, when her daughters were paid restitution for her execution in 1712.
“McQueen is really leaning into the very stereotypical imagery that you might associate with witches, and we’ve reproduced that,” said Danziger Halperin. “He’s pulling all of these symbols of the occult into his fashion show.”
The exhibition also draws in 17 portraits of modern-day witches made by photographer Frances F Denny, 13 of them from her series Major Arcana: Portraits of Witches in America. These photographs challenge the traditional idea of what a witch is, showing women in a wide variety of dress and environments. This portion of the show includes audio where audiences can hear the witches describing themselves. For Danziger Halperin, Denny’s portraits inspire because of their quotidian nature, which gets at just what gives the concept of the witch its dynamism. “We have a reproduction of a handwritten poem by Emily Dickinson, and I think it’s so powerful when combined with Frances’s portraits. It’s called Witchcraft was hung, in History – it’s this idea of witchcraft as something that can’t be held back, as a form of everyday rebellion.”
Alexander McQueen – evening dress (detail), from In Memory of Elizabeth Howe. Photograph: Peabody Essex Museum, Gift of anonymous donors in London who are friends of Peabody Essex Museum. Photo by Bob Packert
Something that comes across in Reckoning and Reclaiming is just how flexible and resilient the notion of being a witch is. In supporting so many different interpretations, this identity has been able to transcend the narrow conception imposed by the Salem witch trials, evolving into a symbol of expression and empowerment that has gone on to fill a multiplicity of social niches. “A witch is a multifaceted identity that comes from so many traditions, and some of them are very long-rooted, so I don’t really think there is just one definition,” said Danziger Halperin. “For instance, there are both those who have turned to witchcraft as a form of non-patriarchal religion, as well as those who have turned to it as a symbol of defiance – you’re going to call me a witch, yes, I’m a witch!”
Reckoning and Reclaiming also reminds us of the very real people behind these historical events, its ample documentation helping audiences to connect with the humanity of the witch trials’ victims. “These were real lives, and lives that were ruined, and the way that we tell that story carries so much weight,” said Danziger Halperin. “We really want to make sure that we do it in a way that honors those real lives and helps us stand up against injustice moving forward.”
- The Salem Witch Trials: Reckoning and Reclaiming, runs from 7 October until 22 January 2023
Reckoning and Reclaiming also bring in artists’ responses to the trials, drawing from the realms of fashion and photography. On exhibition is a dress from fashion designer Alexander McQueen’s collection In Memory of Elizabeth Howe, 1692, which McQueen made to honor his ancestor, the titular Howe. Runway photos of the dress in action are paired with papers documenting Howe’s condemnation as a witch and eventual exoneration, when her daughters were paid restitution for her execution in 1712.
Miller used the Salem witch trials as an allegory for the communist witch hunts of the 1950s, shining a spotlight on the dangers of McCarthyism and political persecution. Other notable artworks include paintings such as "The Trial of George Jacobs" by T.H. Matteson, which portrays a dramatic courtroom scene with individuals pointing accusing fingers and the accused stoically facing their fate. Another painting, "The Accused," by Joseph E. Baker, depicts a group of women bound together by chains, representing the struggle and injustice faced by those accused of witchcraft. In recent years, contemporary artists have also been inspired to create artwork reflecting on the Salem witch trials. These works often explore themes of gender inequality, abuse of power, and the consequences of unchecked fear and prejudice. Artists such as Francesca Woodman and Jenny Holzer have used photography and text-based installations to provoke thought and raise questions about societal issues. Overall, art depicting the Salem witch trials serves as a powerful reminder of the dangers of mass hysteria, intolerance, and the consequences of unjust accusations. It allows viewers to reflect on the past, learn from history, and encourages discussions about the importance of justice, empathy, and the protection of individual rights..
Reviews for "Telling the Untold Stories: Artists and the Salem Witch Trials"
1. John Smith - ★☆☆☆☆
I was extremely disappointed with the art depicting the Salem witch trials. As someone who is passionate about history, I was looking forward to seeing a thoughtful representation of this dark period in American history. Instead, what I found was a collection of sensationalized and exaggerated images that did nothing to accurately reflect the historical events.
The artwork seemed more focused on provoking shock and awe rather than educating visitors about the actual trials. I couldn't help but feel that the artist was more interested in exploiting the suffering of the accused witches for their own gain rather than shedding light on the true horrors they endured. Overall, I found the exhibition to be tasteless and uninformative, and I would not recommend it to others seeking a genuine understanding of the Salem witch trials.
2. Emily Thompson - ★★☆☆☆
I was somewhat underwhelmed by the art exhibition centered around the Salem witch trials. While the concept was intriguing, the execution left much to be desired. The artists seemed to rely heavily on clichés and predictable imagery, failing to offer any fresh perspective on this well-known historical event.
Additionally, I found some of the artwork to be needlessly graphic and violent. While it is important not to shy away from the atrocities committed during the trials, I believe there is a fine line between raising awareness and unnecessary sensationalism. Unfortunately, this exhibition frequently crossed that line, leaving me with a sense of discomfort and disillusionment. I appreciate the attempt to explore the Salem witch trials through art, but I believe it fell short of its potential.