Catalogue


Remaking race and history : the sculpture of Meta Warrick Fuller /
Renée Ater.
edition
1st ed.
imprint
Berkeley [CA] : University of California Press, c2011.
description
200 p.
ISBN
0520262123 (cloth : alk. paper), 9780520262126 (cloth : alk. paper)
format(s)
Book
Holdings
More Details
author
imprint
Berkeley [CA] : University of California Press, c2011.
isbn
0520262123 (cloth : alk. paper)
9780520262126 (cloth : alk. paper)
contents note
Introduction -- "Foremost sculptor of the Negro race" -- Segregation and belonging -- Memory and commemoration -- Face and Americanization -- Epilogue.
catalogue key
8178801
 
Includes bibliographical references (p. 169-188) and index.
A Look Inside
Excerpts
Flap Copy
"This book is a major achievement. An exemplary practitioner in the field, Ater seamlessly merges theoretical insight, social history, formal analysis, and an impressive array of primary sources. She extends observations from the related fields of literary and textual studies into her examination of Fuller's work without losing site of the specific challenges Fuller faced as a visual artist working in a particular context and genre." --Mary Ann Calo, author of Distinction and Denial: Race, Nation and the Critical Construction of the African American Artist, 1920-1940 "Renee Ater's approach to the study of Meta Warwick Fuller's public work is both creative and resourceful, revealing the ways in which African-Americans participated in the civic life of the nation in the early twentieth-century. Thoroughly researched with attention to important archives and primary sources, this book makes a unique contribution to scholarship in the fields of American and African-American art, feminist art history, and American Studies. Moreover, in its clear prose, it would be of interest to educated general readers engaged with issues of race and public culture in the Progressive Era." --Melissa Dabakis, author of Visualizing Labor in American Sculpture: Monuments, Manliness, and the Work Ethic
Flap Copy
"Renee Ater's approach to the study of Meta Warwick Fuller's public work is both creative and resourceful, revealing the ways in which African-Americans participated in the civic life of the nation in the early twentieth-century. Thoroughly researched with attention to important archives and primary sources, this book makes a unique contribution to scholarship in the fields of American and African-American art, feminist art history, and American Studies. Moreover, in its clear prose, it would be of interest to educated general readers engaged with issues of race and public culture in the Progressive Era." Melissa Dabakis, author of Visualizing Labor in American Sculpture: Monuments, Manliness, and the Work Ethic
Full Text Reviews
Appeared in Choice on 2012-09-01:
In addition to offering detailed biographical information for the African American sculptor Meta Warrick Fuller, this book places her work in the context of the history of racial uplift efforts via multiple sites and media in the first two decades of the 20th century. Commissioned by such leaders as W. E. B. DuBois, Fuller participated in crucial image-making for a number of public displays that focused on the progress of the African American. Ater (Univ. of Maryland, College Park) closely examines the role of Fuller's dioramas and sculptures created for three significant expositions: The Jamestown Tercentennial (1907), The National Emancipation (1913), and the America's Making (1921). The author shows how these events and subsequent use of Fuller's work in later pageants and museum exhibitions place her in a position of prominence as a pivotal "race artist." Her work reached a much wider audience and had a greater critical and political impact than that of most of the African American modernists who have received more art historical recognition. Included are 63 black-and-white figures and 8 color plates. Summing Up: Recommended. Upper-level undergraduates through researchers/faculty. K. N. Pinder School of the Art Institute of Chicago
Reviews
Review Quotes
"An important sourcebook on this otherwise under-recognized artist."
"An important sourcebook on this otherwise under-recognized artist."-- Caa Reviews
"Impressive and important. . . . Ater makes a noteworthy contribution to African American art history."
"Impressive and important. . . . Ater makes a noteworthy contribution to African American art history."-- Ahaa: Association of Historians of American Art
"Recommended." CHOICE
"Recommended"
This item was reviewed in:
Choice, September 2012
To find out how to look for other reviews, please see our guides to finding book reviews in the Sciences or Social Sciences and Humanities.
Summaries
Main Description
This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877-1968), one of the early twentieth century's few African American women artists. To understand Fuller's strategy for negotiating race, history, and visual representation, Ren e Ater examines the artist's contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907); Emancipation , a freestanding group for the National Emancipation Exposition (1913); and Ethiopia , the figure of a single female for the America's Making Exposition (1921). Ater argues that Fuller's efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.
Bowker Data Service Summary
This study focuses on the life and public sculpture of Meta Warrick Fuller (1877-1968), one of the early 20th century's African American women artists. Ater argues that Fuller's efforts to represent black identity in art provides a window on the Progressive Era and its heated debates about race, national identity, and culture.
Main Description
This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877-1968), one of the early twentieth century's few African American women artists. To understand Fuller's strategy for negotiating race, history, and visual representation, Renée Ater examines the artist's contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907); Emancipation , a freestanding group for the National Emancipation Exposition (1913); and Ethiopia , the figure of a single female for the America's Making Exposition (1921). Ater argues that Fuller's efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.
Main Description
This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877-1968), one of the early twentieth century's few African American women artists. To understand Fuller's strategy for negotiating race, history, and visual representation, RenÉe Ater examines the artist's contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907);Emancipation, a freestanding group for the National Emancipation Exposition (1913); andEthiopia, the figure of a single female for the America's Making Exposition (1921). Ater argues that Fuller's efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.
Table of Contents
Introductionp. 1
"Foremost Sculptor of the Negro Race"p. 9
Segregation and Inclusionp. 37
Memory and Commemorationp. 73
Race and Americanizationp. 101
Epiloguep. 133
Acknowledgmentsp. 139
Notesp. 141
Bibliographyp. 169
List of Illustrationsp. 189
Indexp. 193
Table of Contents provided by Ingram. All Rights Reserved.

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