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.
About the Author
Renée Ater is Associate Professor of American Art in the Department of Art History and Archaeology at the University of Maryland, College Park. She is also the author of Keith Morrison.
“Recommended.” — CHOICE
“Remaking Race and History is an important sourcebook on this otherwise under-recognized artist. . . . Provides an indication of the insights that such future investigations can yield.” — caa.reviews
“Impressive and important. . . . The socio-historical details and contexts of Fuller’s life and art given throughout the book are well-researched and coherently presented. . . . Ater makes a noteworthy contribution to African American art history.” — Association of Historians of American Art
"An exemplar of a more integrated art history. [Ater] is especially gifted with comparative stylistic and iconographic analysis of period sculpture." — Art Bulletin
“Remaking Race and History: The Sculpture of Meta Warrick Fuller goes a long way in correcting the glaring omission of one of the key African American woman artists of the twentieth century.” — Tikkun