From abolitionist medallions to statues of bondspeople bearing broken chains, sculpture gave visual and material form to narratives about the end of slavery in the eighteenth and nineteenth centuries. Sculpture at the Ends of Slavery sheds light on the complex—and at times contradictory—place of suc...

Ausführliche Beschreibung

Bibliographische Detailangaben

1. Verfasser:	Beach, Caitlin ca. 20./21.Jh (VerfasserIn)
Format:	Elektronisch E-Book
Sprache:	English
Veröffentlicht:	Oakland, California University of California Press [2022] [Washington, DC] <<The>> Phillips Collection
Schriftenreihe:	The Phillips Collection Book Prize series 9
Schlagworte:	Bell, John > 1721-1780 Lewis, Edmonia > 1844-1907 Pezzicar, Francesco > 1831-1890 Wedgwood, Josiah > 1730-1795 Powers, Hiram > 1805-1873 Geschichte 1700-1900 Sklave > Motiv Sklaverei > Motiv Plastik
Online-Zugang:	DE-188 Volltext
Zusammenfassung:	From abolitionist medallions to statues of bondspeople bearing broken chains, sculpture gave visual and material form to narratives about the end of slavery in the eighteenth and nineteenth centuries. Sculpture at the Ends of Slavery sheds light on the complex—and at times contradictory—place of such works as they moved through a world contoured both by the devastating economy of enslavement and by international abolitionist campaigns. By examining matters of making, circulation, display, and reception, Caitlin Meehye Beach argues that sculpture stood as a highly visible but deeply unstable site from which to interrogate the politics of slavery. With focus on works by Josiah Wedgwood, Hiram Powers, Edmonia Lewis, John Bell, and Francesco Pezzicar, Beach uncovers both the radical possibilities and the conflicting limitations of art in the pursuit of justice in racial capitalism's wake.
Beschreibung:	1 Online-Ressource (xii, 220) Illustrationen
ISBN:	9780520390102