Negritud, indigenismo y mestizaje en la obra escultórica y el relato vital de Edmonia Lewis
DOI:
https://doi.org/10.1344/%25xKeywords:
Edmonia Lewis, arte y mestizaje, “pensamiento indígena”, abolicionismo y feminismo, escultura, art and racial mingling, “indigenous thought”, abolitionism and feminism, sculptureAbstract
La obra escultórica de Mary Edmonia Lewis (1844-1907), la primera mestiza afro estadounidense y Chippewa documentada que saboreó el éxito nacional e internacional, ha servido a muchos historiadores e historiadoras del arte no solo para reflexionar sobre la política racial y colonial de la imagen del afro e indio estadounidense en la segunda mitad del siglo XIX, sino para incidir en la política del discurso racializado y racializador de la misma historia del arte.
Lewis utilizó el lenguaje escultórico neoclásico, de pretensiones universalistas, idealistas y atemporales, para tratar temas político-culturales claves de su tiempo. Con esta estrategia Lewis logró destacar entre los círculos artísticos euroamericanos abolicionistas y sufragistas.
La intención de este trabajo es mostrar y analizar en qué términos la historiografía ha interpretado esta aparente paradoja, clave para entender la configuración de una subjetividad artística femenina y mestiza en la época de la Women's Rights Convention de Akron (Ohio), de la Decimotercera Enmienda y del Acta Dawes de 1887.
Blackness, Indigenism, and Miscegenation in the Sculptural Work and Life Narrative of Edmonia Lewis
The sculptural work of Mary Edmonia Lewis (1844-1907), the first artist with national and international success of African American and Native American descent documented, has served many art historians not only to reflect on the racial and colonial politics of the Afro American and Native American image in the second half of the nineteenth century, but to dwell on the politics of racialized and racializing discourse of the very art history.
Lewis deployed the neoclassical sculptural language, which had universalist, idealistic and timeless pretensions, to address political and cultural key issues of her time. With this strategy, Lewis managed to stand out among the abolitionist and suffragist Euro-American artistic circles.
This work aims to show and analyze the terms in which historiography has interpreted this apparent paradox, which is key to understand the configuration of a feminine and mestizo artistic subjectivity at the time of the Women’s Rights Convention of Akron (Ohio), Thirteenth Amendment and the Dawes Act of 1887.
Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution Licensethat allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
