Sculpture at the Ends of Slavery

Sculpture played a crucial role in shaping narratives about the end of slavery in the eighteenth and nineteenth centuries, providing a visible and material form to these stories. Caitlin Meehye Beach's book explores the complex and contradictory place of sculpture in this context, examining how it was made, circulated, displayed, and received. She argues that sculpture stood as a highly visible but deeply unstable site from which to interrogate the politics of slavery, revealing both the radical possibilities and the conflicting limitations of art in the pursuit of justice in racial capitalism's wake.

Format: Hardback
Length: 240 pages
Publication date: 13 December 2022
Publisher: University of California Press

From abolitionist medallions to statues of enslaved people bearing broken chains, sculpture provided a visual and material manifestation to the narratives surrounding the end of slavery in the eighteenth and nineteenth centuries. Sculpture at the Ends of Slavery delves into the complex and often conflicting role of these works as they navigated a world shaped by the devastating economy of enslavement and the international abolitionist campaigns. By examining issues of creation, circulation, display, and reception, Caitlin Meehye Beach argues that sculpture served as a highly visible yet profoundly unstable platform from which to interrogate the politics of slavery. Through a focus on works by Josiah Wedgwood, Hiram Powers, Edmonia Lewis, John Bell, and Francesco Pezzicar, Beach uncovers both the radical possibilities and the conflicting constraints of art in the pursuit of justice in the aftermath of racial capitalism.

Introduction:
Sculpture played a crucial role in shaping the narratives surrounding the end of slavery in the eighteenth and nineteenth centuries. From abolitionist medallions to statues of enslaved people bearing broken chains, these works served as powerful symbols of the struggle against oppression and the pursuit of justice. However, the place and significance of sculpture in this period were not straightforward, and it required a nuanced understanding of the complex interplay between artistic expression, political ideology, and societal context.

The Complexity of Sculpture at the Ends of Slavery:
Sculpture at the Ends of Slavery explores the complex and often contradictory place of these works as they moved through a world shaped by the devastating economy of enslavement and the international abolitionist campaigns. By examining matters of making, circulation, display, and reception, the book argues that sculpture stood as a highly visible but deeply unstable site from which to interrogate the politics of slavery.

Making and Circulation:
One of the key themes explored in Sculpture at the Ends of Slavery is the process of making sculpture. The authors argue that the creation of these works was not merely a matter of artistic expression but was also deeply embedded in the political and economic context of the time. Sculptors were often influenced by the abolitionist movement and used their art to raise awareness about the horrors of slavery and advocate for its abolition.

However, the process of making sculpture was also fraught with challenges. Sculptors faced financial constraints, social barriers, and resistance from those who opposed the abolitionist cause. They often had to work in secret or rely on the support of abolitionist organizations and individuals to produce their works.

The circulation of sculpture was another important aspect to consider. These works were often displayed in public spaces, such as parks, museums, and public buildings, to raise awareness about the abolitionist cause and to inspire social change. However, the display of sculpture was also subject to censorship and regulation, particularly in countries where slavery was still legal.

Display and Reception:
The display and reception of sculpture at the Ends of Slavery were also shaped by the complex interplay between artistic expression, political ideology, and societal context. Sculptors aimed to create works that were visually striking and emotionally powerful, but they also had to navigate the delicate balance between artistic freedom and the demands of their audience.

The reception of sculpture at the Ends of Slavery was varied and complex. Some works were met with widespread acclaim and admiration, while others were met with resistance and criticism. Sculptors often faced accusations of promoting stereotypes or perpetuating harmful narratives about enslaved people, and they had to navigate the difficult task of balancing artistic expression with the need to be sensitive to their audience's perspectives.

Conclusion:
In conclusion, Sculpture at the Ends of Slavery provides a valuable insight into the complex and often contradictory place of sculpture in the narratives surrounding the end of slavery in the eighteenth and nineteenth centuries. By examining issues of making, circulation, display, and reception, the book argues that sculpture stood as a highly visible but deeply unstable site from which to interrogate the politics of slavery. Through a focus on works by Josiah Wedgwood, Hiram Powers, Edmonia Lewis, John Bell, and Francesco Pezzicar, the book uncovers both the radical possibilities and the conflicting limitations of art in the pursuit of justice in the aftermath of racial capitalism.

Weight: 816g
Dimension: 254 x 178 x 20 (mm)
ISBN-13: 9780520343269