{"id":8086,"date":"2020-09-18T00:51:34","date_gmt":"2020-09-18T00:51:34","guid":{"rendered":"http:\/\/media-archive.blackartinamerica.com\/?p=8086"},"modified":"2021-01-19T01:57:48","modified_gmt":"2021-01-19T01:57:48","slug":"baia-bits-meta-warrick-fuller","status":"publish","type":"post","link":"https:\/\/earthexhibitions.org\/media-archive\/?p=8086","title":{"rendered":"BAIA BITS: Meta Warrick Fuller"},"content":{"rendered":"<h3 style=\"text-align: center;\">BAIA BITS: Meta Warrick Fuller &#8211; Little Moments Where Knowledge Meets Art<\/h3>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/895146109&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true\" width=\"900\" height=\"166\" frameborder=\"no\" scrolling=\"no\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<div id=\"attachment_8087\" style=\"width: 230px\" class=\"wp-caption alignleft\"><img aria-describedby=\"caption-attachment-8087\" loading=\"lazy\" class=\" wp-image-8087\" src=\"https:\/\/i0.wp.com\/media-archive.blackartinamerica.com\/wp-content\/uploads\/2020\/09\/unnamed-3-562x1024.jpg?resize=220%2C401\" alt=\"\" width=\"220\" height=\"401\" data-id=\"8087\" srcset=\"https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/09\/unnamed-3.jpg?resize=562%2C1024&amp;ssl=1 562w, https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/09\/unnamed-3.jpg?resize=165%2C300&amp;ssl=1 165w, https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/09\/unnamed-3.jpg?w=659&amp;ssl=1 659w\" sizes=\"(max-width: 220px) 100vw, 220px\" data-recalc-dims=\"1\" \/><p id=\"caption-attachment-8087\" class=\"wp-caption-text\">In Memory of Mary Turner: As a Silent Protest Against Mob Violence by Meta Vaux Warrick Fuller<\/p><\/div>\n<p><span style=\"font-weight: 400;\">A little over a century ago, on a large plantation near Morven, Georgia, Black farmworker<\/span> <span style=\"font-weight: 400;\">Hayes Turner was arrested and later convicted by an all-white jury for threatening the farm\u2019s white owner, Hampton Smith. The abusive Smith regularly beat his workers, among them Mary Turner, Hayes\u2019 pregnant wife and mother of their two children.<\/span> <span style=\"font-weight: 400;\">After another abused worker retaliated by murdering Smith and his wife before going into hiding, an angry mob accosted Hayes during his transfer to prison and lynched him near the Okapiloo River. Distraught, and eight months pregnant, Mary publicly protested before the massive white mob tracked her down by the Little River, separating Brooks and Lowndes counties,<\/span> <span style=\"font-weight: 400;\">and committed one of the <\/span><span style=\"color: #3366ff;\"><a style=\"color: #3366ff;\" href=\"https:\/\/www.miamiherald.com\/opinion\/opn-columns-blogs\/leonard-pitts-jr\/article211223209.html\"><span style=\"font-weight: 400;\">most horrific lynchings in American history<\/span><\/a><\/span><span style=\"font-weight: 400;\">. Though the lynching of Turner, her husband, and others by the same mob gained national attention and facilitated the NAACP push for Congress to pass anti-lynching legislation, no one was ever charged. In 2010, a Mary Turner and the Lynching Rampage memorial was placed near the site of her murder.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">However, within a year of her death, another Black woman had already memorialized Turner with her 1919 sculpture, \u201cMary Turner: A Silent Protest against Mob Violence.\u201d<\/span> <span style=\"font-weight: 400;\">Regarded one of the earliest three-dimensional works of art to address the subject of lynching, Meta Warrick Fuller\u2019s statuette celebrates Turner\u2019s eternal life as the slain mother rises with child from an abstracted mob, bearing no trace of torture.<\/span><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<div id=\"attachment_8088\" style=\"width: 229px\" class=\"wp-caption alignright\"><img aria-describedby=\"caption-attachment-8088\" loading=\"lazy\" class=\" wp-image-8088\" src=\"https:\/\/i0.wp.com\/media-archive.blackartinamerica.com\/wp-content\/uploads\/2020\/09\/2271c028cd8f3ec71bca785ead96ba62.jpg?resize=219%2C601\" alt=\"\" width=\"219\" height=\"601\" data-id=\"8088\" srcset=\"https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/09\/2271c028cd8f3ec71bca785ead96ba62.jpg?w=373&amp;ssl=1 373w, https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/09\/2271c028cd8f3ec71bca785ead96ba62.jpg?resize=109%2C300&amp;ssl=1 109w\" sizes=\"(max-width: 219px) 100vw, 219px\" data-recalc-dims=\"1\" \/><p id=\"caption-attachment-8088\" class=\"wp-caption-text\">Ethiopia Awakening by Meta Vaux Warrick Fuller<\/p><\/div>\n<p><span style=\"font-weight: 400;\">Fuller was a pioneer in more ways than one.<\/span><span style=\"font-weight: 400;\">\u00a0<\/span><span style=\"font-weight: 400;\">Born in Philadelphia in 1877 to a family of means, her 1914 sculpture \u201cEthiopia Awakening\u201d was widely considered the first Pan-African American work of art and a tonal predecessor of the<\/span> <span style=\"font-weight: 400;\">Harlem Renaissance.<\/span> <span style=\"font-weight: 400;\">The piece depicts a woman wearing an ancient Egyptian headdress with her lower half wrapped like a mummy. At the time of the sculpture, Ethiopia was both a generalized term for Africa and the only African nation that had successfully maintained its independence against European imperialists. <\/span><span style=\"font-weight: 400;\">Of the piece, and of African Americans in general, Fuller wrote, \u201cHere was a group who had once made history and now after a long sleep was awaking, gradually unwinding the bandage of its mummied past and looking out on life again, expectant but unafraid and with at least a graceful gesture.\u201d\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" class=\"alignleft wp-image-8091\" src=\"https:\/\/i0.wp.com\/media-archive.blackartinamerica.com\/wp-content\/uploads\/2020\/09\/Vauxwarrickfuller.jpg?resize=221%2C366\" alt=\"\" width=\"221\" height=\"366\" data-id=\"8091\" srcset=\"https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/09\/Vauxwarrickfuller.jpg?w=239&amp;ssl=1 239w, https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/09\/Vauxwarrickfuller.jpg?resize=181%2C300&amp;ssl=1 181w\" sizes=\"(max-width: 221px) 100vw, 221px\" data-recalc-dims=\"1\" \/>Fuller was<\/span> <span style=\"font-weight: 400;\">also<\/span> <span style=\"font-weight: 400;\">expectant and unafraid. A talented and artistic child, she<\/span> <span style=\"font-weight: 400;\">won a scholarship to the Pennsylvania Museum and School for Industrial Art as a teen before leaving Philly for Paris. There, upon being denied entry to a women\u2019s youth hostel for students because of her race, Fuller was introduced to American sculptor Augustus Saint-Gaudens and, with his help, began studying drawing, visiting museums, and attending lectures at Acad\u00e9mie des Beaux-Arts. Also in Paris, Fuller forged relationships with the likes of<\/span> <span style=\"font-weight: 400;\">Thomas J. Calloway, Alonzo Herndon, and W.E.B. DuBois while<\/span> <span style=\"font-weight: 400;\">finding a mentor in French sculptor Augustin Rodin who, reportedly, challenged Fuller to be more daring with her art. Consistently, her work shifted from decorative to darker pieces reflecting the harsh realities of<\/span> <span style=\"font-weight: 400;\">turn-of-the-century<\/span> <span style=\"font-weight: 400;\">African American life as represented by her Parisian gallery standards, \u201cThe Wretched\u201d and \u201cThe Impenitent Thief.\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Widely acclaimed in French society, Fuller returned to Philadelphia in 1903 only to be snubbed by members of the city\u2019s arts circle because of her race. Nonetheless, she resumed her passion and began exhibiting at major events and venues like the Boston Public Library.\u00a0 In 1907, Fuller became the first African American woman to receive a U.S. government commission for her<\/span> <span style=\"font-weight: 400;\">series of tableaux depicting African American historical events for the Jamestown Tercentennial Exposition in Norfolk, Virginia.<\/span><span style=\"font-weight: 400;\">\u00a0<\/span><span style=\"font-weight: 400;\">Despite racism and sexism\u2014and a mysterious 1910 warehouse fire that destroyed her tools and her artwork from France\u2014Fuller ultimately forged a 70-year career and legacy as a<\/span> <span style=\"font-weight: 400;\">pioneering sculptor, artist and poet focused on advancing images of African Americans and women.<\/span><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"color: #ff6600;\"><strong><i>BAIA BITS are produced in part by the generous support of our Patreon members with a special shout out to Zadig &amp; Voltaire.\u00a0<\/i><\/strong><\/span><\/p>\n<div id=\"attachment_7471\" style=\"width: 548px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/shopbaiaonline.com\/\"><img aria-describedby=\"caption-attachment-7471\" loading=\"lazy\" class=\"wp-image-7471\" src=\"https:\/\/i0.wp.com\/media-archive.blackartinamerica.com\/wp-content\/uploads\/2020\/05\/buy-black-art-graf_5.jpg?resize=538%2C349\" alt=\"\" width=\"538\" height=\"349\" data-id=\"7471\" srcset=\"https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/05\/buy-black-art-graf_5.jpg?w=855&amp;ssl=1 855w, https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/05\/buy-black-art-graf_5.jpg?resize=300%2C195&amp;ssl=1 300w, https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2020\/05\/buy-black-art-graf_5.jpg?resize=768%2C499&amp;ssl=1 768w\" sizes=\"(max-width: 538px) 100vw, 538px\" data-recalc-dims=\"1\" \/><\/a><p id=\"caption-attachment-7471\" class=\"wp-caption-text\">Browse and shop for fine art from our growing network of artists, collectors, estates, galleries &#8212; specializing in works by Black American artists with great values on premier art.<\/p><\/div>\n<h1 class=\"post-title\" style=\"text-align: center;\"><span style=\"color: #ff6600;\">START COLLECTING ART<\/span><\/h1>\n<p style=\"text-align: left;\">Sign up for our\u00a0<span style=\"color: #333399;\"><a style=\"color: #333399;\" href=\"http:\/\/media-archive.blackartinamerica.com\/index.php\/startcollectingart\/\"><u>free\u00a0email course<\/u><\/a>\u00a0<\/span>on how to begin your collection.<\/p>\n<p style=\"font-weight: 400;\"><strong><img loading=\"lazy\" class=\"alignleft size-medium wp-image-8639\" src=\"https:\/\/i0.wp.com\/media-archive.blackartinamerica.com\/wp-content\/uploads\/2021\/01\/Stephanie-Robinson-PIC-218x300.jpg?resize=218%2C300\" alt=\"\" width=\"218\" height=\"300\" data-id=\"8639\" srcset=\"https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2021\/01\/Stephanie-Robinson-PIC.jpg?resize=218%2C300&amp;ssl=1 218w, https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2021\/01\/Stephanie-Robinson-PIC.jpg?resize=744%2C1024&amp;ssl=1 744w, https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2021\/01\/Stephanie-Robinson-PIC.jpg?resize=768%2C1058&amp;ssl=1 768w, https:\/\/i0.wp.com\/earthexhibitions.org\/media-archive\/wp-content\/uploads\/2021\/01\/Stephanie-Robinson-PIC.jpg?w=854&amp;ssl=1 854w\" sizes=\"(max-width: 218px) 100vw, 218px\" data-recalc-dims=\"1\" \/>Stephanie Robinson, Esq.<\/strong>\u00a0is a Lecturer on Law at Harvard Law School, a national media figure, author, former Chief Counsel to Senator Edward M. Kennedy, and former President and CEO of The Jamestown Project, a national think tank focusing on democracy.\u00a0\u00a0Ms. Robinson hosted her own national radio show,\u00a0<em>Roundtable with Stephanie Robinson<\/em>, a popular weekly 30-minute, talk-radio program focused on culture, politics, and relationships that aired on TSN.\u00a0\u00a0For over half a decade, Ms. Robinson was Political and Social Commentator for the\u00a0<em>Tom Joyner Morning Show<\/em>\u00a0where she spoke to between 9 and 10 million people weekly, offering her perspective on the day\u2019s most pressing social and political issues.<\/p>\n<p style=\"font-weight: 400;\">Robinson is co-author of\u00a0<u>Accountable: Making America as Good as Its Promise<\/u>, (Atria Books, 2009). She is a nationally recognized expert on issues relating to social policy, women, race, family, and electoral politics.\u00a0\u00a0She was featured as one of the 30 Young Leaders of the Future in Ebony Magazine and was profiled in the book\u00a0<u>As I Am: Young African American Women in a Critical Age<\/u>, by Julian Okwu.\u00a0\u00a0Robinson is a frequent speaker expressing her views in countless media outlets including the\u00a0<em>Associated Press, The Washington Post, C-Span, Fox News, NewsOne\u00a0<\/em>and<em>\u00a0NPR<\/em>.<\/p>\n<p style=\"font-weight: 400;\">Stephanie was a Member of President Clinton\u2019s first Mission to Africa regarding children orphaned by AIDS. Robinson, a magna cum laude graduate of the University of Maryland and the Harvard Law School, is a native of Steubenville, Ohio. She lives in Massachusetts with her husband and two sons.<\/p>\n<p>Would you buy stock in BAIA if you could? Well we invite you to join us in becoming a monthly supporter, starting at just $3 a month\u00a0<b>YOU<\/b> become a stakeholder and begin to help us transform lives through art. We are growing the BAIA team and will use your contributions to hire more team members for the purpose of creating more educational and marketing resources for schools and universities about african american artists both past and present. Such art initiatives and educational programming like Blacklite with Steve Prince, Relating to Art with Dr. Kelli Morgan, and BAIA BITS would not be possible without the ongoing support of our Patreon members. Please consider becoming a monthly Patreon member today!<br \/>\n\u200b<br \/>\nReview our list of rewards for becoming a BAIA\u00a0<span style=\"color: #3366ff;\"><span style=\"color: #333399;\"><a style=\"color: #333399;\" href=\"https:\/\/www.patreon.com\/blackartinamerica\">Patreon<\/a><\/span>\u00a0<\/span>\/ patron supporter. 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