{"product_id":"the-sculpture-of-william-edmondson-tombstones-garden-ornaments-and-stonework-paperback","title":"The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework - Paperback","description":"\u003cp\u003eby \u003cb\u003eMarin R. Sullivan\u003c\/b\u003e (Editor), \u003cb\u003eRenee Ater\u003c\/b\u003e (Contribution by), \u003cb\u003eKela Jackson\u003c\/b\u003e (Contribution by)\u003c\/p\u003e\u003cp\u003e\u003cb\u003eWinner of the Mary Ellen LoPresti Publication Award, Art Libraries Society of North America (ARLIS\/NA), 2022\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e William Edmondson (1874-1951) was the first African American sculptor to have a one-person exhibition at the Museum of Modern Art. Edmondson started sculpting in his late fifties, after the Nashville Women's Hospital, where he worked as a janitor, closed. During his life he was well known for his yard art, such as whimsical birdbaths and \"critters\" of real and imaginary provenance, and the grave markers he carved for African American families. His sculptures are now highly sought after by collectors. \u003cp\u003e\u003c\/p\u003e\u003ci\u003eThe Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework\u003c\/i\u003e is the first large-scale museum examination of artist William Edmondson's career in over twenty years. Organized by Cheekwood Curator-at-Large Marin R. Sullivan, the exhibition draws upon new scholarship and methodologies to contextualize Edmondson's sculpture, both within the histories of Nashville during the Interwar years and the art histories of modern art in the United States. \u003cp\u003e\u003c\/p\u003e Edmondson has largely been confined to narratives that focus on his artistic discovery by white patrons in the 1930s, his work's formal resonance with so-called primitivism and direct carving techniques, and his place in the traditions of African American \"outsider\" art. This exhibition revisits Edmondson's work within these frameworks, but also seeks to reevaluate his sculpture on its own terms and as part of a comprehensive practice that included the creation of commercial objects rather than strictly fine art. \u003cp\u003e\u003c\/p\u003e The exhibition's title references the sign that hung on the outside of Edmondson's studio, advertising what was for sale and on view to the public in his yard, including tombstones, birdbaths, and statuary meant to be used and intended for outdoor rather than gallery display.\u003ch3\u003eAuthor Biography\u003c\/h3\u003e\u003cp\u003e\u003cb\u003eRenée Ater\u003c\/b\u003e holds a B.A. from Oberlin College, and a M.A. and Ph.D. in Art History from the University of Maryland. A public scholar who works at the intersection of art and history, Dr. Ater's research focuses on monuments, race, national identity, and public space. She is the author of \u003ci\u003eKeith Morrison, \u003c\/i\u003evolume 5 of The David C. Driskell Series of African American Art (Pomegranate Books, 2005) and \u003ci\u003eRemaking Race and History: The Sculpture of Meta Warrick Fuller\u003c\/i\u003e (University of California Press, 2011). She has written on a wide range of public monuments including the \u003ci\u003eUnsung Founders Memorial\u003c\/i\u003e at the University of North Carolina; the \u003ci\u003eAfrican American Civil War Memorial\u003c\/i\u003e in Washington, DC; the \u003ci\u003eMartin Luther King Jr. Memorial \u003c\/i\u003ein Rocky Mount, North Carolina; the \u003ci\u003eTuskegee Airmen National Historic Site\u003c\/i\u003e in Alabama; and the \u003ci\u003eCrispus Attucks Memorial \u003c\/i\u003ein Boston. Currently, Dr. Ater is engaged in an open-source digital project entitled \u003ci\u003eContemporary Monuments to the Slave Past: Race, Memorialization, Public Space, and Civic Engagement\u003c\/i\u003e, which has been funded through the National Endowment for the Humanities-Mellon Foundation, The Getty Research Institute, and the Smithsonian Office of Fellowships. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cb\u003eKéla B. Jackson\u003c\/b\u003e is a Ph.D. student in the department of History of Art and Architecture at Harvard University. Her research and writing interests include modern and contemporary art of the African Diaspora, spatial and aesthetic articulations of selfhood and citizenship, as well as notions of memory and archives among Black women and queer artists. Jackson has held various positions at the Samuel P. Harn Museum of Art at the University of Florida, High Museum of Art, Spelman College Museum of Fine Art, and the Radcliffe Institute for Advanced Study at Harvard University. She received her B.A. in Art with a concentration in Art History and a minor in African Diaspora Studies from Spelman College. \u003cp\u003e\u003c\/p\u003e\u003cb\u003eEllen Macfarlane \u003c\/b\u003eis a Lecturer in the Art History Department at the University of Southern California. Her research focuses on the history of photography, American art, and vernacular visual culture in the 20th century. She received her PhD in Art \u0026amp; Archaeology from Princeton University in 2018. Her current book project examines the early 1930s California art photography collective, Group f.64, and analyzes the group's engagement with Depression-era debates regarding the relationship of aesthetics and politics in light of its strong stance against photographic manipulation. Macfarlane's writing has appeared in \u003ci\u003eAmerican Art\u003c\/i\u003e, \u003ci\u003eSouthern California Quarterly\u003c\/i\u003e, and \u003ci\u003ecaa.reviews\u003c\/i\u003e. She has held fellowships from the Smithsonian American Art Museum, the ACLS\/Luce Foundation, the Center for Creative Photography, and the Huntington Library. \u003cp\u003e\u003c\/p\u003e\u003cb\u003eAnne Monahan \u003c\/b\u003eis an art historian based in New York and focused on modern and contemporary art. She is the author of \u003ci\u003eHorace Pippin, American Modern \u003c\/i\u003e(2020); \u003ci\u003eFaith Ringgold: Die\u003c\/i\u003e (2018); articles in \u003ci\u003eArt Journal, The Metropolitan Museum Journal\u003c\/i\u003e, and \u003ci\u003eNka: The Journal of Contemporary African Art\u003c\/i\u003e, among others; and contributions to various museum catalogues. \u003cp\u003e\u003c\/p\u003e\u003cb\u003eBetsy Phillips \u003c\/b\u003eis the Marketing Manager at Vanderbilt University Press. Her writing has appeared in \u003ci\u003eThe\u003c\/i\u003e \u003ci\u003eNashville Scene\u003c\/i\u003e and \u003ci\u003eThe Washington Post\u003c\/i\u003e. She is the author of \u003ci\u003eDynamite Nashville: Unmasking the KKK, the FBI, and the Bombers Beyond Their Control \u003c\/i\u003e(2021), and contributed an essay \"Perverse Incentives,\" to \u003ci\u003eGreetings from New Nashville: How a Sleepy Southern Town Became \"It\" City\u003c\/i\u003e (2020). \u003cp\u003e\u003c\/p\u003e\u003cb\u003eMarin R. Sullivan \u003c\/b\u003e(PhD, University of Michigan) is a Chicago-based art historian, consultant, and curator. She is Curator-at-Large at Cheekwood Estate \u0026amp; Gardens in Nashville, where she focuses on postwar and contemporary sculpture initiatives. Sullivan also serves as the Director of the Harry Bertoia Catalogue Raisonné and is a member of the Board of Trustees for the International Sculpture Center. She specializes in the histories of modern and contemporary sculpture, especially its interdisciplinary, intermedial dialogues with design and the built environment. Sullivan is the author of \u003ci\u003eSculptural Materiality in the Age of Conceptualism\u003c\/i\u003e (2017) and \u003ci\u003eAlloys: American Sculpture and Architecture at Midcentury\u003c\/i\u003e (2022) as well as numerous essays and articles in publications including \u003ci\u003eAmerican Art, Art History, History of Photography, \u003c\/i\u003eand \u003ci\u003eSculpture Journal\u003c\/i\u003e. Her research has been supported by fellowships from the Smithsonian American Art Museum and the Crystal Bridges Museum of American Art. \u003cp\u003e\u003c\/p\u003e\u003cb\u003eLearotha Williams, Jr., PhD\u003c\/b\u003e is an Associate Professor of African American and Public History and coordinator of the North Nashville Heritage Project at Tennessee State University. Dr. Williams teaches courses that explore enslavement and emancipation in Tennessee, African American history, and Public Memory. He is also a member of Tennessee's Review Board for the National Register of Historic Places, serves on the Board of the Metro Historical Zoning Commission, Historic Nashville, Inc., Promise Land Heritage Association, and is a member of the Board of the friends of Fort Negley. Since his arrival at Tennessee State University, he and his students have worked closely with African American Heritage societies and organizations throughout Middle Tennessee where they have focused on African American history in rural spaces. He has completed an edited work with Amie Thurber PhD \"I'll Take You There: Nashville's Social Justice Sites (Vanderbilt University Press, 2021) and he is currently writing \"A Song in a Strange Land: Black Nashville in History and Public Memory.\" This work will explore the role African Americans have played in Nashville's history and how we study and celebrate it in public spaces. Dr. Williams is a native of Tallahassee, Florida where earned his PhD from Florida State University in 2003.\u003cdiv\u003e\n\u003cstrong\u003eNumber of Pages:\u003c\/strong\u003e 168\u003c\/div\u003e\u003cdiv\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 0.5 x 11.9 x 8.9 IN\u003c\/div\u003e\u003cdiv\u003e\n\u003cstrong\u003ePublication Date:\u003c\/strong\u003e September 15, 2021\u003c\/div\u003e","brand":"Books by splitShops","offers":[{"title":"Default Title","offer_id":45610709975084,"sku":"9780826502360","price":29.95,"currency_code":"USD","in_stock":false}],"url":"https:\/\/smartsupplydeals.com\/products\/the-sculpture-of-william-edmondson-tombstones-garden-ornaments-and-stonework-paperback","provider":"Smart supply deals","version":"1.0","type":"link"}