324 pp., 6.125 x 9.25, 36 halftones, notes, bibl., index
Paperback ISBN: 978-1-4696-5996-1
Published: September 2020
Hardcover ISBN: 978-1-4696-5995-4
Published: September 2020
Paperback Available September 2020, but pre-order your copy today!
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Understudied artists such as Robert Douglass Jr., Patrick Henry Reason, James Presley Ball, and Augustus Washington produced images to persuade viewers of the necessity for racial equality, black political leadership, and freedom from slavery. Moreover, these activist artists’ networks of transatlantic patronage and travels to Europe, the Caribbean, and Africa reveal their extensive involvement in the most pressing concerns for black people in the Atlantic world. Their work demonstrates how images became central to the ways that people developed ideas about race, citizenship, and politics during the nineteenth century.
About the Author
Aston Gonzalez is assistant professor of history at Salisbury University.
For more information about Aston Gonzalez, visit the Author Page.
"Many scholars have eagerly awaited a book like this--one that centers nineteenth-century black activism anchored in artwork and visual culture produced by black Americans. Visualizing Equality bridges the fields of African American history, visual culture studies, and material culture studies--a truly unique and impressive contribution for any scholar. Gonzalez has done a masterful job of mining source materials and presenting exciting arguments."--Erica Armstrong Dunbar, Rutgers University
"This is an indispensable, pathbreaking book. The writing is crisp and clear, the research is broad and deep, and the conclusions are ramifying and resounding. Thanks to Aston Gonzalez, we have an authoritative examination of black artists, lithographers, and photographers in nineteenth-century American and Atlantic society that deepens our understanding of the uses and meaning of black visual culture."--Richard Newman, Rochester Institute of Technology
“In 1855, Frederick Douglass declared, ‘I must speak just the word that seemed to me the word to be spoken by me.’ Over 150 years later, Aston Gonzalez’s inspirational study, Visualizing Equality, bears witness to black image-makers’ insistence that they ‘must visualize just the image that seemed to them the image to be visualized by them.’ A call to arms, Gonzalez’s trailblazing history of black activist-artists’ radical and revolutionary practices of reclamation, re-creation, and reimaging testifies to their endorsement of the ‘power of images’ as a weapon of liberation in the ‘battle for black rights.’ For the first time, Gonzalez does hard-hitting justice to the lives and works of black artists who sacrificed, struggled, and survived not only to visualize but to create and re-create ‘the world they envisioned.’”-- Celeste-Marie Bernier, University of Edinburgh