Thanksgiving 2024 Part 4.

 

Meta Vaux Warrick Fuller

We appreciate icons of art prodigiously. Meta Vaux Warrick Fuller was a legendary artist who celebrated Afrocentric themes. She worked in the Harlem Renaissance to be an inspiration for future artists. Warrick was not only a painter and sculptor. During the duration of her life, she was a poet, theater designer, and she expressed the diverse experiences of the black American experience. By the turn of the 20th century, she was the black woman sculptor whose work had spread in Paris, America, and throughout the world. She was born in Philadelphia and passed away in Framingham, Massachusetts to be 90 years old. Warrick was the protegee of Auguste Rodin. As one of the greatest artists of all time, she addressed many social issues like lynching (after Mary Turner was brutally lynched by cowardly racists). She experienced racism and sexism. Yet, Meta Fuller outlined genius to prove to the world that black genius can never be extinguished. Black genius will persist forever in the Universe indeed. The legends of art are appreciated by us. We respect the contributions of Lois Mailou Jones, Sargent Claude Johnson, Jacob Lawrence, Archibald Motley, Romare Bearden, and other people who wanted introspection and a love of truth to persist. 

Her Early Life

Meta Vaux Warrick Fuller was born in Philadelphia, Pennsylvania on June 9, 1877. Her parents were Emma (nee Jones) Warrick, an accomplished wig maker and beautician for upper class white women. William H. Warrick was a successful barber and caterer. Her father owned many barber shops, and her mother owned her own beauty salon. Warrick was, in fact, named after Meta Vaux, the daughter of Senator Richard Vaux, one of her mother's customers. Her maternal grandfather, Henry Jones, was a successful caterer in the city. Both of her parents were considered to have influential positions in African-American society. Her family's class status was a special privilege. It gave them many benefits, but even upper middle class black people suffered racism and discrimination back then and today. After an influx of free black people began making a home in Philadelphia, the available jobs were generally physically hard and low-paying. Only a few people could find desirable jobs as ministers, physicians, barbers, teachers, and caterers. During the Reconstruction, due to racism, legalized racial segregation laws, including Jim Crow laws limited the social progress of African Americans into the 20th century. Despite this, Warrick's parents were able to find creative success amongst the "vibrant political, cultural, and economic center" the African-American community of Philadelphia had established. Her parents' success inspired Meta Fuller to have access to many cultural and educational opportunities.

Warrick was trained in art, music, dance, and horseback riding. Warrick's art education and art influences started at home. It was nurtured from her childhood by her older sister Blanche, who studied art and visited the Pennsylvania Academy of the Fine Arts with her father, who was also interested in sculpture and painting. Her older sister became a beautician like their mother, but she kept clay that Meta was able to use to create art. She was enrolled in 1893 at the Girls' High School in Philadelphia, where she studied art as well as academic courses. Warrick was among the few gifted artists selected from the Philadelphia public schools to study art and design at J. Liberty Tadd's art program at the Philadelphia School of Industrial Art in the early 1890s. Her brother and grandfather entertained and fascinated her with endless horror stories. These influences partly shaped her sculpture, as she eventually developed as an internationally trained artist known as "the sculptor of horrors." Warrick's art career started after one of her high school projects was chosen to be included in the 1893 World's Columbian Exposition in Chicago. Based upon this work, she won a four-year scholarship to the Pennsylvania Museum and School of Industrial Art (now The University of the Arts College of Art and Design) in 1894. Her gift for sculpture developed. 

In an act of independence and nonconformity as an up-and-coming woman artist, Warrick defied traditionally "feminine" themes by sculpting pieces influenced by the gruesome imagery found in the fin de siècle movement of the Symbolist era. At various times, she was a literary sculptor, at others a creator of portrait art - which she studied under Charles Grafly at the Pennsylvania Academy of the Fine Arts. Although she said that she could not specialize in African-American types, Fuller became one of the most effective chroniclers of the black experience within the United States. In 1898, she received her Pennsylvania Museum and School of Industrial Art diploma and teacher's certificate as well as a scholarship for an additional year of study.

After she graduated in 1899, Warrick traveled to Paris, France, where she studied with Raphael Collin, working on sculpture and anatomy at the Academie Colarossi and drawing at Ecole des Beaux-Arts. Warrick had to deal with racial discrimination at the American Women's Club in Paris, where she was refused lodging although she had made reservations before arriving in the city. African American painter Henry Ossawa Tanner, a family friend, founding lodging for her and gave her a community amongst his groups of friends. Warrick's work grew stronger in Paris, where she studied until 1902. Influenced by the conceptual realism of Auguste Rodin, she became so adept at depicting the spirituality of human suffering that the French press named her "the delicate sculptor of horrors." In 1902, she became the protege of Rodin. Of her plaster sketch entitled Man Eating His Heart, Rodin remarked, "My child, you are a sculptor; you have the sense of form in your fingers." Warrick created many works of art that described the African American experience that were revolutionary. They touched on the complexities of nature, religion, identity, and nation. She is considered part of the Harlem Renaissance, a flourishing in New York of African Americans making art of various genres, literature, plays and poetry. The Danforth Museum, which received a $40,000 grant from the Henry Luce Foundation to safeguard Warrick Fuller's work, states that Fuller is "generally considered one of the first African-American female sculptors of importance."

The Art Career Develops More

Meta Fuller met sociologist W.E.B. DuBois, who became a lifelong friend and confidant. He encouraged Warrick to draw from African and African-American themes in her work. She met French sculptor Auguste Rodin, who encouraged her sculpting. Her real mentor was Henry Ossawa Tanner while learning from Raphaël Collin. It was the "masculinity and primitive power" of her sculptures that drew the French crowds to her work and generated her acclaim. The Paris crowd was astonished that a woman could produce works that depicted such "horror, pain, and sorrow." It was a relief for Warrick that her gender wasn't an inhibitor of how the public reacted to her racially themed pieces, as it would be in the United States. By the end of her time in Paris, she was widely known and had had her works exhibited in many galleries. Samuel Bing, patron of Aubrey Beardsley, Mary Cassatt, and Henri de Toulouse-Lautrec, recognized her abilities by sponsoring a one-woman exhibition including Siegfried Bing's Salon de l'Art Nouveau (Maison de l'Art Nouveau). In 1903, just before Warrick returned to the United States, two of her works, The Wretched and The Impenitent Thief, were exhibited at the Paris Salon.

Meta Fuller came back to Philadelphia in 1903. Warrick was shunned by members of the Philadelphia art scene for racist reasons (she was a black woman) and because they felt that her art was "domestic." Yet, Fuller became the first African American woman to receive a U.S. government commission. For this award, she created a series of tableaux depicting African American historical events for the Jamestown Terecenntial Exposition, being held in Norfolk, Virginia, in 1607. The display had 14 dioramas and 130 painted plaster figures showing the scenes of slaves arriving in Virginia in 1619 and the home lives of black human beings. At the time, it was described as the "Historic Tableaux of the Negroes' Progress." Historian W. Fitzhugh Brundage has described Fuller's tableaux as one that suggested "the expansiveness of black abilities, aspirations and experiences, [presenting] a cogent alternative to white representations of history." Warrick's tableaux were given prominent display in the Negro Building at the Jamestown Tercentennial, where they occupied 15,000 square feet. Each scene consisted of painted plaster figures and extensive painted backdrops. The 14 tableaux depicted the following: the landing of the first slaves at Jamestown; slaves at work in a cotton field; a fugitive slave in hiding; a gathering of the first African Methodist Episcopal Church; a slave defending his owner's home during the Civil War; newly freed slaves building their own home; an independent black farmer, builder and contractor; a black businessman and banker; scenes inside a modern African-American home, church and school; and finally, a college commencement. For her work on the tableaux, Warrick was awarded a gold medal by the directors of the exposition.

 

Her work of Mary Turner was her esponse to the 1918 lynching of a young, pregnant black woman in Lowndes County, Georgia. Fuller's contemporary, Angelina Weld Grimké, wrote the short story "Goldie" based on this murder. Warrick's activism also spanned into feminist work. She participated in the Women's Peace Party and the Equal Suffrage Movement, but abruptly stopped once she realized that black women were discriminated against in the fight for equal voting rights by some white racist suffragists. She often sold pieces to fund voter registration campaigns in the South. Warrick exhibited at the Pennsylvania Academy of the Fine Arts in Philadelphia in 1906. She exhibited there again in 1908. In 1910, a fire at a warehouse in Philadelphia, where she kept tools and stored numerous paintings and sculptures, destroyed her belongings; she lost 16 years' worth of work. Among her oeuvre, only a few early works stored elsewhere were preserved. The losses were emotionally devastating for her.

Fuller exhibited at the Pennsylvania Academy of the Fine Arts in 1920. She created one of her famous works of Ethiopia (known as Ethiopia Awakening also) for America's Making Exhibition in 1921. The event was meant to show immigrants' contributions to American artistic society and culture. The sculpture of Ethiopia being bronze symbolized a new black identity that was emerging through the Harlem Renaissance. It represented the pride of African Americans in African and black heritage and identity. Ethiopia, drawn from Egyptian sculptural concepts, is an academic sculpture of an African woman emerging from a mummy's wrappings, like a chrysalis from a cocoon, represented her statement on black consciousness globally. Fuller made multiple versions of Ethiopia, including a small maquette with the figure's left-hand projecting from its body (now lost) and two full-size bronze casts, one with the left-hand projecting and a second made incorrectly, with the left-hand flush to the figure's side. In 1922, Fuller showed her sculpture work at the Boston Public Library. Her work was included in an exhibition for the Tanner League, held in the studios of Dunbar High School in Washington, D.C. The federal commissions kept her employed, but she did not receive as much encouragement in the US as she had in Paris. Fuller continued to exhibit her work until her last show (1961) at Howard University (Washington, D.C.) in 1961.

The Latter Years

Meta Fuller wrote poetry too like the poem Departure (relating to the call for freedom for black people). Her poem "Departure" was included in the 1991 collection Now is Your Time! The African American Struggle for Freedom. Warrick Fuller loves to make contributions to the theater. She was a designer, director, and actress. One of her focuses was stage lighting, which was not considered a true art form until the late 1920s; moreover, lighting design was dominated by men. Fuller was able to design for both African American and white theater companies, which was unheard of at the time. In 1918, she joined theater organizations in Boston, Massachusetts. She was known for her paintings of "living pictures" as well as the creation of props, scenery, and masks. The Answer was an African American stage production where Fuller designed costumes while also performing a small role. She became active in the Civic League Players (CLS) in the late 1920s and was the only African-American in the organization. With the CLS, Fuller worked on over thirty shows in all different areas of production and taught workshops. In 1928, she was taking theater classes at Wellesley College and Columbia University that focused on pageantry, lighting, and playwriting. After becoming less active in the CLS, Fuller joined a Black theater company called the Allied Arts Theatre Group (AATG) where she worked as a head designer, director, and board member. She was involved with the AATG until the founder died in 1936. Even with her commitments to being an artist and working in theater, Fuller wrote at least six plays under the pseudonym, Danny Deaver. There is an excerpt of stage directions in her production titled, A Call After Midnight.

In 1907, Warrick married Dr. Solomon Carter Fuller, a prominent physician and psychiatrist, known for his work with Alzheimer's disease. Born in Liberia, Dr. Fuller was one of the first black psychiatrists in the United States. The couple settled on Warren Road in Framingham, Massachusetts where they were one of the first black families to join the community. She continued to create works of art, against the stigma that she should settle down and become a housewife once she and her husband had three children one of which, her son Perry, went on to become a sculptor as well. Prominent African American people visited their house, as did the Prince of Siam. Within the community, Warrick Fuller helped establish and was involved in the lighting of productions put on by the Framingham Dramatic Society. She was an active member of the St. Andrew's Episcopal Church where she directed and costumed their plays and pageants. She loved to create traditional biblical scenes inspired by her religion. She said that art was her divine calling. She loved to create wonderful, great works of art. Warrick Fuller passed away on March 13, 1968 at Cardinal Cushing Hospital in Framingham, Massachusetts.

Her Legacy

Meta Vaux Warrick Fuller's legacy is extensive in being a genius who loves the beautiful gift of art. Her intellect and courage refuted false, stereotypical sexist, and racist notions. She was ahead of her time to create sculptures that reflected the greatness of black people too. In real life, I have painted images before, and I sculpted images when I was in high school. Meta Fuller carried herself with regal dignity. Her work has been shown in America and in many countries of the world too. She was one of the leading black woman sculptors of America in her generation. She studied with experts like Auguste Rodin in Paris, France. The Danforth Museum has a large collection of Fuller's sculptures, including many unfinished works from her home studio. Her work was featured in 1988 in a traveling exhibition at the Crocker Art Museum, along with artists Aaron Douglas, Palmer C. Hayden, and James Van Der Zee. Also, her work was featured in a traveling exhibition called "Three Generations of African American Women Sculptors: A Study in Paradox," in Georgia in 1998. Fuller's work was included in the 2015 exhibition of We Speak: Black Artists in Philadelphia, 1920s-1970s at the Woodmere Art Museum. 

Conclusion (for Thanksgiving 2024)

It is time to expose the far-right racist Laura Loomer, who is a Trump supporter. Loomer is part of Trump's entourage, and Trump allies with Loomer too. She is an Internet personality, a MAGA activist, and calls herself a "pro-white nationalist" and proud "Islamphobe." So, she is a person who is anti-democracy and anti-diversity. Anyone voting for Trump is a supporter of racism and xenophobia, and I don't care who it is. She was born in Tuscon, Arizona. During the day of the 2016 election (on November 8, 2016), Loomer was part of Project Veritas stunt. She went to a polling station dressed in a burqa and asked for a ballot under the name of Huma Abdein, which is blatantly Islamophobic. She has reported for Infowars, Geller Report, and other far right organizations. Loomer is a criminal by she and others jumping the wall around the California Governor's Mansion in Sacramento. They opposed  Governor Gavin Newsom's stance on immigration. Loomer promoted the lie that Haitian immigrants were eating other people's household pets in Springfield, Ohio. Loomer made the racist tweet that if Kamala Harris was elected President, then the White House will smell like curry, and White House speeches will be facilitated via a call center. Trump and Loomer are racists plain and simple. Even Marjorie Taylor Green (a far-right extremist) said that Loomer's remarks about Kamala Harris were racist and appalling. Loomer believes in the lie that the school shootings in February 2018 in Parkland, Florida, and in May 2018 in Santa Fe, Texas were staged. She lied and said that the October 2018 United States mail bombing attempts were a false flag operation created by the Democrats. Loomer is a vicious racist who said that 20,000 Haitians are cannibalistic and promoted the lie that Haitians are eating cats in Springfield, Ohio. She was banned by Twitter and then reinstated by the extremist Elon Musk. In 2019, after the white racist terrorist attack that killed 51 people at two mosques in Christchurch, New Zealand, Loomer wrote that she doesn't care about Christchurch. Loomer is evil. Loomer spoke at the annual conference of white racist publication of American Renaissance. She opposes birthright citizenship. She disrespected Rep. Sheila Jackson Lee, Kamala Harris, Fani Willis, and Letitia James in racist terms. So, Loomer is a fraud, and Trump supports her. Anyone supporting Loomer and Trump is evil and a sellout to the core. 

There has been slander against Haitian people in Springfield, Ohio eating cats. This is promoted by far-right people and racists who don't believe in the principle of treating your neighbor as yourself. Not only have there been bomb threats in Springfield, Ohio over this lie, but many Haitian Americans fear more hate crimes, attacks, and even death. This racism and xenophobia are not new among Republicans. Laura Ingraham said that Haitian refugees are part of a Democratic plot to cancel out so-called native-born Americans. Trump and his supporters of demonizing black immigrants and other immigrants of color are part of a key playbook to cause fear and division in society. The mayor of Springfield and the Republican Governor of Ohio debunk the eating local pets lie. This lie promotes the stereotype that we black people are dysfunctional people. Trump and J.D. Vance believe in this racist lie too. Xenophobia was shown by Tariq Nasheed, and Yvette Carnell (who is jealous of the black scholar Jessica Aiwuyor who wrote literature in favor of black liberation globally. Yvette Carnell lied and said that Jessica has no credentials when she has three degrees, including two master's degrees and 20 years of experience), and others should be condemned as well. Therefore, as a black American, I will defend the human rights of Haitian people in America and throughout the world. 

By Timothy