Negritud, indigenismo y mestizaje en la obra escultórica y el relato vital de Edmonia Lewis

La obra escultorica de Mary Edmonia Lewis (1844-1907), la primera mestiza afro estadounidense y Chippewa documentada que saboreo el exito nacional e internacional, ha servido a muchos historiadores e historiadoras del arte no solo para reflexionar sobre la politica racial y colonial de la imagen del afro e indio estadounidense en la segunda mitad del siglo XIX, sino para incidir en la politica del discurso racializado y racializador de la misma historia del arte.Lewis utilizo el lenguaje escultorico neoclasico, de pretensiones universalistas, idealistas y atemporales, para tratar temas politico-culturales claves de su tiempo. Con esta estrategia Lewis logro destacar entre los circulos artisticos euroamericanos abolicionistas y sufragistas. La intencion de este trabajo es mostrar y analizar en que terminos la historiografia ha interpretado esta aparente paradoja, clave para entender la configuracion de una subjetividad artistica femenina y mestiza en la epoca de la Women's Rights Convention de Akron (Ohio), de la Decimotercera Enmienda y del Acta Dawes de 1887.Blackness, Indigenism, and Miscegenation in the Sculptural Work and Life Narrative of Edmonia Lewis The sculptural work of Mary Edmonia Lewis (1844-1907), the first artist with national and international success of African American and Native American descent documented, has served many art historians not only to reflect on the racial and colonial politics of the Afro American and Native American image in the second half of the nineteenth century, but to dwell on the politics of racialized and racializing discourse of the very art history.Lewis deployed the neoclassical sculptural language, which had universalist, idealistic and timeless pretensions, to address political and cultural key issues of her time. With this strategy, Lewis managed to stand out among the abolitionist and suffragist Euro-American artistic circles.This work aims to show and analyze the terms in which historiography has interpreted this apparent paradox, which is key to understand the configuration of a feminine and mestizo artistic subjectivity at the time of the Women’s Rights Convention of Akron (Ohio), Thirteenth Amendment and the Dawes Act of 1887.