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In particular I will touch on the diﬀerences in cultural consumption and viewership that existed in democratized touring public exhibitions of single objects such as Hiram Powers’s Greek Slave (chapter 4), the private or semiprivate viewing of works such as William Story’s Cleopatra (chapter 6) in Roman studios, and the grand, oﬃcial spaces of international exhibitions where Edmonia Lewis displayed her Death of Cleopatra (chapter 7). 45 That is, art enters the world and is consumed within a structure that predates it, a structure within which the potential audience is educated in how to consume and view the art object “properly,” how to read and narrate the work, and how to extract its meanings.
Many of the works discussed were displayed at international exhibitions that simultaneously exhibited agricultural produce, industrial and scientiﬁc objects, popular cultural items, “high” art, and human beings as paradigmatic of the natural, economic, intellectual, popular, cultural, and physical products of particular regions, nations, empires, and races. The history of the nineteenth-century racialization of the black body in sculpture parallels the objectiﬁcation of human beings as exhibitable “scientiﬁc” objects, which legitimized the colonial signiﬁcation of race within western human sciences.
The speciﬁc focus on nineteenth-century neoclassicism reveals a color bias at the level of medium that underpinned an ideal racialized body. The nineteenth-century’s Introduction — xxxi stylistic dependence on classical sculpture, broadly termed neoclassicism, located the privileging of the white body as the aesthetic paradigm of beauty. Quite simply, the term classical is not neutral. It does not refer merely to examples of Greek and Roman antiquities. ”41 However, the inclusion of the black subject in the exclusive canon of western sculpture was not, in itself, enough to erase the racial marginalization of the black body.