SALEM, Mass. -- "In times of darkness and solitude, remember that where there is a will, there is a way," said the renowned Black and Indigenous sculptor Edmonia Lewis. This inspiring quote is featured prominently in the exhibition Edmonia Lewis: Said in Stone, which serves as a tribute to her enduring spirit more than a century after her passing. The exhibition is currently being held at the Peabody Essex Museum.
Co-curated by the Peabody Essex Museum and the Georgia Museum of Art, this extensive retrospective showcases 30 of Lewis's exquisite Neoclassical white marble sculptures, complemented by archival materials and works from other artists. A standout feature of Said in Stone is its thoughtful curatorial approach, which allows audiences to appreciate Lewis as both a Black and Indigenous artist, with each identity thoughtfully represented in separate thematic spaces. The exhibition comprises four distinct rooms: "Antislavery and Emancipation," "Indigenous Artistic Worlds," "the Studios of Rome," and "Religion, Mythology, Transcendence," each marked by unique wall colors.
Textual elements play a crucial role in conveying Lewis's story, particularly given that many displayed works are not her own. A signed statement from the curators highlights Lewis's likely lineage, suggesting she was the daughter of Richard Lewis, a free Black man, and Margaret Groat Mike, a Mississauga-Tuscarora woman, while also noting the ongoing research into her early life with her mother's family. In 1865, Lewis relocated from Boston to Rome, a thriving center for American Neoclassical sculptors, where she gained international recognition as the first woman artist of Black and Indigenous descent.
The exhibition features Lewis's voice prominently, with her quotes adorning the walls, allowing visitors to engage with her narrative directly. One of her most impactful works, "Forever Free" (1867), depicts a man and woman in a powerful stance, symbolizing emancipation. This piece was the first by a Black American artist to honor the Emancipation Proclamation.
Another notable work, "Hiawatha's Marriage" (modeled in 1866, carved in 1870), presents an equal partnership between the Dakota woman Minnehaha and the Ojibwe warrior Hiawatha, showcasing Lewis's Indigenous feminist perspective. Additionally, her renowned piece, "The Death of Cleopatra" (1876), although represented by a replica due to conservation challenges, continues to resonate with audiences as a symbol of female strength and resilience.
The exhibition concludes with a poignant tribute by contemporary artist Gisela Torres, who connects with Lewis through her video work "Reverie and Slumber" (2020). This piece reflects on Lewis's life and legacy, emphasizing the ongoing influence of her work in contemporary art.
Overall, Edmonia Lewis: Said in Stone not only highlights her artistic contributions but also underscores the importance of her legacy, which continues to inspire new generations of artists. As this exhibition travels to other venues, it promises to engage and inspire even more audiences, ensuring that Lewis's remarkable story endures.