Huey Copeland, "Making Black Feminist Art Histories," American Art
Huey Copeland: “Over the last decade, I have had the pleasure of teaching Renée Ater’s 2003 article “Making History” on Meta Warrick Fuller’s Ethiopia in classes focused on twentieth-century sculpture, histories of modernism, and African American cultural politics.1 Such range underlines the expansive address of the artist’s work as well as the scholar’s vital framing of it: in homing in on Ethiopia, the signature sculpture of a long-neglected black female artist, Ater’s text subtly challenges art-historical discourse while holding out a productive model of it, one that confronts rather than suppresses the importance of race and gender in the making of modern American culture.”
Citation: Copeland, Huey. “Making Black Feminist Art Histories.” American Art 31, no. 2 (Summer 2017): 27-29.
Sala Levin: “For eight years—long before the controversy over Confederate monuments became a deafening national conversation—Ater has been studying monuments to the nation’s slave past. Her research attempts to answer a thorny question: What makes a successful monument to slavery? Is it one that an art historian appreciates, or one that’s valuable to a community trying to reckon with its past? One that serves as a rallying point for protests and demonstrations? One that calls attention to itself, or one that blends into the scenery as naturally as daffodils on the roadside?”
Citation: Levin, Sala. “Monumental Change.” Terp Magazine (Winter 2019): 24-29.