AUGUSTA SAVAGE (1892-1962)
Augusta Savage is an American sculptor who was born in Green Cove Springs, Florida. She moved to New York City in 1921 to study sculpture at Cooper Union, her talent and drive allowed for many of her courses to be waived and she graduated in three years. Savage endured many instances of injustice as a result of her gender and race, most prominently when she was selected to be one of the one-hundred American women to attend a summer program at Fontainebleau, Paris. She was later refused by the French institution because of her race. She eventually received a fellowship that allowed her to study sculpture in Paris. Savage endured misogynoir throughout her life, she endlessly battles to create space for black women in her community and the art world.
Savage returned to New York City to pursue her passions for community development and education. In 1932 she founded the Savage Studio of Arts and Crafts in Harlem, New York. During this time she was also the director of the Harlem Community Arts Centre. Savage’s dedication to being an educator of the arts and endless labour to promote women of colour and their artistic production allowed for black women artists’ narratives to be heard. Many of the prominent figures in the Harlem Renaissance were working under her mentorship and guidance. In addition to her loyal mentorships she established through her community in Harlem, she paved the way and advocated for space.
Savage obtained countless commissions and gained a significant amount of recognition in her lifetime. The peak of her production occurred during the great depression, class struggle in addition to her gender and race created barriers Savage transcended to obtain the attention of collectors. Her work explored the intersections of class, race, and gender through her conceptual rendering of forms. Many of the figures she sculpted took on traits of anonymity in order to convey concepts and symbols that are broad and communicated collective experiences of black individuals living in America during the early 1900’s. Her work was monumental and had a profound aesthetic and conceptual impact on the viewer. Many of her sculptures have been damaged or lost as a result of a flaw in the material she used in her production. Savage often used clay to render and cast the works in plaster and painted the surface to appear as bronze. Her financial situation didn’t permit the use of more archival materials, like her ideal medium, bronze.
Savages’ story and career are so often untold, her work is known to few art historians and the lack of archive of her very significant and influential work is astounding. In 1940 she retired from her art production and pursued a quieter life in the rural environment as a farmer. Her life was dedicated to her career as a cultural producer and she tirelessly advocated for those who shared similar ambitions. Savage deserves boundless recognition and that is why I chose to write about her although most of her finished works were not ceramic objects, her connection to clay in her process and her impact that lives on in contemporary sculpture are undeniable. Augusta Savage took charge of her narrative and paved the way for women in sculpture and beyond.