Winner of the New Scholar’s Book Award from the American Educational Research Association The abolitionist movement not only helped bring an end to slavery in the United States but also inspired the large-scale admission of African Americans to the country’s colleges and universities. Oberlin College changed the face of American higher education in 1835 when it began enrolling students irrespective of race and sex. Camaraderie among races flourished at the Ohio institution and at two other leading abolitionist colleges, Berea in Kentucky and New York Central, where Black and white students allied in the fight for emancipation and civil rights. After Reconstruction, however, color lines emerged on even the most progressive campuses. For new generations of white students and faculty, ideas of fairness toward African Americans rarely extended beyond tolerating their presence in the classroom, and overt acts of racial discrimination grew increasingly common by the 1880s. John Frederick Bell’s Degrees of Equality analyzes the trajectory of interracial reform at Oberlin, New York Central, and Berea, noting its implications for the progress of racial justice in both the nineteenth and twenty-first centuries. Drawing on student and alumni writings, institutional records, and promotional materials, Bell interrogates how abolitionists and their successors put their principles into practice. The ultimate failure of these social experiments illustrates a tragic irony of abolitionism, as the achievement of African American freedom and citizenship led whites to divest from the project of racial pluralism.

This is the first and only biography of one of John Brown's African American comrades, John Anthony Copeland.

Women artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and to be taken seriously as working artists. They also encountered prevailing sexism, often an even more serious barrier. Including seventy-two black-and-white illustrations, this book chronicles the challenges of women artists, who are in some cases unknown to the general public, and places their achievements in the artistic and cultural context of early twentieth-century America. Contributors to this first book on the women artists of the Harlem Renaissance proclaim the legacy of Edmonia Lewis, Meta Vaux Warrick Fuller, Augusta Savage, Selma Burke, Elizabeth Prophet, Lois Maillou Jones, Elizabeth Catlett, and many other painters, sculptors, and printmakers. In a time of more rigid gender roles, women artists faced the added struggle of raising families and attempting to gain support and encouragement from their often-reluctant spouses in order to pursue their art. They also confronted the challenge of convincing their fellow male artists that they, too, should be seen as important contributors to the artistic innovation of the era.