Address Of Edward Atkinson Of Boston Massachusetts Given In Atlanta Georgia In October 1880 For The Promotion Of An International Cotton Exhibition

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In Black Bodies, White Gold Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton—as both commodity and material—became inexorably tied to the monetary value of Black bodies. From the production and representation of “negro cloth”—the textile worn by enslaved plantation workers—to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor.

Excerpt from Address of Edward Atkinson of Boston, Massachusetts: Given in Atlanta, Georgia, in October, 1880, for the Promotion of an International Cotton Exhibition The writer has been almost compelled to print this edition of his address given in Atlanta, Ga., in October, 1880, by the frequent demands made for it. The address was made at the instance of a committee consisting of his, Excellency Gov. A. H. Colquitt, his Honor Mayor W. L. Calhoun, W. H. Henderson, Esq., Commissioner of Agriculture, B. E. Crane, Esq., President of the Atlanta Board of Trade, H. I. Kimball, Esq., President of the Atlanta Cotton Factory Company. The proposed cotton exhibition will probably be held in October, November, and December, 1881, as will appear from the following statement of the secretary of the association lately organized for the purpose of promoting the undertaking: - The address contained in these pages was delivered by Mr. Edward Atkinson in Atlanta, Georgia, Oct. 19, 1880, at the invitation of the merchants of that city. And no public expression by a public man has proven so clearly that the dead issues and disagreements of the past have been swept away; that an end has come to sectional differences, in so far as these tend to produce rancor and strife; that an era of good feeling has begun, which, having its inception in the natural desire for human fellowship, grows in the union of those who have a common country and a common interest. The earnest manner in which the address was presented made a profound impression upon the people of the South, and Mr. Atkinson's proposition for a great cotton exposition was heartily received. In accordance with the views he expressed touching the importance of this event to all the interests connected with cotton, the business men of Atlanta held a convention on the 2d of December last, in conjunction with representatives of other sections of the country, and decided to hold the exposition in that city during the closing months of 1881. For that purpose the International Cotton Exposition Association was organized, with the following officers: President, Senator Joseph E. Brown of Georgia. Vice-Presidents, J. F. Wheaton, William C. Sihley, J. Rhodes Brown, William H. Young, Thomas Hardeman, J. F. Cummings, of Georgia; E. Y. McAdden, William Trenholm, South Carolina; James L. Harway, Virginia; John Durr, Alabama; Samuel Boyd, Louisiana; Thomas Allen, Missouri; Robert Tannehill, New York; George Draper, Massachusetts; Stockton Bates, Pennsylvania. (In addition to these the executive committee was empowered to select others representing; all the cotton States and markets of the country.) Treasurer, Samuel M. Inman of Georgia. Secretary, John W. Ryckman of Pennsylvania. Executive Committee, Mayor of Atlanta, ex officio chairman; H. I. Kimball, B. F. Maddox, W. L. Calhoun, B. E. Crane, W. H. Patterson, M. C. Kiser, Evan P. Howell, W. B . Cox, W. P. Inman, Campbell Wallace, Atlanta; Edward Atkinson, Massachusetts; Richard Garsed, Pennsylvania; Cyrus Bussey, Louisiana; J. W. Paramore, Missouri; John H. Inman, New York; A. D. Lockwood, Rhode Island. Finance Committee, Robert J. Lowry, Paul Romare, D. N. Spear, Atlanta; Morris Ranger, Louisiana; Thomas Dolan, Pennsylvania; William A. Burke, William Gray, jun., Massachusetts; J. H. McMullan, Maine. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com

The wealth of information in this collection should be mined for generations by social scientists and historians of science, technology, and industry. It not only introduces the literature to the scholar, but provides a guide to a varied range of exposition publications.