For centuries the Atlantic world has been a site of encounter and exchange, a rich point of transit where one could remake one's identity or find it transformed. Through this interdisciplinary collection of essays, Laura R. Prieto and Stephen R. Berry offer vivid new accounts of how individuals remapped race, gender, and sexuality through their lived experience and in the cultural imagination. Crossings and Encounters is the first single volume to address these three intersecting categories across the Atlantic world and beyond the colonial period. The Atlantic world offered novel possibilities to and exposed vulnerabilities of many kinds of people, from travelers to urban dwellers, native Americans to refugees. European colonial officials tried to regulate relationships and impose rigid ideologies of gender, while perceived distinctions of culture, religion, and ethnicity gradually calcified into modern concepts of race. Amid the instabilities of colonial settlement and slave societies, people formed cross-racial sexual relationships, marriages, families, and households. These not only afforded some women and men with opportunities to achieve stability; they also furnished ways to redefine one's status. Crossings and Encounters spans broadly from early contact zones in the seventeenth-century Americas to the postcolonial present, and it covers the full range of the Atlantic world, including the Caribbean, North America, and Latin America. The essays examine the historical intersections between race and gender to illuminate the fluid identities and the dynamic communities of the Atlantic world.

This engaging cultural history examines the emergence of a professional identity for American women artists. By focusing on individual sculptors, painters, and illustrators, Laura Prieto gives us a compelling picture of the prospects and constraints faced by women artists in the United States from the late eighteenth century through the 1930s.

Prieto tracks the transformation from female artisans and ladies with genteel "artistic accomplishments" to middle-class professional artists. Domestic spaces and familial metaphors helped legitimate the production of art by women. Expression of sexuality and representation of the nude body, on the other hand, posed problems for these artists. Women artists at first worked within their separate sphere, but by the end of the nineteenth century "New Women" grew increasingly uncomfortable with separatism, wanting ungendered recognition. With the twentieth century came striking attempts to reconcile domestic lives and careers with new expectations; these decades also ruptured the women's earlier sense of community with amateur women artists in favor of specifically professional allegiances. This study of a diverse group of women artists--diverse in critical reception, geographic location, race, and social background--reveals a forgotten aspect of art history and women's history.