Working through what might be called a miscegenating methodology, this essay draws our attention to Delores A. Fullman (1930–1992), a Chicago-born Black woman with an artistic identity as a classically trained vocalist. It seeks to counter Fullman’s near excision from art historical, biographical, and critical accounts of the early work of her fellow Black Mountain College student and friend, Robert Rauschenberg (1925–2008), in whose collegiate life and art she prominently figured.
J. Vanessa Lyon (Thu,) studied this question.