<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/25">
    <dcterms:title><![CDATA[All Power to the People]]></dcterms:title>
    <dcterms:description><![CDATA[In the early 1970s, Ringgold produced several posters using cut-and-pasted paper in red, green, and black --that is, the colors of the Pan-African flag. Two of these posters were intended to be reproduced and sold in support of the Committee to Defend the Panthers, a mostly white group fundraising for the legal fees of Black Panther Party members. Ringgold’s first design presents a black, mask-like face flanked by two profile silhouettes and encircled by the organization’s name. The Committee refused Ringgold’s poster because it displayed the group’s address, potentially endangering its members. Ringgold’s second design, which featured an armed, African American family, was also rejected by the Committee. “I was never able to please them,” Ringgold said. “...I think they did not understand that political art is art.” The posters nonetheless demonstrate Ringgold’s expert skill in uniting figure and text, a hallmark of the visual art of the Black Arts Movement. The designs were recently resurrected as serigraphs printed by Driskell Center director Curlee Raven Holton, Ringgold’s master printer.]]></dcterms:description>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[2022 (original 1970)]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Curlee R. Holton]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/26">
    <dcterms:title><![CDATA[Letter From Birmingham City Jail]]></dcterms:title>
    <dcterms:description><![CDATA[From his jail cell in Birmingham, Alabama in April 1963, Dr. Martin Luther King, Jr. wrote an open letter to eight white clergymen who had criticized King’s “unwise and untimely” demonstrations of civil disobedience. Richly illustrated by Ringgold in this book, King’s letter defends his commitment to nonviolent protest and underscores the urgency of the civil rights struggle. The book’s frontispiece depicts King writing from behind bars. The following seven screen prints illuminate the violence and segregation King addresses in his letter. In one illustration, the embodied spirits of four African American girls fly over the Birmingham church where they were killed in 1963 by a bomb placed by Ku Klux Klansmen. Another envisions a white congregation listening to a sermon as the shadows of police brutality begin to emerge from the church’s stained glass windows, echoing King’s appeal to the Christian community to stand up for racial justice. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[2007]]></dcterms:date>
    <dcterms:format><![CDATA[Artist book containing eight serigraphs]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection,<br />
Gift from the Collection of Sandra and Lloyd Baccus]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/34">
    <dcterms:title><![CDATA[Jo Baker’s Birthday]]></dcterms:title>
    <dcterms:description><![CDATA[In Jo Baker’s Birthday, Faith Ringgold depicts Josephine Baker, a 20th century multidisciplinary artist and activist whose life and experiences Ringgold deeply identifies with. Baker poses semi-nude, gazing back at the viewer self-confidently, secure in her empowerment and status as an unequivocal icon of women’s sexual liberation. Her surroundings and Ringgold’s composition are appropriated from famous European paintings, notably Henri Matisse’s  Harmony in Red (1908) and Odalisque Couchée aux Magnolias (Odalisque Lying with Magnolias) (1923). Ringgold’s subtle nods to art history simultaneously highlight the influence of African culture on European Modernism which often appropriated African forms while dehumanizing and othering African cultures and peoples. Originating from Ringgold’s quilt series The French Collection, this serigraph was printed by Berkeley Art Center and Alliance Graphics for the 10x10: Ten Women/Ten Prints portfolio commemorating the ratification of the 19th Amendment, which made it illegal to deny the right to vote based on sex. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[1995]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection, <br />
Gift from Jean and Robert E. Steele Collection<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/35">
    <dcterms:title><![CDATA[Nobody Will Ever Love You Like I Do]]></dcterms:title>
    <dcterms:description><![CDATA[Brilliant blue, seductive red, and radiant yellow surround a singer and her jazz band in a vibrant space full of energy and motion. Inspired by a childhood immersed in the social and cultural life of the Harlem Renaissance, Ringgold has always been influenced by music and deeply engaged with the extended jazz community. The title of this work alludes to the emotional, soulful qualities expressed in jazz, and Ringgold composed accompanying song lyrics to accentuate the feelings within the image narrative. Screen-printed in nine separate colors, this print originates from the artist’s Jazz Stories quilt series. A border along the image’s edge nods to its roots in quilt and Ringgold’s iconic use of the craft as a storytelling medium.<br />
 <br />
Lyrics for all of Ringgold’s jazz series can be found in the Faith Ringgold Study Room. Appointments by request.<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[2006]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection, <br />
Gift from Jean and Robert E. Steele Collection<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/36">
    <dcterms:title><![CDATA[Mahalia We Love You]]></dcterms:title>
    <dcterms:description><![CDATA[Here, artist Faith Ringgold depicts American gospel singer Mahalia Jackson (1911-1972), as part of a larger series in which the artist pays tribute to the lives and impact of prominent African American musicians, writers, and artists of the twentieth century. The artistic “frame,” used here in a combination of intricate geometric visual patterns, is reminiscent of quilt techniques. Ringgold pieces together black, blue, red, and yellow triangles, including graphic text reading: “Mahalia We Love You.” Ringgold adorns the work with a border of flowers and leaves in primary color. It reads: &quot;Mahalia We Love You; In October of 1911 you were born 100 years ago in New Orleans; You brought a gift of song, praise, and joy to a troubled world. Hallelujah!&quot; While this serigraph includes highly decorative features around the central figure, Ringgold’s hallmark graphic element is text. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[6/24/2012]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[Gift from Dorit Yaron]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/37">
    <dcterms:title><![CDATA[Romie We Love You]]></dcterms:title>
    <dcterms:description><![CDATA[This serigraph references famed artist and founder of African-American artist collective Spiral, Romare Bearden (referenced here as “Romie.”) Picturing Bearden with one of his many beloved cats, Ringgold depicts a sweet and intimate vision of the man whose charming smile meets the viewer.  Surrounding his yellow figure, triangles contain the words: &quot;Romie We Love You.&quot; <br />
As a simple testament of their relationship, Ringgold pays tribute to her friend, also a highly influential artist. Visually playful, the viewer identifies one single word appearing in each of the brightly- colored triangles, provoking a second read of the artwork. As in Mahalia We Love You, the central figure in the work is ornamented with a frame of leaves and flowers. The “we” and “us,” used by Ringgold, entails both a direct reference to the prolific artist community she is part of, and evokes unity through the artistic process–the collective “we” and “us” are artists, viewers, and the community therein.<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[7/20/2012]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection, <br />
Gift from Che Alexander Holton<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/42">
    <dcterms:title><![CDATA[Mama Can Sing]]></dcterms:title>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[2004]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection, Commissioned by the David C. Driskell Center, printed with Prof. Curlee R. Holton at the EPI, Lafayette Collage, Easton, PA, 2004]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/43">
    <dcterms:title><![CDATA[Papa Can Blow]]></dcterms:title>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[1995]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection, Gift from the Jean and Robert E. Steele Collection]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/44">
    <dcterms:title><![CDATA[You Put the Devil In Me]]></dcterms:title>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[2004]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection, Gift from the Jean and Robert E. Steele Collection]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/45">
    <dcterms:title><![CDATA[Wynton’s Tune]]></dcterms:title>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[2004]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection, Gift from the Jean and Robert E. Steele Collection]]></dcterms:provenance>
</rdf:Description></rdf:RDF>
