<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/27">
    <dcterms:title><![CDATA[LA Sky with Spinning Hearts]]></dcterms:title>
    <dcterms:description><![CDATA[Betye Saar regards the sky as an important aspect of nature and expresses its mystical aspects through a careful manipulation of form. Her fantastical rendition of the sky in LA–Saar’s place of birth–cannot be confined to traditional rectangular and square frames. The print itself bends and contorts to capture all its expansiveness. Saar stitched pieces of heavy paper together to create its irregular shape. A shooting star tugs at the edges, and the leaves of a palm tree move beyond the frame. A border dotted with white, green, red, and blue, features white moons at its top edge, recalling mysticism and ritual associated with lunar cycles. The otherworldliness, magic, and dizzying love in the sky, washed in multiple shades of blue, promotes a sense of home and longing.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1989]]></dcterms:date>
    <dcterms:format><![CDATA[Offset printing, silkscreen, stitching]]></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/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/8">
    <dcterms:title><![CDATA[Magdelena Mastrandrea]]></dcterms:title>
</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/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/9">
    <dcterms:title><![CDATA[Maura Callahan]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/10">
    <dcterms:title><![CDATA[Montia Daniels]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/32">
    <dcterms:title><![CDATA[Mother Catherine from Bookmarks in the Pages of Life]]></dcterms:title>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[2000]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Lewis Tanner Moore]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/33">
    <dcterms:title><![CDATA[Mystic Galaxy]]></dcterms:title>
    <dcterms:description><![CDATA[Saar’s etching makes use of found objects in a relief printing process. Recalling her frequent use of assemblage and interest in Roma mysticism, the work pulls from common objects to conjure an occult atmosphere. The mottled and scratched dark background, six-pointed stars, and red moon imply the depth of the universe and astrological observations. Small plates found in a  going-out-of-business jewelry shop create textural reliefs in blue, arranged in an planet-like orb. Here, Saar foreshadows her landmark assemblage Black Girl’s Window (1969) which repurposes the same sun, moon, and star symbols. Through circular windows, which Saar considers to be portals into the future, Saar’s Mystic Galaxy transcends time and space. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1966]]></dcterms:date>
    <dcterms:format><![CDATA[Etching with relief-printed found objects ]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Lewis Tanner Moore]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/28">
    <dcterms:title><![CDATA[Mystic Sky with Self Portrait]]></dcterms:title>
    <dcterms:description><![CDATA[Betye Saar states: “The stars, the cards, the mystic vigil may hold the answers. By shifting the point of view an inner spirit is released. Free to create.” Saar places symbols in her mystic sky: the decorative mask represents “hidden identity and magic,” the Eye of Providence stands for “God’s all-seeing eye,” and the palmistry hand, and dice symbolize “fate/fortune.” The purple symbol on the hand is the symbol for Leo, Saar’s astrological sun sign. Whereas Saar’s point of view in LA Sky with Spinning Hearts is that of someone looking up into the expansive sky, Saar depicts herself in Mystic Sky with Self Portrait as a spiritual being among these celestial objects. She looks downward, placing herself not as the observed but the observer. <br />
<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1992]]></dcterms:date>
    <dcterms:format><![CDATA[Offset lithograph, collage, construction]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Lewis Tanner Moore]]></dcterms:provenance>
</rdf:Description></rdf:RDF>
