<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/23">
    <dcterms:title><![CDATA[Jump on One Foot, One Foot]]></dcterms:title>
    <dcterms:description><![CDATA[Saar’s gestural print of a girl jumping rope escapes the charm typically associated with childhood play, instead infusing the scene with the vigor of the child’s rapid movement. The smudges of ink at the girl’s feet evoke dust kicked up by the rope hitting the ground as her undefined edges animate her brisk jumping. Saar takes full advantage of the painterly qualities of monotype printmaking, in which paper is pressed against a surface applied with ink, often with a brush. Because the plate is not incised like an etching, the design is typically printed only once. This monotype demonstrates the continuity and experimentation of Saar’s printmaking practice in her mature career, well after she began making her acclaimed assemblages in the late 1960s.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1984]]></dcterms:date>
    <dcterms:format><![CDATA[Oil monotype]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Cleophus Thomas]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/22">
    <dcterms:title><![CDATA[Henry Ossawa Tanner: His Boyhood Dream Comes True]]></dcterms:title>
    <dcterms:description><![CDATA[Ringgold’s narrative screen-print, or serigraph, centers on the life of the celebrated African-American painter, Henry Ossawa Tanner (1859-1937). While the text surrounding the central image provides a straight-forward account of a moment in Tanner’s life, the image illustrates in vivid color a pivotal moment which the artist experienced as a child, when Tanner imagined his future as a painter while walking through a park with his father. Like the young Tanner, we see two distinct phases in the painter’s life depicted simultaneously: he is both an inspired boy standing beside his father and a successful painter working before his easel. As viewers, we are invited to engage simultaneously with history and imagine future possibilities.<br />
 <br />
Despite Ringgold’s modest forms and limited color palette, the production process behind this serigraph print requires thorough planning and precision. Master printmaker Curlee Raven Holton, who has worked with Ringgold on numerous prints, is responsible for the careful construction of the final print, as each color must be manually added using a separate screen. The lighter brown pigment used for the faces of both the older and younger versions of Tanner were applied to the paper simultaneously, just as Tanner experienced two phases of his life simultaneously in the moment Ringgold narrates and illustrates in this work.]]></dcterms:description>
    <dcterms:creator><![CDATA[Faith Ringgold ]]></dcterms:creator>
    <dcterms:date><![CDATA[2010]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[Raven Edition Collection Press]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/21">
    <dcterms:title><![CDATA[Now You Cookin’ with Gas from Bookmarks in the Pages of Life Series]]></dcterms:title>
    <dcterms:description><![CDATA[Much of Saar’s work explores the  experiences of African American womanhood, emphasizing their independence. Here, a photographic image of a woman is situated on the edges of a cityscape while two men in colorful zoot suits stand contained within a border of repeating brownstone apartment buildings. The men’s eyes are exaggerated and we follow their stare to the figure of the woman posed confidently on the outskirts; though she is observed by the two men, the woman appears unaffected, independent, and free to move beyond the boundaries of the streetscape in which the two men appear confined. This print is paired in Saar’s Bookmarks from the Pages of Life with Zora Neale Hurston’s “Story in Harlem Slang.” Hurston’s short story, originally published in 1942, follows a confident, prosperous African American woman who dismisses the catcalls of two men who are far less successful than they boast.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[2000]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection,<br />
Gift from the Sandra and Lloyd Baccus Collection]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/20">
    <dcterms:title><![CDATA[Angels Whispering In the Night]]></dcterms:title>
    <dcterms:description><![CDATA[This lithograph, printed in collaboration between Ringgold and her longtime artist assistant Grace Matthews, relies on the legend of African people escaping enslavement by flying over the Atlantic Ocean --a persistent example of folklore passed down through generations since the transatlantic slave trade. The motif of flying people appears across all media in Ringgold’s expansive body of art and writing. Through the traditional tales of the power of flight, she imagines a new form of mobility and freedom for peoples of the African diaspora in the present. Whimsical angels in human and animal form joyously soar through the starry sky, free of their earthly burdens. Ringgold’s work commonly incorporates both image and text to illustrate a narrative. Poetic lines, “Angels whispering in the night/ Everything gone be alright,” underscore the work’s optimistic message about Black liberation. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Faith Ringgold and Grace Matthews ]]></dcterms:creator>
    <dcterms:date><![CDATA[2005]]></dcterms:date>
    <dcterms:format><![CDATA[Lithograph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection,<br />
Gift from the Jean and Robert E. Steele Collection]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/19">
    <dcterms:title><![CDATA[Acrobats]]></dcterms:title>
    <dcterms:description><![CDATA[Acrobats is one of the prints produced during the course of Saar’s graduate studies at California State Long Beach, where she specialized in printmaking. Here we see an acrobatic troupe of undistinguished figures posed in a daring act of physical skill. The characters balance across the vertical length of the paper, stacked on each other’s shoulders. From a distance, the highly-textured, dark gray washes of ink partially obscure the print’s representational elements. The top figure on the stack of dark, charcoal bodies proudly raises their arms to reveal a severed head in each hand: a subtle and unassuming, yet gruesome, detail.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1960]]></dcterms:date>
    <dcterms:format><![CDATA[Etching]]></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/17">
    <dcterms:title><![CDATA[Untitled Drawing Study]]></dcterms:title>
    <dcterms:description><![CDATA[In paper and print media, such as drawings and intaglio prints, Saar developed both conceptual and formal qualities that she employs throughout her career; here, the incorporation of mixed media characterizes works across Saar’s expansive oeuvre. In this nonrepresentational image, Saar layers thick, black brushstrokes in a study of textures and transparencies. The final product incorporates ink, etching, and white pencil drawing in an experimentation of how the three media interact visually in a single composition.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1965]]></dcterms:date>
    <dcterms:format><![CDATA[Drawing, etching]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Cleophus Thomas]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/16">
    <dcterms:title><![CDATA[Kipp comparative fig]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/15">
    <dcterms:title><![CDATA[Takin&#039; a chance on Luv&#039; with caption]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/14">
    <dcterms:title><![CDATA[Takin&#039; a Chance on Luv&#039;]]></dcterms:title>
    <dcterms:creator><![CDATA[Betye Saar (b. American, 1926)<br />
Printed in collaboration with The Fabric Workshop and Museum, Philadelphia]]></dcterms:creator>
    <dcterms:date><![CDATA[1984]]></dcterms:date>
    <dcterms:format><![CDATA[Pigment on cotton sateen<br />
85 x 82 inches<br />
Edition of 10]]></dcterms:format>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/13">
    <dcterms:title><![CDATA[Tar Beach #2 with Caption<br />
]]></dcterms:title>
</rdf:Description></rdf:RDF>
