<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/39">
    <dcterms:title><![CDATA[National Racism: We Was Mostly ‘Bout Survival]]></dcterms:title>
    <dcterms:description><![CDATA[From Saar’s 1997 series of washboard assemblages each entitled We Was Mostly ‘Bout Survival comes this lithograph reproduction included in the portfolio Freedom or Slavery: The Paul Robeson Portfolio, celebrating the multi-talented activist, musician, actor, and football player on the 100th anniversary of his birth. The original assemblage from her Workers/Warriors: The Liberation of Aunt Jemima series comprises a washboard with a photograph of a woman washing clothes, here translated into a waved, textured image with the look of distorted hazy memory.  Written across the top of the washboard’s wooden frame are the words “National racism,” under which a round label reads “Liberate Aunt Jemima.” The text at the bottom, “We was mostly ‘bout survival,” serves as a reminder of the labor produced by the washerwoman whose liberation, like that of Aunt Jemima, is imagined by Saar. This activist print, based on Saar&#039;s assemblage series that imagines Aunt Jemima as both worker and warrior, speaks to the broader theme of activism against racism in Saar&#039;s art.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1998]]></dcterms:date>
    <dcterms:format><![CDATA[Color offset lithograph]]></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/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/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/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/55">
    <dcterms:title><![CDATA[Portfolio of Declaration of Freedom and Independence]]></dcterms:title>
    <dcterms:creator><![CDATA[Faith Ringgold]]></dcterms:creator>
    <dcterms:date><![CDATA[2009]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph, digital print, letterpress]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Curlee Raven Holton ]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/7">
    <dcterms:title><![CDATA[Professor Jordana Saggese]]></dcterms:title>
</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/72">
    <dcterms:title><![CDATA[Saar Ringgold timeline background]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/74">
    <dcterms:title><![CDATA[Saar Ringgold timeline background]]></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:RDF>
