<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/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:Description rdf:about="https://black-printmaking.artinterp.org/items/show/54">
    <dcterms:title><![CDATA[We Have Appealed to Their Native Justice and Magnanimity from 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/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/38">
    <dcterms:title><![CDATA[Untitled]]></dcterms:title>
    <dcterms:description><![CDATA[While most of the works presented in this exhibition are print based items, this work demonstrates the multidisciplinary aspect of Betye Saar’s artistic practice. Creating connection between multiple surfaces is central to the artist’s methodology; using found objects, scraps, and the layering of materiality and narratives, Saar’s work celebrates textures and multiplicity of form. In this untitled piece, what looks like a heavy pour of colorful acrylic paints is an illusion. Appearing almost to be ripped from another surface, the piece of handmade colored paper lives in the center of the piece, showcasing an abstract flow of color and figurative elements such as the blue fish and a miniature yellow fan, a found material layered atop the abstract ground.<br />
<br />
This work is part of artist Kevin Cole’s private collection. When asked about this piece by Saar, Cole explains that he acquired it in 2000 from another collector, and when he and Saar’s paths crossed again at the Des Moines Art Center a few years later, the work prompted a long conversation on perseverance. <br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1963]]></dcterms:date>
    <dcterms:format><![CDATA[Mixed media collage]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Kevin Cole]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/41">
    <dcterms:title><![CDATA[The Long Memory]]></dcterms:title>
    <dcterms:description><![CDATA[This serigraph is printed from a photograph of Saar’s 1994 mixed media assemblage of the same name, part of the Personal Icons series which combines found objects to investigate the mystical and the historical past. Pictured in a reliquary-like grouping of frames, a ceramic hand is placed against a red and black geometric background. Its deep black color is enhanced by the shiny reflection of light upon the curves of its thumb, pointer, and pinky fingers.  Above rests an ebony compact mirror adorned with engraved lines and gems in gold, ruby, and blue. Often inspired by the mystical art of Roma palmistry, the hand appears in many of Saar’s works. In conjunction with the stylized eye and painted nails the work brings to mind the commercial marketing of beauty products to African American women which so often celebrates buyers as Nubian queens. Pulling at the threads of the many cultural influences within the African diaspora, the original mixed media work acts to recall the ancient past while its reproduction in print gestures to the perpetual (re)writing of memory.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1998]]></dcterms:date>
    <dcterms:format><![CDATA[Serigraph]]></dcterms:format>
    <dcterms:provenance><![CDATA[David C. Driskell Center Permanent Collection,<br />
Courtesy of Steven Scott Gallery<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/30">
    <dcterms:title><![CDATA[The Conscience of the Court 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[David C. Driskell Center Permanent Collection,<br />
Gift from the Sandra and Lloyd Baccus Collection<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/31">
    <dcterms:title><![CDATA[The Bone of Contention 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[David C. Driskell Center Permanent Collection,<br />
Gift from the Sandra and Lloyd Baccus Collection<br />
]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/53">
    <dcterms:title><![CDATA[Taxes on Us Without our Consent from 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/13">
    <dcterms:title><![CDATA[Tar Beach #2 with Caption<br />
]]></dcterms:title>
</rdf:Description></rdf:RDF>
