<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/50">
    <dcterms:title><![CDATA[Absolute Tyranny 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/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/46">
    <dcterms:title><![CDATA[Alison]]></dcterms:title>
    <dcterms:description><![CDATA[Betye’s printmaking studio was located in a dedicated room in her Laurel Canyon home during her daughters’ youth, but the acids and machinery involved in intaglio printmaking meant the studio was generally off-limits to the young children. However, the girls still made their way into Saar’s studio symbolically by appearing in her family-focused prints. In this portrait-print, seven-year-old Alison’s face fills the frame, her head conforming to the rectangular shape of the metal plate on which Betye etched her second daughter’s likeness. Large, inquisitive eyes meet the viewers gaze, and we are invited to imagine a mother’s gaze returned by one of the little muses she sees just outside her home-studio each day.<br />
 <br />
“As children, my sisters and I were taken to museums and art openings like some kids go to baseball games and the zoo.” —Tracye Saar-Cavanaugh]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[1963]]></dcterms:date>
    <dcterms:format><![CDATA[Etching]]></dcterms:format>
    <dcterms:provenance><![CDATA[Collection of Julie Farr]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/49">
    <dcterms:title><![CDATA[All Men Are Created Equal 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/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/51">
    <dcterms:title><![CDATA[And Women? 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/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/52">
    <dcterms:title><![CDATA[As Free and Independent States 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/1">
    <dcterms:title><![CDATA[Ashley Cope]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://black-printmaking.artinterp.org/items/show/29">
    <dcterms:title><![CDATA[Bookmarks in the Pages of Life]]></dcterms:title>
    <dcterms:description><![CDATA[Bookmarks in the Pages of Life is a collection of illustrations Saar made to accompany short stories by Zora Neale Hurston (1891-1960), a prolific author whose profoundly impactful works, such as Their Eyes Were Watching God (published in 1937), centers African American struggle and liberation. Saar illustrates Hurston&#039;s short stories, which range from courtroom drama to comedic misadventure, set in Harlem and rural Florida from the antebellum to Harlem Renaissance. One of Saar’s prints for the book, The Conscience of the Court, depicts Hurtson&#039;s fictional character Laura Lee Kimble, innocent yet on trial in a corrupt legal system. In the back of a courtroom, a large clock looms over Kimble, reflecting an urgency for justice. Through six colorful serigraphs, Saar illustrates the racial struggles that Hurston observed across the United States in her lifetime and throughout the nation&#039;s history.]]></dcterms:description>
    <dcterms:creator><![CDATA[Betye Saar]]></dcterms:creator>
    <dcterms:date><![CDATA[2000]]></dcterms:date>
    <dcterms:format><![CDATA[Artist book]]></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:RDF>
