1 10 72 https://black-printmaking.artinterp.org/files/original/0e833e35ed0bcf82152f90ddb73b6df3.jpg bcc34167774c0b2646d62f59529d8166 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Absolute Tyranny from Portfolio of Declaration of Freedom and Independence Creator An entity primarily responsible for making the resource Faith Ringgold Date A point or period of time associated with an event in the lifecycle of the resource 2009 Format The file format, physical medium, or dimensions of the resource Serigraph, digital print, letterpress Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Collection of Curlee Raven Holton https://black-printmaking.artinterp.org/files/original/b004007bb526d7f554f94f1a37429081.png a70d0348675c2c27d96f71e9f3cb39ff Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Acrobats Description An account of the resource 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. Creator An entity primarily responsible for making the resource Betye Saar Date A point or period of time associated with an event in the lifecycle of the resource 1960 Format The file format, physical medium, or dimensions of the resource Etching Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Collection of Lewis Tanner Moore https://black-printmaking.artinterp.org/files/original/eb28f30d4b8a086ac3057ce21647876b.jpeg 184af9f68482e72d51e3ea174472fdf9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Alison Description An account of the resource 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. “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 Creator An entity primarily responsible for making the resource Betye Saar Date A point or period of time associated with an event in the lifecycle of the resource 1963 Format The file format, physical medium, or dimensions of the resource Etching Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Collection of Julie Farr https://black-printmaking.artinterp.org/files/original/f55ff611a53220f44c595a476c71b0e9.jpg 765747d1b0318137aa61637aec2bcbfa Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource All Men Are Created Equal from Portfolio of Declaration of Freedom and Independence Creator An entity primarily responsible for making the resource Faith Ringgold Date A point or period of time associated with an event in the lifecycle of the resource 2009 Format The file format, physical medium, or dimensions of the resource Serigraph, digital print, letterpress Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Collection of Curlee Raven Holton https://black-printmaking.artinterp.org/files/original/c8770fd68eb370a72e60ac7892149bd4.jpeg fa0440476ae20395300733b49d0992b5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource All Power to the People Description An account of the resource 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. Creator An entity primarily responsible for making the resource Faith Ringgold Date A point or period of time associated with an event in the lifecycle of the resource 2022 (original 1970) Format The file format, physical medium, or dimensions of the resource Serigraph Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Collection of Curlee R. Holton https://black-printmaking.artinterp.org/files/original/57ba8f48279942779aa85694b16a4005.jpg d476d1e1edae0f96aac42671d90f8cdf Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource And Women? from Portfolio of Declaration of Freedom and Independence Creator An entity primarily responsible for making the resource Faith Ringgold Date A point or period of time associated with an event in the lifecycle of the resource 2009 Format The file format, physical medium, or dimensions of the resource Serigraph, digital print, letterpress Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Collection of Curlee Raven Holton https://black-printmaking.artinterp.org/files/original/feb10e2edbbcf9494f7af817bb41db86.jpeg f0d10c4eaae65a0825ee8f6c2d5ba16e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Angels Whispering In the Night Description An account of the resource 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. Creator An entity primarily responsible for making the resource Faith Ringgold and Grace Matthews Date A point or period of time associated with an event in the lifecycle of the resource 2005 Format The file format, physical medium, or dimensions of the resource Lithograph Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. David C. Driskell Center Permanent Collection, Gift from the Jean and Robert E. Steele Collection https://black-printmaking.artinterp.org/files/original/854c2f851532be251c0c16a9e29d4a20.jpg 5216681129cf88002d03c636d0b0e081 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource As Free and Independent States from Portfolio of Declaration of Freedom and Independence Creator An entity primarily responsible for making the resource Faith Ringgold Date A point or period of time associated with an event in the lifecycle of the resource 2009 Format The file format, physical medium, or dimensions of the resource Serigraph, digital print, letterpress Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Collection of Curlee Raven Holton https://black-printmaking.artinterp.org/files/original/1d78eb6d0854285434698b9ba9eaef6f.jpeg 5657ddb592453042ac18de81cecd687b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Team Profiles Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ashley Cope https://black-printmaking.artinterp.org/files/original/2933b959aeb8bf6a8e89eb3803076f6a.jpeg bc489f3233a9ebb34b67bc30edf31865 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookmarks in the Pages of Life Description An account of the resource 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'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'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's history. Creator An entity primarily responsible for making the resource Betye Saar Date A point or period of time associated with an event in the lifecycle of the resource 2000 Format The file format, physical medium, or dimensions of the resource Artist book Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. David C. Driskell Center Permanent Collection, Gift from the Sandra and Lloyd Baccus Collection