2 10 72 https://black-printmaking.artinterp.org/files/original/03dc5cf1114704a91197b4509ec15fa1.png 6b2820dc1102e8a3e1a57c046dc200d1 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 Mystic Galaxy Description An account of the resource Saar’s etching makes use of found objects in a relief printing process. Recalling her frequent use of assemblage and interest in Roma mysticism, the work pulls from common objects to conjure an occult atmosphere. The mottled and scratched dark background, six-pointed stars, and red moon imply the depth of the universe and astrological observations. Small plates found in a going-out-of-business jewelry shop create textural reliefs in blue, arranged in an planet-like orb. Here, Saar foreshadows her landmark assemblage Black Girl’s Window (1969) which repurposes the same sun, moon, and star symbols. Through circular windows, which Saar considers to be portals into the future, Saar’s Mystic Galaxy transcends time and space. 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 1966 Format The file format, physical medium, or dimensions of the resource Etching with relief-printed found objects 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/322af866fe5f4df8285c2d8d0dac20f7.png 1c40d856faa61a24ec89f00341aee161 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 Untitled Description An account of the resource 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. 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. 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 Mixed media collage 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 Kevin Cole https://black-printmaking.artinterp.org/files/original/881bf4ce77ddc8fa7ed85bb68ce8b7ad.jpg 236411eae266f4283b9046430d752f93 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 National Racism: We Was Mostly ‘Bout Survival Description An account of the resource 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's assemblage series that imagines Aunt Jemima as both worker and warrior, speaks to the broader theme of activism against racism in Saar's art. 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 1998 Format The file format, physical medium, or dimensions of the resource Color offset 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. Collection of Lewis Tanner Moore https://black-printmaking.artinterp.org/files/original/8b67f2587b2e372cf009be36ac3a6b98.jpg 3f58c0054515d37df08449221d562db6 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 HooDoo #19 Description An account of the resource This double-sided work exemplifies both Saar’s assemblage practice and her interest in the mystical. Her title references Hoodoo, a syncretic belief system (synthesis of varying religions) practiced by the African Diaspora in the southern U.S. On one side, an African American man in a striped suit and dotted tie, with a cane and pork pie hat is centered in a red frame decorated with stars, crosses, and other icons. He is framed by two plastic swords, a cigar, and another suited man much smaller in scale. On its reverse, a frame dotted with a collection of found objects such as buttons and buckles surrounds a black field onto which Saar marks Hoodoo icons in white crayon. The symmetrical symbols and diagrams drawn on the back of the framed suited man place him in relation to a belief system with ancient roots. Miniature watches and blue eyes on the frame reference the importance of time and vision, further invoking Saar's themes of ancestry and mysticism. As in many of Saar’s assemblages, the inclusion of a dual-sided frame (or window) creates a threshold where Saar invites the viewer to recall the past and imagine the future. 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 1992 Format The file format, physical medium, or dimensions of the resource Mixed media assemblage 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 the Petrucci Family Foundation https://black-printmaking.artinterp.org/files/original/32f70b92252bb72370c0a1d228cdfc58.jpeg 0dfe2901373ca89efc40097611211cec 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 The Long Memory Description An account of the resource 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. 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 1998 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. David C. Driskell Center Permanent Collection, Courtesy of Steven Scott Gallery 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/e393d50114a4940afef65c8e3c9299e2.jpeg fcb749b005f6822388961ba1032bd3cd 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 High John De Conquer from Bookmarks in the Pages of Life 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 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 James Williams https://black-printmaking.artinterp.org/files/original/0e86187f69b099d3f95efea3393838eb.jpg 1adb50966b8cea7201f6eed0adf256c0 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 Takin' a Chance on Luv' Creator An entity primarily responsible for making the resource Betye Saar (b. American, 1926) Printed in collaboration with The Fabric Workshop and Museum, Philadelphia Date A point or period of time associated with an event in the lifecycle of the resource 1984 Format The file format, physical medium, or dimensions of the resource Pigment on cotton sateen 85 x 82 inches Edition of 10 https://black-printmaking.artinterp.org/files/original/cdc32cff72b24e63952210afaca150ea.jpg f71353d7df82b1e0d7162655f1908a9f 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 Henry Ossawa Tanner: His Boyhood Dream Comes True Description An account of the resource 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. 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. 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 2010 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. Raven Edition Collection Press https://black-printmaking.artinterp.org/files/original/db218ab66ddc5e81f82aecc0bfc54638.jpeg 5a0cfeb992da82ab4bb2e1edda1416ad 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 Committee to Defend the Panthers 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