3 10 72 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/2c424624fce3e42d1e84c2c9056a6fb2.png 10adf885d88b83c69f8ed87d8073b501 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 Jump on One Foot, One Foot Description An account of the resource Saar’s gestural print of a girl jumping rope escapes the charm typically associated with childhood play, instead infusing the scene with the vigor of the child’s rapid movement. The smudges of ink at the girl’s feet evoke dust kicked up by the rope hitting the ground as her undefined edges animate her brisk jumping. Saar takes full advantage of the painterly qualities of monotype printmaking, in which paper is pressed against a surface applied with ink, often with a brush. Because the plate is not incised like an etching, the design is typically printed only once. This monotype demonstrates the continuity and experimentation of Saar’s printmaking practice in her mature career, well after she began making her acclaimed assemblages in the late 1960s. 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 1984 Format The file format, physical medium, or dimensions of the resource Oil monotype 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 Cleophus Thomas 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 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/da01c0c90410dff7446663887aa50335.jpeg af2387a0a28422754f303cdcc4ffee66 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 Letter From Birmingham City Jail Description An account of the resource From his jail cell in Birmingham, Alabama in April 1963, Dr. Martin Luther King, Jr. wrote an open letter to eight white clergymen who had criticized King’s “unwise and untimely” demonstrations of civil disobedience. Richly illustrated by Ringgold in this book, King’s letter defends his commitment to nonviolent protest and underscores the urgency of the civil rights struggle. The book’s frontispiece depicts King writing from behind bars. The following seven screen prints illuminate the violence and segregation King addresses in his letter. In one illustration, the embodied spirits of four African American girls fly over the Birmingham church where they were killed in 1963 by a bomb placed by Ku Klux Klansmen. Another envisions a white congregation listening to a sermon as the shadows of police brutality begin to emerge from the church’s stained glass windows, echoing King’s appeal to the Christian community to stand up for racial justice. 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 2007 Format The file format, physical medium, or dimensions of the resource Artist book containing eight serigraphs 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 Collection of Sandra and Lloyd Baccus https://black-printmaking.artinterp.org/files/original/7d1a81fca305cb39c25d0b8527f5995e.jpeg e8f46a647d2d7bd5f3f4677b72fc7947 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 LA Sky with Spinning Hearts Description An account of the resource Betye Saar regards the sky as an important aspect of nature and expresses its mystical aspects through a careful manipulation of form. Her fantastical rendition of the sky in LA–Saar’s place of birth–cannot be confined to traditional rectangular and square frames. The print itself bends and contorts to capture all its expansiveness. Saar stitched pieces of heavy paper together to create its irregular shape. A shooting star tugs at the edges, and the leaves of a palm tree move beyond the frame. A border dotted with white, green, red, and blue, features white moons at its top edge, recalling mysticism and ritual associated with lunar cycles. The otherworldliness, magic, and dizzying love in the sky, washed in multiple shades of blue, promotes a sense of home and longing. 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 1989 Format The file format, physical medium, or dimensions of the resource Offset printing, silkscreen, stitching 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 Jean and Robert E. Steele Collection https://black-printmaking.artinterp.org/files/original/97a3db3d927e14c9e13586b7ea021061.jpeg 716a0410abbda6522cac5db5ee8006aa 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 Sky with Self Portrait Description An account of the resource Betye Saar states: “The stars, the cards, the mystic vigil may hold the answers. By shifting the point of view an inner spirit is released. Free to create.” Saar places symbols in her mystic sky: the decorative mask represents “hidden identity and magic,” the Eye of Providence stands for “God’s all-seeing eye,” and the palmistry hand, and dice symbolize “fate/fortune.” The purple symbol on the hand is the symbol for Leo, Saar’s astrological sun sign. Whereas Saar’s point of view in LA Sky with Spinning Hearts is that of someone looking up into the expansive sky, Saar depicts herself in Mystic Sky with Self Portrait as a spiritual being among these celestial objects. She looks downward, placing herself not as the observed but the observer. 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 Offset lithograph, collage, construction 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/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 https://black-printmaking.artinterp.org/files/original/92bf8777316bb5fdfe6b6d69ed0ed421.jpeg d8253718b51aa5419c785d032e099360 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 Conscience of the Court 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. David C. Driskell Center Permanent Collection, Gift from the Sandra and Lloyd Baccus Collection https://black-printmaking.artinterp.org/files/original/5c2bda87b3a91bd27f39e51393538dc8.jpeg a3c9daf4b15bf30304678fa491757337 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 Bone of Contention 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. David C. Driskell Center Permanent Collection, Gift from the Sandra and Lloyd Baccus Collection