4 10 72 https://black-printmaking.artinterp.org/files/original/792471d5584d22e5751f633e36a15b96.jpeg 7575b333c228359be4384c2b0ea0df0e 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 Papa Can Blow 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 1995 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 Jean and Robert E. Steele Collection https://black-printmaking.artinterp.org/files/original/48fb9d1069666013d4b464add298deeb.jpeg 4925d21ff78d2243d7bb40c97ee6b795 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 Mama Can Sing 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 2004 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, Commissioned by the David C. Driskell Center, printed with Prof. Curlee R. Holton at the EPI, Lafayette Collage, Easton, PA, 2004 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/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/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/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/5addf05858600c1733afd5c57435d655.jpeg c96f03b5dc471f44d46f0ba134b3ce8b 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 Romie We Love You Description An account of the resource This serigraph references famed artist and founder of African-American artist collective Spiral, Romare Bearden (referenced here as “Romie.”) Picturing Bearden with one of his many beloved cats, Ringgold depicts a sweet and intimate vision of the man whose charming smile meets the viewer. Surrounding his yellow figure, triangles contain the words: "Romie We Love You." As a simple testament of their relationship, Ringgold pays tribute to her friend, also a highly influential artist. Visually playful, the viewer identifies one single word appearing in each of the brightly- colored triangles, provoking a second read of the artwork. As in Mahalia We Love You, the central figure in the work is ornamented with a frame of leaves and flowers. The “we” and “us,” used by Ringgold, entails both a direct reference to the prolific artist community she is part of, and evokes unity through the artistic process–the collective “we” and “us” are artists, viewers, and the community therein. Date A point or period of time associated with an event in the lifecycle of the resource 7/20/2012 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 Che Alexander Holton Creator An entity primarily responsible for making the resource Faith Ringgold https://black-printmaking.artinterp.org/files/original/8a7bf957fcf7ea69ce65a07ef43361e5.jpeg a319cf50ea2d407f969b6098b1d95915 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 Mahalia We Love You Description An account of the resource Here, artist Faith Ringgold depicts American gospel singer Mahalia Jackson (1911-1972), as part of a larger series in which the artist pays tribute to the lives and impact of prominent African American musicians, writers, and artists of the twentieth century. The artistic “frame,” used here in a combination of intricate geometric visual patterns, is reminiscent of quilt techniques. Ringgold pieces together black, blue, red, and yellow triangles, including graphic text reading: “Mahalia We Love You.” Ringgold adorns the work with a border of flowers and leaves in primary color. It reads: "Mahalia We Love You; In October of 1911 you were born 100 years ago in New Orleans; You brought a gift of song, praise, and joy to a troubled world. Hallelujah!" While this serigraph includes highly decorative features around the central figure, Ringgold’s hallmark graphic element is text. 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 6/24/2012 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. Gift from Dorit Yaron https://black-printmaking.artinterp.org/files/original/5c35110ae4b274be4437d4e9f90a8e04.jpeg cb98501d20aebce8606aa083c465ce82 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 Nobody Will Ever Love You Like I Do Description An account of the resource Brilliant blue, seductive red, and radiant yellow surround a singer and her jazz band in a vibrant space full of energy and motion. Inspired by a childhood immersed in the social and cultural life of the Harlem Renaissance, Ringgold has always been influenced by music and deeply engaged with the extended jazz community. The title of this work alludes to the emotional, soulful qualities expressed in jazz, and Ringgold composed accompanying song lyrics to accentuate the feelings within the image narrative. Screen-printed in nine separate colors, this print originates from the artist’s Jazz Stories quilt series. A border along the image’s edge nods to its roots in quilt and Ringgold’s iconic use of the craft as a storytelling medium. Lyrics for all of Ringgold’s jazz series can be found in the Faith Ringgold Study Room. Appointments by request. 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 2006 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 Jean and Robert E. Steele Collection https://black-printmaking.artinterp.org/files/original/7e996127ed131a90b66acafe7009176a.jpeg b5fdad15be0ba3ba76ace6c2adafe817 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 Jo Baker’s Birthday Description An account of the resource In Jo Baker’s Birthday, Faith Ringgold depicts Josephine Baker, a 20th century multidisciplinary artist and activist whose life and experiences Ringgold deeply identifies with. Baker poses semi-nude, gazing back at the viewer self-confidently, secure in her empowerment and status as an unequivocal icon of women’s sexual liberation. Her surroundings and Ringgold’s composition are appropriated from famous European paintings, notably Henri Matisse’s Harmony in Red (1908) and Odalisque Couchée aux Magnolias (Odalisque Lying with Magnolias) (1923). Ringgold’s subtle nods to art history simultaneously highlight the influence of African culture on European Modernism which often appropriated African forms while dehumanizing and othering African cultures and peoples. Originating from Ringgold’s quilt series The French Collection, this serigraph was printed by Berkeley Art Center and Alliance Graphics for the 10x10: Ten Women/Ten Prints portfolio commemorating the ratification of the 19th Amendment, which made it illegal to deny the right to vote based on sex. 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 1995 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 Jean and Robert E. Steele Collection