{ "objects" : [ { "embark_ID" : 25659, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25659", "Disp_Access_No" : "2014.63", "_AccNumSort1" : "", "Disp_Create_DT" : "2014", "_Disp_Start_Dat" : "2014", "_Disp_End_Date" : "2014", "Disp_Title" : "End Upheld", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nick Cave", "Sort_Artist" : "Cave, Nick", "Disp_Dimen" : "94 x 30 x 25 in. (238.8 x 76.2 x 63.5 cm)", "Disp_Height" : "94 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "overall", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Mixed media including carved stool, light fixtures, ceramic birds, metal flowers", "Info_Page_Comm" : "Nick Cave is an African American sculptor, costume maker, and performance artist. He uses objects he finds at thrift stores, flea markets, garage sales, and the like to create elaborate and decorative works of art that are sometimes beautiful and sometimes troubling. End Upheld has both of these qualities. The sculpture includes a racist image of a male figure of African descent. The object may have once served as a pedestal or a stool. Now it is elevated, sitting atop a stool of its own. Raised to new heights, the figure supports a striking and complex latticework of birds, beads, flowers, stylized lamps, and other ornaments. The title of the sculpture, End Upheld, is a play on words. Just as the figure may have once been a stool for someone to sit on, in this new context it is supporting a world of beauty and light. Through the process of making art, Cave has transformed an object representing a painful, oppressive past into a source of hope and transcendence. [Gallery label text, summer 2015]", "Dedication" : "Bequest of Charles W. Strowger, by exchange, and Thelma M. Knapp Fund", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.63_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.63_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.63_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2014.63_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "43137", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photo provided by dealer. Exists as large JPG and smaller JPG derived at MAG. No uncorrected master.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.63_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.63_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.63_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2014.63_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "43136", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photo provided by dealer. Exists as large JPG and smaller JPG derived at MAG. No uncorrected master.", "View" : "" } , ] },{ "embark_ID" : 522, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/522", "Disp_Access_No" : "1991.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Summer Street Scene in Harlem", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "20 1/16 x 24 1/8 in. (51 x 61.2 cm)", "Disp_Height" : "20 1/16 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Tempera", "Support" : "panel", "Disp_Medium" : "Tempera on gesso panel", "Info_Page_Comm" : "Jacob Lawrence chronicled the migration of African Americans from the South to the North in the first half of the 20th century. In Summer Street Scene in Harlem, Lawrence’s style incorporates the flattened surfaces, distorted shapes, and bold colors of modernism to capture the energy and vitality of life in Harlem, New York. [Gallery label text, 2007]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12514", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 1983, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1983", "Disp_Access_No" : "1975.120.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "The 1920's... The Migrants Arrive and Cast Their Ballots", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "34 3/8 x 26 in. (87.3 x 66 cm)", "Disp_Height" : "34 3/8 in.", "Disp_Width" : "26 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color serigraph", "Info_Page_Comm" : "In 1975, Jacob Lawrence and twelve other artists were asked to respond to the question, "What does independence mean to me?" The prints made by the artists comprise the Kent Bicentennial Portfolio: Spirit of Independence, commissioned in honor of the American Bicentennial. Jacob Lawrence's parents migrated from the south to New York City, so the theme of migration was one that had great meaning to his personal history. He said, "During the post World War I period millions of black people left southern communities in the United States and migrated to northern cities. This migration reached its peak during the 1920's. Among the many advantages the migrants found in the north was the freedom to vote. In my print, migrants are represented expressing that freedom." [Gallery label text]", "Dedication" : "Gift of Lorillard, New York", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "This print was also published as a poster. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.120.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.120.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.120.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.120.8_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "19161", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4179, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4179", "Disp_Access_No" : "2000.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1992", "_Disp_Start_Dat" : "1992", "_Disp_End_Date" : "1992", "Disp_Title" : "Frost Avenue and Genesee Street", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Luvon Sheppard", "Sort_Artist" : "Sheppard, Luvon", "Disp_Dimen" : "35 3/8 x 48 1/8 in. (89.9 x 122.2 cm)", "Disp_Height" : "35 3/8 in.", "Disp_Width" : "48 1/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and pastel", "Info_Page_Comm" : "", "Dedication" : "Tribute Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2000.8_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "48072", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3283, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3283", "Disp_Access_No" : "1971.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Marcus Garvey", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Luvon Sheppard", "Sort_Artist" : "Sheppard, Luvon", "Disp_Dimen" : "24 1/16 x 18 1/16 in. (61.1 x 45.9 cm)", "Disp_Height" : "24 1/16 in.", "Disp_Width" : "18 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Wash", "Support" : "paper", "Disp_Medium" : "Ink wash on paper", "Info_Page_Comm" : "Now a professor of art at RIT, Luvon Sheppard was MAG’s coordinator of neighborhood services when he drew this portrait of the controversial Jamaican orator and activist. Marcus Garvey was perhaps best known for founding the Back-to-Africa movement, which called for a return of the African diaspora to its ancestral homelands. He famously feuded with W. E. B. DuBois, another activist and the first African American to graduate from Harvard, who described him unsympathetically as “a little, fat black man; ugly, but with intelligent eyes and a big head.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "35437", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 203, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/203", "Disp_Access_No" : "1970.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Gospel Song", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Romare Bearden", "Sort_Artist" : "Bearden, Romare", "Disp_Dimen" : "40 x 30 in. (101.6 x 76.2 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "", "Medium" : "Mixed media", "Support" : "board", "Disp_Medium" : "Mixed media on board", "Info_Page_Comm" : "Gallery labet text 2013 Influenced by the Harlem Renaissance of the 1920s, Bearden was friendly with the writer Langston Hughes and jazz musicians Duke Ellington and Fats Waller. He was fascinated by jazz, trying his hand at songwriting for a short time. Bearden’s work bears parallels to the rhythms, intervals, variations, and improvisational devices of music. He stated, “I paint out of the tradition of the blues.” Bearden was a pioneer of the collage style, explaining “The medium I used was chosen intentionally because assemblage forges a variety of contrary images into one unified expression.” Bearden was a founding member of the 1960s Harlem art group, Spiral, formed “for the purpose of discussing the commitment of the Negro artist in the present struggle for civil liberties.” ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Collage", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.18_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.18_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.18_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.18_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12442", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 942, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/942", "Disp_Access_No" : "1970.60", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Dove", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Edmondson", "Sort_Artist" : "Edmondson, William", "Disp_Dimen" : "4 x 8 1/4 x 13 1/2 in. (10.2 x 21 x 34.3 cm)", "Disp_Height" : "4 in.", "Disp_Width" : "8 1/4 in.", "Dimen_Extent" : "", "Medium" : "Sandstone", "Support" : "", "Disp_Medium" : "Carved sandstone", "Info_Page_Comm" : "William Edmondson was a self-taught sculptor from Tennessee, who claimed that God told him to start sculpting. He transformed blocks of stone into his ‘critters’, including this elegant dove. Oct. 2011/Folk Art Case M. Searl", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.60_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.60_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.60_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.60_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36612", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 25526, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25526", "Disp_Access_No" : "2014.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1997", "_Disp_Start_Dat" : "1997", "_Disp_End_Date" : "1997", "Disp_Title" : "Fishing Well", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "94 x 48 1/2 in. (238.8 x 123.2 cm)", "Disp_Height" : "94 in.", "Disp_Width" : "48 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "birch", "Disp_Medium" : "Acrylic on birch", "Info_Page_Comm" : "Washington D.C.-based Sam Gilliam established himself as a major artist in 1968 when he stopped using wooden stretchers to support his paintings and allowed his vivid rushes of color-stained canvas to hang, billow, and swing through space like drapery. Since that time Gilliam has gone on to create work in an astounding variety of styles while always remaining true to a fundamental disregard for the boundaries that have traditionally separated painting, sculpture, and architecture. In the early 1990s Gilliam adopted birch plywood as a support surface for his paintings, a practice he continues to the present day. In these works Gilliam achieves an architectural physicality by using overtly sculptural material—wood and its relief properties. The surface of Fishing Well is poured acrylic paint. The images, textures, and suggestion of depth derive from the way the artist pushed and pulled the acrylic paint across the wood surface. [Summer 2015]", "Dedication" : "Gift of Sam Gilliam", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.50_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.50_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.50_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2014.50_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "43479", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print version silhouetted out by Andy Olenick", "View" : "" } , ] },{ "embark_ID" : 26901, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/26901", "Disp_Access_No" : "2018.31", "_AccNumSort1" : "", "Disp_Create_DT" : "2017", "_Disp_Start_Dat" : "2017", "_Disp_End_Date" : "2017", "Disp_Title" : "Into the Woods", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "59 3/4 x 44 3/4 in. (151.8 x 113.7 cm)", "Disp_Height" : "59 3/4 in.", "Disp_Width" : "44 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "wood", "Disp_Medium" : "Acrylic on wood", "Info_Page_Comm" : "", "Dedication" : "Gift of Sam Gilliam", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Preliminary correspondence gave the title of this work as Joycean Parable, but the back of the painting is inscribed with the title Into the Woods, and it was decided to use that inscribed title.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.31_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.31_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.31_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.31_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "53204", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , ] },{ "embark_ID" : 1666, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1666", "Disp_Access_No" : "1980.39", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Middleboro", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "22 x 22 in. (55.9 x 55.9 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "handmade paper", "Disp_Medium" : "Collograph with embossing", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80.39_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80.39_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80.39_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80.39_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15901", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 28224, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28224", "Disp_Access_No" : "2018.32", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "304 x 114 1/2 in. 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(76.2 x 57 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "22 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Though largely known for her portraiture, Artis Lane also explores themes of social justice and metaphysics in her art. Here, a figure struggles against vestiges of the materials used to cast bronze sculpture. This symbolic emergence from the burden of material life to a higher spiritual awareness speaks to the artist’s concerns with the history of slavery in America. In 2009, Artis Lane’s bust of abolitionist Sojourner Truth was installed in Emancipation Hall in the Capitol building in Washington, D.C. Michelle Obama, who presided over the unveiling, said, "I hope that Sojourner Truth would be proud to see me, a descendant of slaves, serving as the First Lady of the United States of America." [Gallery label text 2011] ", "Dedication" : "Gift of the Chase Manhattan Bank", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.1.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.1.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.1.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.1.3_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36485", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1250, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1250", "Disp_Access_No" : "1997.1.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Hog Series CLIX: Morning Tea II", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tarleton Blackwell", "Sort_Artist" : "Blackwell, Tarleton", "Disp_Dimen" : "30 x 22 7/16 in. (76.2 x 57 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "22 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Blackwell’s memories of growing up on a pig farm in South Carolina are the inspiration for his Hog Series. He states, “I have tried to portray hogs with dignity and respect, while at the same time revealing and sharing some of my past personal experiences.” Blackwell was influenced by the works of the Spanish master Diego Velazquez and explains that “the essence of the Hog Series can be related to the way he depicted jesters and dwarfs of King Philip IV’s court as equals to their master.” This is one of eight lithographs by pre-eminent African American artists included in the Resounding Heart Portfolio “to document the historical and evolutionary journey of the Black experience.” [Gallery label text, 2013] ", "Dedication" : "Gift of the Chase Manhattan Bank", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.1.4_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.1.4_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.1.4_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.1.4_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36486", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4035, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4035", "Disp_Access_No" : "1997.34", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1989", "_Disp_Start_Dat" : "1984", "_Disp_End_Date" : "1994", "Disp_Title" : "Studio Self", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Valerie Maynard", "Sort_Artist" : "Maynard, Valerie", "Disp_Dimen" : "15 9/16 x 18 5/8 in. (39.5 x 47.3 cm)", "Disp_Height" : "15 9/16 in.", "Disp_Width" : "18 5/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "", "Dedication" : "Gift of Grant and Siobhan Holcomb in honor of Mayor WIlliam A. Johnson, Jr.", "Copyright_Type" : "Needs MAG investigation", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.34_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.34_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.34_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.34_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "46453", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1480, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1480", "Disp_Access_No" : "1997.1.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "I Can't Dance", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Colescott", "Sort_Artist" : "Colescott, Robert", "Disp_Dimen" : "30 3/16 x 22 7/16 in. (76.7 x 57 cm)", "Disp_Height" : "30 3/16 in.", "Disp_Width" : "22 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Colescott uses satire and wit to deal with issues that concern him in our multicultural society. He explains that his works on paper “are often the sandbox for ideas that are off the track and something that I may do in paintings.” Here, the artist pokes fun at the cultural stereotype that African Americans are good dancers. In 1997, at the age of seventy-one, Colescott became the first African-American artist to represent the U.S. at the Venice Biennale, the oldest and most renowned contemporary art festival in the world. This is one of eight lithographs by pre-eminent African American artists included in the Resounding Heart Portfolio “to document the historical and evolutionary journey of the Black experience.” [Gallery label text 2012] ", "Dedication" : "Gift of the Chase Manhattan Bank", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.1.6_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.1.6_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.1.6_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.1.6_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36488", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2031, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2031", "Disp_Access_No" : "1997.1.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Heart to Heart", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lionel Lofton", "Sort_Artist" : "Lofton, Lionel", "Disp_Dimen" : "30 3/16 x 22 7/16 in. (76.7 x 57 cm)", "Disp_Height" : "30 3/16 in.", "Disp_Width" : "22 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "The portfolio is a presentation of lithographs “to document the historical and evolutionary journey of the Black experience,” in the words of the publisher. For the artist Lionel Lofton, whose subjects often include images of family and children, the concepts of inner strength and spirituality are central to his work. In this print, the figures’ solidity and unity express Lofton’s personal convictions. "Heart to Heart" is one of eight lithographs by pre-eminent African American artists included in the Resounding Heart Portfolio, published by Hand Graphics Studio. [Gallery label text 2011]", "Dedication" : "Gift of the Chase Manhattan Bank", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.1.7_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.1.7_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.1.7_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.1.7_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36489", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1144, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1144", "Disp_Access_No" : "1997.1.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Neptune Washington", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ron Adams", "Sort_Artist" : "Adams, Ron", "Disp_Dimen" : "30 3/16 x 22 7/16 in. (76.7 x 57 cm)", "Disp_Height" : "30 3/16 in.", "Disp_Width" : "22 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "[Gallery label text 2012] “The dignity of the individual …is a predominant theme in Adams’ work. His figures are iconic; their musculature is defined to the point of exaggeration, suggesting prolonged toil and struggle. They seem inward… and they seem larger than life, so that one wants to know their stories and learn from them.” Neptune Washington is one of eight lithographs by pre-eminent African American artists included in the Resounding Heart Portfolio, published by Hand Graphics Studio, a press founded by Ron Adams in Santa Fe. ", "Dedication" : "Gift of the Chase Manhattan Bank", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.1.8_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.1.8_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.1.8_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.1.8_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36490", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2415, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2415", "Disp_Access_No" : "1997.1.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "The Trickster on His Throne, with Henchmen", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Renée Stout", "Sort_Artist" : "Stout, Renée", "Disp_Dimen" : "30 1/8 x 22 7/16 in. (76.5 x 57 cm)", "Disp_Height" : "30 1/8 in.", "Disp_Width" : "22 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Renée Stout’s art incorporates mystical beings and experiences, like the African trickster deity represented here by the mound of dirt under the cross. For Stout, the cross or crossroads is the juncture of earth and spirit worlds, a place to seek aid from her ancestors in her life choices. She describes 1930s Delta blues singer Robert Johnson as her kindred spirit. He attributed his musical genius to a legendary pact with the devil at a crossroads. Stout states, “Johnson was driven to sing just as I am compelled to make art.” This is one of eight lithographs by pre-eminent African American artists included in the Resounding Heart Portfolio “to document the historical and evolutionary journey of the Black experience.” [Gallery label text 2012] ", "Dedication" : "Gift of the Chase Manhattan Bank", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.1.9_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.1.9_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.1.9_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.1.9_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36491", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2337, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2337", "Disp_Access_No" : "1997.1.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Window Moth", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John T. Scott", "Sort_Artist" : "Scott, John T.", "Disp_Dimen" : "30 x 22 7/16 in. (76.2 x 57 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "22 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "[Gallery label text 2012] Born in New Orleans, John T. Scott said that his art training began at home, where he learned embroidery from his mother. He drew upon the city’s rich African-Caribbean culture and musical heritage in creating his abstract sculptures and prints, stating that, “New Orleans is the only city that I’ve been in that if you listen the sidewalks will speak to you.” Scott’s Window Moth is one of eight lithographs by pre-eminent African American artists included in the Resounding Heart Portfolio, published by Hand Graphics Studio, a press founded by Ron Adams in Santa Fe. ", "Dedication" : "Gift of the Chase Manhattan Bank", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.1.10_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.1.10_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.1.10_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.1.10_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36492", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4018, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4018", "Disp_Access_No" : "1997.24", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "Harriet Tubman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Margaret Taylor-Burroughs", "Sort_Artist" : "Taylor-Burroughs, Margaret", "Disp_Dimen" : "17 1/2 x 11 1/2 in. (44.5 x 29.2 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "11 1/2 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Linocut", "Info_Page_Comm" : "", "Dedication" : "Tribute Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.24_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.24_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.24_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.24_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31669", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3771, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3771", "Disp_Access_No" : "1998.17", "_AccNumSort1" : "", "Disp_Create_DT" : "1998", "_Disp_Start_Dat" : "1998", "_Disp_End_Date" : "1998", "Disp_Title" : "Savoy Dancers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Richard Yarde", "Sort_Artist" : "Yarde, Richard", "Disp_Dimen" : "41 9/16 x 29 1/2 in. (105.6 x 74.9 cm)", "Disp_Height" : "41 9/16 in.", "Disp_Width" : "29 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Watercolor", "Support" : "wove paper", "Disp_Medium" : "Watercolor on wove paper", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.17_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.17_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.17_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.17_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13425", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4009, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4009", "Disp_Access_No" : "1998.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1998", "_Disp_Start_Dat" : "1998", "_Disp_End_Date" : "1998", "Disp_Title" : "Won't Dance", "Alt_Title" : "A Hungry Monkey Will Not Dance", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Cheryl Warrick", "Sort_Artist" : "Warrick, Cheryl", "Disp_Dimen" : "39 1/16 x 26 1/4 in. (99.2 x 66.7 cm)", "Disp_Height" : "39 1/16 in.", "Disp_Width" : "26 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Acrylic", "Support" : "wove paper", "Disp_Medium" : "Acrylic on wove paper", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.50_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.50_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.50_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.50_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13593", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4148, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4148", "Disp_Access_No" : "1999.14", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Last Supper", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Oliver Cheatham", "Sort_Artist" : "Cheatham, Oliver", "Disp_Dimen" : "11 3/8 x 25 5/8 x 3/4 in. (28.9 x 65.1 x 1.9 cm)", "Disp_Height" : "11 3/8 in.", "Disp_Width" : "25 5/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and paint", "Info_Page_Comm" : "", "Dedication" : "Gift of Reverend David W. Romig", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "3/30/10 email from Margie Searl, MAG chief curator, to Jessica Marten, MAG assistant curator: The Cheathams came in to the collection from a minister in Rochester, now deceased, [David Romig] who found them literally on the street a number of years ago when he worked at a NYC church. Cheatham had died and his sister was throwing his stuff away. I doubt that anyone exists who would either have a clue about him or who would care that his work was depicted on our website. I suspect that he was an outsider artist who was creating these wonderful things for himself. I only know of the two that we have and one other owned by the donor. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.14_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.14_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.14_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.14_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14786", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4149, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4149", "Disp_Access_No" : "1999.15", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Nativity", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Oliver Cheatham", "Sort_Artist" : "Cheatham, Oliver", "Disp_Dimen" : "12 1/2 x 25 1/4 x 7/8 in. (31.8 x 64.1 x 2.2 cm)", "Disp_Height" : "12 1/2 in.", "Disp_Width" : "25 1/4 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and paint", "Info_Page_Comm" : "The nativity of Christ has been a popular subject in many artistic traditions. Here, the carver has included all the traditional elements arranged in a simple yet effective way, using few colors and creating the illusion of depth. Gold paint illuminates the baby, above whom an angel watches protectively. Like the carver of the Santo [73.9], or the artisan who built the Tramp Art Shrine [87.4], Oliver Cheatham was an artist who expressed his religious devotion with wood and paint. Little else is known about him. The donor, Reverend Romig, came across a few pieces of his work on a sidewalk in New York City; the artist had died, and his family was throwing his things away. Fortunately, Reverend Romig recognized the beauty of the work, retrieved what he could, and kindly donated two pieces to the Memorial Art Gallery: The Nativity and The Last Supper [99.14], which is being conserved. [Gallery label text, 2002]", "Dedication" : "Gift of Reverend David W. Romig", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.15_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.15_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.15_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.15_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14787", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4158, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4158", "Disp_Access_No" : "1999.65", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "How Things Survive", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thornton Dial", "Sort_Artist" : "Dial, Thornton", "Disp_Dimen" : "44 5/16 x 30 in. (112.6 x 76.2 cm)", "Disp_Height" : "44 5/16 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite, charcoal and pastel on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Donna Howell", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.65_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.65_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.65_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.65_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "48071", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4157, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4157", "Disp_Access_No" : "1999.64", "_AccNumSort1" : "", "Disp_Create_DT" : "1998", "_Disp_Start_Dat" : "1998", "_Disp_End_Date" : "1998", "Disp_Title" : "Posing Ladies ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thornton Dial", "Sort_Artist" : "Dial, Thornton", "Disp_Dimen" : "30 x 43 3/4 in. (76.2 x 111.2 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "43 3/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor, pastel and colored pencil on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Donna Howell", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.64_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.64_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.64_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.64_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "48070", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11298, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11298", "Disp_Access_No" : "2002.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1942-1943", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1943", "Disp_Title" : "Frederick Douglass and Abraham Lincoln Discussing Emancipation", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hale Woodruff", "Sort_Artist" : "Woodruff, Hale", "Disp_Dimen" : "11 1/4 x 11 in. (28.6 x 27.9 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "overall", "Medium" : "Tempera", "Support" : "masonite", "Disp_Medium" : "Tempera on masonite", "Info_Page_Comm" : "In 1942-43, a mural competition was held for the newly built Recorder of Deeds Building in Washington, D.C. The topic was "The Contribution of the Negro to the American Nation." Hale Woodruff submitted this imagined grouping of Frederick Douglass, President Lincoln, and members of Lincoln's cabinet. While Woodruff did not win the competition, his mural study is a dramatic reminder of the alliance of two of America's most courageous leaders, Lincoln and Douglass, during a period that threatened to destroy the American union. While Douglass never, in reality, met with Lincoln's cabinet, he did meet with Lincoln and repeatedly urged the president to issue the Emancipation Proclamation. Woodruff stressed the significance of Douglass's role by appropriating the historical image engraved by Ritchie and adding an animated Douglass and the colorful American flag. [Gallery label text, 2004]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.20_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.20_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.20_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2002.20_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17112", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11258, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11258", "Disp_Access_No" : "2002.28", "_AccNumSort1" : "", "Disp_Create_DT" : "1999-2000", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "2000", "Disp_Title" : "The Emancipation Approximation (scene 18)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kara Walker", "Sort_Artist" : "Walker, Kara", "Disp_Dimen" : "44 x 34 in. (111.8 x 86.4 cm)", "Disp_Height" : "44 in.", "Disp_Width" : "34 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund ", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.28_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.28_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.28_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2002.28_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16384", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11714, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11714", "Disp_Access_No" : "2003.4", "_AccNumSort1" : "", "Disp_Create_DT" : "2001", "_Disp_Start_Dat" : "2001", "_Disp_End_Date" : "2001", "Disp_Title" : "Untitled (the failure of Sylvester)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lorna Simpson", "Sort_Artist" : "Simpson, Lorna", "Disp_Dimen" : "61 x 41 1/8 x 1 3/4 in. (154.9 x 104.5 x 4.4 cm)", "Disp_Height" : "61 in.", "Disp_Width" : "41 1/8 in.", "Dimen_Extent" : "with frame", "Medium" : "Gelatin silver print", "Support" : "", "Disp_Medium" : "Archival gelatin prints under Plexiglas with black vinyl lettering", "Info_Page_Comm" : "Lorna Simpson's art defies easy explanation. Inspired by diverse sources, it contains cinematic allusions, references to popular culture, as well as personal narrative. It is intentionally complex and ambiguous. Simpson's goal is to make the viewer think and reflect - about race, about class, about gender. Untitled (the failure of Sylvester) seems at first glance to be a random grouping of words and images. A closer look reveals that the photographs depict a woman whose face we never quite see - in four of the images, her face is deliberately obscured. Does this suggest that the African-American woman is not actually seen, and is invisible in American culture? What is the meaning of the text? Like the images, the texts are allusions to mainstream perceptions of the African-American. The Failure of Sylvester is the title of a painting by the Ashcan artist Robert Henri. Sylvester, a young African-American and the artist's model for the painting, has fallen asleep - has 'failed' as a model. [Gallery label text, 2004]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21967", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13662, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13662", "Disp_Access_No" : "2005.205", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Little Boy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Luvon Sheppard", "Sort_Artist" : "Sheppard, Luvon", "Disp_Dimen" : "19 1/2 x 15 3/4 in. (49.5 x 40 cm)", "Disp_Height" : "19 1/2 in.", "Disp_Width" : "15 3/4 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Bequest of Isabel C. Herdle", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.205_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.205_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.205_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.205_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23698", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13661, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13661", "Disp_Access_No" : "2005.204", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Untitled [boy]", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Luvon Sheppard", "Sort_Artist" : "Sheppard, Luvon", "Disp_Dimen" : "18 5/16 x 13 1/16 in. (46.5 x 33.2 cm)", "Disp_Height" : "18 5/16 in.", "Disp_Width" : "13 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Ink", "Support" : "paper", "Disp_Medium" : "Brown ink on paper", "Info_Page_Comm" : "", "Dedication" : "Bequest of Isabel C. Herdle", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.204_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.204_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.204_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.204_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23699", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14287, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14287", "Disp_Access_No" : "2006.40", "_AccNumSort1" : "", "Disp_Create_DT" : "2002", "_Disp_Start_Dat" : "2002", "_Disp_End_Date" : "2002", "Disp_Title" : "Sears Ross tji wara (mother and child)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Willie Cole", "Sort_Artist" : "Cole, Willie", "Disp_Dimen" : "47 x 26 x 7 3/4 in. (119.4 x 66 x 19.7 cm)", "Disp_Height" : "47 in.", "Disp_Width" : "26 in.", "Dimen_Extent" : "overall", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Bicycle parts", "Info_Page_Comm" : "Willie Cole’s work explores areas of overlap and intersection among African, American and African American cultures. Cole makes his art from the reused detritus (otherwise known as garbage) of contemporary life. In this sculpture of old bicycle parts, the artist reinterprets the tji wara (also spelled chi wara) masks of the Bamana people of Mali (like MAG's accession number 93.14). With real-time communication, social networking and economic globalization, the internet of the 21st century fosters seamless and near-constant encounters across time and cultures. By Africanizing or ritualizing common western objects, Cole embraces and examines these encounters as he comments upon contemporary society. [Gallery label text, 2009] ", "Dedication" : "Maurice R. and Maxine B. Forman Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.40_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.40_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23341", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "No master scan with color bars exists.", "View" : "" } , ] },{ "embark_ID" : 21271, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21271", "Disp_Access_No" : "2008.15", "_AccNumSort1" : "", "Disp_Create_DT" : "2007", "_Disp_Start_Dat" : "2007", "_Disp_End_Date" : "2007", "Disp_Title" : "Maquette for "Swing Low"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alison Saar", "Sort_Artist" : "Saar, Alison", "Disp_Dimen" : "22 1/16 x 12 3/16 x 24 in. (56.1 x 31 x 61 cm)", "Disp_Height" : "22 1/16 in.", "Disp_Width" : "12 3/16 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "Take some time to look at this figure of a woman. Don’t miss the roots that she trails behind her and the faces and objects that are scattered on her skirt. This is a portrait sculpture of Harriet Tubman, the heroic woman who escaped from slavery and yet returned to the South between 1849 and 1860 to lead over seventy slaves to freedom. In later years, she worked alongside Susan B. Anthony to advance women’s right to vote. Artist Alison Saar was commissioned to create a public sculpture of Tubman for a park at 122nd Street in New York City. MAG’s work is a maquette, or a smaller version. Saar represented Harriet Tubman as a person of great determination and strength, and positioned her as an oncoming train because of her reputation as “the Moses of the Underground Railroad”. Even her petticoat resembles a train’s cowcatcher, pushing aside all obstacles in its path. Roots signify Tubman’s efforts to uproot slavery, and the uprootedness of the slaves who had to leave everything behind. “Swing Low” is a Negro spiritual said to be one of Tubman’s favorites. [Gallery label, 2008]", "Dedication" : "Maurice R. and Maxine B. 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"_Disp_End_Date" : "2005", "Disp_Title" : "Tango", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alison Saar", "Sort_Artist" : "Saar, Alison", "Disp_Dimen" : "29 1/8 x 41 3/16 in. (74 x 104.6 cm)", "Disp_Height" : "29 1/8 in.", "Disp_Width" : "41 3/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color Woodcut", "Info_Page_Comm" : "", "Dedication" : "Gift of George Abraham", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.68_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.68_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.68_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.68_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "46441", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 24925, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/24925", "Disp_Access_No" : "2013.79", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "After Memling’s Portrait of a Man with a Letter", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kehinde Wiley", "Sort_Artist" : "Wiley, Kehinde", "Disp_Dimen" : "24 1/2 x 19 3/4 x 4 13/16 in. (62.2 x 50.1 x 12.2 cm)", "Disp_Height" : "24 1/2 in.", "Disp_Width" : "19 3/4 in.", "Dimen_Extent" : "with frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on wood panel in artist-designed hand-fabricated wood frame", "Info_Page_Comm" : "This portrait is one of eight in Kehinde Wiley’s series based upon the work of Northern Renaissance painter Hans Memling (1430–1494). Memling created sensitive, quiet portraits of the growing merchant class of his time set within landscapes and cast in natural light. Here, Wiley blends Memling’s style with contemporary street culture in a way that elevates and immortalizes his modern sitter, a resident of Brooklyn, Rafton Glean (his name is painted on the doors of the frame). Wiley has explained, “I try to use the black body in my work to counter the absence of that body in museum spaces throughout the world.” In 2018, the artist was chosen by President Barack Obama to paint his official portrait (right), now in the collection of the National Portrait Gallery. At the unveiling, the President commended Wiley for his ability to show “the beauty and the grace and the dignity” of black people. [Hawks Gallery reinstallation, summer 2019]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2013.79_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2013.79_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2013.79_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2013.79_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "40610", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Original JPG provided by gallery Roberts & Tilton, Culver City, CA. Credit line provided: Photo: Max Yawney. 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Silhouetted out from background by Andy Olenick. Color looks very different in Embark than in actual JPG and TIF-- why? Very cool and muted thru Embark, warmer in actual files. ", "View" : "" } , ] },{ "embark_ID" : 25771, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25771", "Disp_Access_No" : "2015.1", "_AccNumSort1" : "", "Disp_Create_DT" : "2015", "_Disp_Start_Dat" : "2015", "_Disp_End_Date" : "2015", "Disp_Title" : "Portrait of Qusuquzah #6", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mickalene Thomas", "Sort_Artist" : "Thomas, Mickalene", "Disp_Dimen" : "48 x 36 in. (121.9 x 91.4 cm)", "Disp_Height" : "48 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "without frame", "Medium" : "Acrylic", "Support" : "panel", "Disp_Medium" : "Acrylic, enamel, oil and rhinestones on wood panel", "Info_Page_Comm" : "New-York-based artist Mickalene Thomas is best known for her elaborate paintings composed of rhinestones, acrylic, and oil enamel. Her work introduces a complex vision of what it means to be a woman and expands common definitions of beauty. Thomas’s paintings are based on photographic portraits of models whose qualities allow her to articulate and explore questions of beauty, power, sexuality, and femininity. "I tend to work with the same models. A lot of them are friends.…So it’s women I work with in proximity to and whose energy I enjoy, and they just have a certain charisma that I’m drawn to. Especially Qusuquzah. There’s something about her. She brings something powerful to the image that amazes me through her gaze. I try to pull out those elements. I’m trying to hold onto the truth she brings in the photograph." [Gallery label text, Forman Gallery, Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2015.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2015.1_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "43480", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photo provided by gallery.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2015.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2015.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "53276", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk labelled MAG190912", "View" : "" } , ] },{ "embark_ID" : 25931, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25931", "Disp_Access_No" : "2015.24", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Nam", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Melvin Edwards", "Sort_Artist" : "Edwards, Melvin", "Disp_Dimen" : "14 3/16 x 15 3/8 x 7 5/16 in. 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Courtesy Alexander Gray Associates, New York © 2016 Melvin Edwards/Artists Rights Society (ARS), New York", "View" : "" } , ] },{ "embark_ID" : 25930, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25930", "Disp_Access_No" : "2015.23", "_AccNumSort1" : "", "Disp_Create_DT" : "1992", "_Disp_Start_Dat" : "1992", "_Disp_End_Date" : "1992", "Disp_Title" : "Texas Tale", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Melvin Edwards", "Sort_Artist" : "Edwards, Melvin", "Disp_Dimen" : "18 x 8 5/16 x 11 5/16 in. (45.7 x 21.1 x 28.7 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "8 5/16 in.", "Dimen_Extent" : "overall", "Medium" : "Steel", "Support" : "", "Disp_Medium" : "Welded steel", "Info_Page_Comm" : "", "Dedication" : "Clara and Edwin Strasenburgh Fund, Maurice R. and Maxine B. Forman Fund, and Lyman K. and Eleanore B. 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Courtesy Alexander Gray Associates, New York © 2016 Melvin Edwards/Artists Rights Society (ARS), New York", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2015.23_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.23_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.23_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2015.23_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "46323", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photo provided by dealer. Also exists as a large TIF for publication; no uncorrected master held at MAG. Courtesy Alexander Gray Associates, New York © 2016 Melvin Edwards/Artists Rights Society (ARS), New York", "View" : "" } , ] },{ "embark_ID" : 26393, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/26393", "Disp_Access_No" : "2016.180", "_AccNumSort1" : "", "Disp_Create_DT" : "2011", "_Disp_Start_Dat" : "2011", "_Disp_End_Date" : "2011", "Disp_Title" : "The 7 Yard", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Daze", "Sort_Artist" : "Daze", "Disp_Dimen" : "46 1/16 x 46 1/16 in. (117 x 117 cm)", "Disp_Height" : "46 1/16 in.", "Disp_Width" : "46 1/16 in.", "Dimen_Extent" : "overall", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil, spray paint, and acrylic on canvas", "Info_Page_Comm" : "One of the most prominent and influential New York City graffiti artists, Daze is best known for his wall writing and spay-painting on subway cars during the late 1970s and early 1980s. By the mid-1980s he was transitioning to painting on canvas. Daze’s pictures capture the grit and energy of the city he loves. The 7 Yard features the artist’s iconic graffiti markings in acrylic, the soft impression of a young woman’s face rendered in spray-paint, and a hyper-detailed depiction of a train yard in oil paint, which is remarkably similar to the train yard near MAG here in Rochester. Rochester’s WALL\THERAPY project sponsored four large-scale exterior murals by Daze. Visit www.wall-therapy.com for more information. [Gallery wall text October 2016] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.180_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.180_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.180_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2016.180_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "47176", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo on disks labelled "MAG 170607"", "View" : "" } , ] },{ "embark_ID" : 26463, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/26463", "Disp_Access_No" : "2017.2", "_AccNumSort1" : "", "Disp_Create_DT" : "2006", "_Disp_Start_Dat" : "2006", "_Disp_End_Date" : "2006", "Disp_Title" : "Conversations wit de Churen V: As da Art World Might Turn", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kalup Linzy", "Sort_Artist" : "Linzy, Kalup", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "", "Support" : "", "Disp_Medium" : "Single channel video with sound", "Info_Page_Comm" : "", "Dedication" : "Thelma M. Knapp Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Time-based media art", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2017.2_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "46484", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Provided by the artist. Exists as TIF and JPG.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2017.2_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "47453", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Provided by the artist. Exists as TIF and JPG.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.2_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.2_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.2_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2017.2_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "47454", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Provided by the artist. Exists as TIF and JPG.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.2_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.2_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.2_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2017.2_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "47455", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Provided by the artist. Exists as TIF and JPG.", "View" : "" } , ] },{ "embark_ID" : 3099, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3099", "Disp_Access_No" : "1977.182", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Boy in Blue", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "D. Duclair", "Sort_Artist" : "Duclair, D.", "Disp_Dimen" : "11 5/16 x 7 1/16 in. (28.8 x 17.9 cm)", "Disp_Height" : "11 5/16 in.", "Disp_Width" : "7 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor, gouache, and graphite on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of the Family of Merritt Barker", "Copyright_Type" : "Needs MAG investigation", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Incoming form spells name Duclair-- transcription error?", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.182_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.182_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.182_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.182_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "44264", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 28330, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28330", "Disp_Access_No" : "2019.1.3", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "Lyrics of Sunshine and Shadow (After Anna Murray Douglass)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Isaac Julien -- Lessons of the Hour Project", "Sort_Artist" : "Isaac Julien -- Lessons of the Hour Project", "Disp_Dimen" : "16 7/8 x 14 7/8 in. 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(42.9 x 37.8 cm)", "Disp_Height" : "16 7/8 in.", "Disp_Width" : "14 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "", "Support" : "", "Disp_Medium" : "Wet-plate collodion tintype mounted on tulipwood frame", "Info_Page_Comm" : "", "Dedication" : "Courtesy of the artist, Metro Pictures New York and Victoria Miro London", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/EX2019.DG1.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/EX2019.DG1.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/EX2019.DG1.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/EX2019.DG1.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "52635", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "Provided by Isaac Julien", "View" : "" } , ] },{ "embark_ID" : 28331, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28331", "Disp_Access_No" : "2019.1.4", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "Lyrics of Sunshine and Shadow (After JP Ball)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Isaac Julien -- Lessons of the Hour Project", "Sort_Artist" : "Isaac Julien -- Lessons of the Hour Project", "Disp_Dimen" : "16 7/8 x 14 7/8 in. (42.9 x 37.8 cm)", "Disp_Height" : "16 7/8 in.", "Disp_Width" : "14 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "", "Support" : "", "Disp_Medium" : "Wet-plate collodion tintype mounted on tulipwood frame", "Info_Page_Comm" : "", "Dedication" : "Courtesy of the artist, Metro Pictures New York and Victoria Miro London", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/EX2019.DG1.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/EX2019.DG1.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/EX2019.DG1.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/EX2019.DG1.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "52637", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "Provided by Isaac Julien", "View" : "" } , ] },{ "embark_ID" : 28324, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28324", "Disp_Access_No" : "2019.1.1", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "Lessons of the Hour—Frederick Douglass", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Isaac Julien", "Sort_Artist" : "Julien, Isaac", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "", "Support" : "", "Disp_Medium" : "Ten-channel color video with sound", "Info_Page_Comm" : "", "Dedication" : "Commissioned and acquired by the Memorial Art Gallery with the partnership of the Virginia Museum of Fine Arts, and with generous support from Mark Falcone and Ellen Bruss, the Zell Family, Ford Foundation, VIA Art Fund, Lori Van Dusen, and Deborah Ronnen and Sherman Levey. The commission and acquisition were also made possible by Barbara and Aaron Levine, the Maurice and Maxine Forman Fund, the Marion Stratton Gould Fund, the Herdle-Moore Fund, the Strasenburgh Fund, and the Lyman K. and Eleanore B. Stuart Endowment Fund at the Memorial Art Gallery, and the Arthur and Margaret Glasgow Endowment at the Virginia Museum of Fine Arts. Production of the work was generously supported by Metro Pictures, New York; Victoria Miro, London/Venice; the Arts Division of the University of California Santa Cruz; and by Eastman Kodak Company, on whose film stock the installation was shot.", "Copyright_Type" : "", "Disp_Obj_Type" : "Time-based media art", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "From: Binstock, Jonathan Sent: Wednesday, April 24, 2019 1:12 PM To: Isaac Julien Cc: Ioanna Papapavlou; Garland, Chris; Baker, Siri Subject: MAG credit line Dear Isaac, The following is how I think Lessons of the Hour could be credited when it is exhibited at places other than MAG and VMFA. So, for example, I think you could use this credit line when at Yale, the Royal Academy, the Scottish National Portrait Gallery, LACMA, etc. Commissioned by the Memorial Art Gallery of the University of Rochester with the partnership of the Virginia Museum of Fine Arts, and with generous support from Mark Falcone and Ellen Bruss, the Zell Family, Ford Foundation, VIA Art Fund, Lori Van Dusen, and Deborah Ronnen and Sherman Levey. Such credit could also be added to photo credit captions for images related to the commission. For example: Isaac Julien, “Lessons of The Hour” (Lessons of The Hour), 2019 matte archival paper mounted on aluminum, 63 x 84 inches. Commissioned by The Memorial Art Gallery of the University of Rochester.  (all images © Isaac Julien and courtesy the artist and Metro Pictures, New York unless otherwise noted) [I grabbed this caption from the Hyperallergic article online] What do you think? The full credit line is the following, but this is obviously way too much: Commissioned and acquired by the Memorial Art Gallery with the partnership of the Virginia Museum of Fine Arts, and with generous support from Mark Falcone and Ellen Bruss, the Zell Family, Ford Foundation, VIA Art Fund, Lori Van Dusen, and Deborah Ronnen and Sherman Levey. The commission and acquisition were also made possible by Barbara and Aaron Levine, the Maurice and Maxine Forman Fund, the Marion Stratton Gould Fund, the Herdle-Moore Fund, the Strasenburgh Fund, and the Lyman K. and Eleanore B. Stuart Endowment Fund at the Memorial Art Gallery, and the Arthur and Margaret Glasgow Endowment at the Virginia Museum of Fine Arts. Production of the work was generously supported by Metro Pictures, New York; Victoria Miro, London/Venice; the Arts Division of the University of California Santa Cruz; and by Eastman Kodak Company, on whose film stock the installation was shot.               Thank you! Jonathan Jonathan P. Binstock, Ph.D Mary W. and Donald R. Clark Director Memorial Art Gallery University of Rochester 585.276.8902 http://mag.rochester.edu/", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.1_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.1_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.1_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.1_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "52627", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos provided by the artist and his gallery. 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