52
Portfolios%20%3D%20%223092%22
Sculpture
End Upheld
Nick Cave, (Fulton, MS, 1959 - )
Cave, Nick
United States
1959
Male
Primary
94 x 30 x 25 in. (238.8 x 76.2 x 63.5 cm)
.
.
.
overall
overall
Mixed media
Mixed media
2014
2014
2014
Sculpture
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]
Nick Cave
2014.63
item
Memorial Art Gallery
12/8/2014
2014.63DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2014.63_A1.jpg
2014.63DI#2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2014.63_A2.jpg
Painting
Summer Street Scene in Harlem
Jacob Lawrence, 1917 - 2000
Lawrence, Jacob
United States
1917 - 2000
Male
20 1/16 x 24 1/8 in. (51 x 61.2 cm)
.
.
.
without frame
image
.
.
.
overall framed size
horizontal
frame
Tempera
Tempera
1948
1948
1948
1900-2000, 20th century, cityscapes, Images of Black People, New York city, paintings, Social Realism
Painting
Jacob Lawrence put his own stylistic innovations on the flattened surfaces, distorted shapes, and bold colors of modernism. Here his vibrant palette and energetic composition express the joy and vitality of a summer in Harlem. Children play with their soap box and approach a shaved ice vendor; adults gather in conversation. Lawrence moved to Harlem with his family at the age of twelve, and he was greatly influenced by the creative community flourishing there.
Lawrence chronicled the lives, accomplishments, and challenges experienced by Black communities in the United States. His best-known series, The Migration of the Negro (1941), depicted the mass movement of Black people who relocated from the American South to the North, Midwest, and West in search of economic and social mobility. Lawrence’s parents themselves moved to the North in this exodus known as the Great Migration, which took place from the 1910s through the 1970s.
[Gallery label text, 2024]
lower rightback of panel, Undated; from 1974-75 exhibitionback of panel, partly covered by another labelback of panelback of panelback of panelback of panelback of panelback of panel, orange tag with black printing
Jacob and Gwendolyn Lawrence
1991.5
item
Memorial Art Gallery
9/8/1999
91.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.5CNEG1
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.5SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.5DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/91.5_A1.jpg
68lawrence1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/68lawrence1.tif
M425_p271.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p271.tif
Print
The 1920's... The Migrants Arrive and Cast Their Ballots
Jacob Lawrence, 1917 - 2000
Lawrence, Jacob
United States
1917 - 2000
Male
34 3/8 x 26 in. (87.3 x 66 cm)
.
.
.
overall
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
1974
1974
1974
1900-2000, 20th century, Images of Black People, politics in art, serigraphs, Social Realism
Print
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]
lower rightlower centerlower rightlower right
Jacob and Gwendolyn Lawrence
1975.120.8
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.120.8DI1
digital image
7/22/2004
http://127.0.0.1:5000/Media/images/75.120.8_A1.jpg
Watercolor
Frost Avenue and Genesee Street
Luvon Sheppard, (Sanford, FL, 1940 - )
Sheppard, Luvon
United States
1940
Male
35 3/8 x 48 1/8 in. (89.9 x 122.2 cm)
.
.
.
sheet
Watercolor
Watercolor
1992
1992
1992
Watercolor
upper left, in image
2000.8
item
Memorial Art Gallery
5/3/2000
2000.8DI#1
digital image
3/8/2018
http://127.0.0.1:5000/Media/images/2000.8_A1.jpg
Drawing
Marcus Garvey
Luvon Sheppard, (Sanford, FL, 1940 - )
Sheppard, Luvon
United States
1940
Male
24 1/16 x 18 1/16 in. (61.1 x 45.9 cm)
.
.
.
overall
sheet
Wash
Wash
1970
1970
1970
by Rochester artists, Images of Black People
Drawing
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]
1971.11
item
Memorial Art Gallery
9/8/1999
71.11DI#1
digital image
12/7/2010
http://127.0.0.1:5000/Media/images/71.11_A1.jpg
Collage
Gospel Song
Romare Bearden, (Charlotte, NC, 1911 - 1988, New York, NY)
Bearden, Romare
United States
1911 - 1988
Male
40 x 30 in. (101.6 x 76.2 cm)
.
.
.
Mixed media
Mixed media
1969
1969
1969
1900-2000, 20th century, American art, collage, Images of Black People, musicians, Social Realism
Collage
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.”
lower right
1970.18
item
Memorial Art Gallery
9/8/1999
70.18TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.18SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.18DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/70.18_A1.jpg
Sculpture
Dove
William Edmondson, (Davidson, County, KY, 1882 - 1951, Nashville, TN)
Edmondson, William
United States
1882 - 1951
Male
4 x 8 1/4 x 13 1/2 in. (10.2 x 21 x 34.3 cm)
.
.
.
Sandstone
Sandstone
0
0
1900-2000, 20th century, birds, folk art, sculpture
Sculpture
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
1970.60
item
Memorial Art Gallery
9/8/1999
70.60TR1
Transparency
Memorial Art Gallery
Side
2 1/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
transparency
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60SL1
slide
left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60DI1
digital image
Memorial Art Gallery
Side
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/70.60_A1.jpg
70.60NEG1
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60PRT1
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60SL2
slide
right side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60DI#2
digital image
6/13/2011
http://127.0.0.1:5000/Media/images/70.60_A2.jpg
Painting
Fishing Well
Sam Gilliam, 1933 -
Gilliam, Sam
United States
1933
Male
Primary
94 x 48 1/2 in. (238.8 x 123.2 cm)
Acrylic
Acrylic
1997
1997
1997
Painting
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.
Gallery label text, [Summer 2015]
Sam Gilliam
2014.50
item
Memorial Art Gallery
9/23/2014
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2014.50_A1.jpg
2014.50DI#2
digital image
1/8/2015
http://127.0.0.1:5000/Media/images/2014.50_A2.jpg
Painting
Into the Woods
Sam Gilliam, 1933 -
Gilliam, Sam
United States
1933
Male
Primary
59 3/4 x 44 3/4 in. (151.8 x 113.7 cm)
.
.
.
overall
overall
Acrylic
Acrylic
2017
2017
2017
Painting
2018.31
item
Memorial Art Gallery
4/3/2018
2018.31DI#1
digital image
4/4/2018
http://127.0.0.1:5000/Media/images/Inventory pictures/2018.31_I1.jpg
2018.31DI#2
digital image
7/16/2019
http://127.0.0.1:5000/Media/images/2018.31_A1.jpg
Print
Middleboro
Sam Gilliam, 1933 -
Gilliam, Sam
United States
1933
Male
22 x 22 in. (55.9 x 55.9 cm)
.
.
.
.
.
.
overall
frame
Printer's ink
Printer's ink
1976
1976
1976
1900-2000, 20th century, collotypes
Print
lower rightlower leftlower center
Sam Gilliam
1980.39
item
Memorial Art Gallery
9/8/1999
80.39SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
80.39DI1
digital image
2 x 2
11/20/2002
http://127.0.0.1:5000/Media/images/80.39_A1.jpg
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Untitled
Sam Gilliam, 1933 -
Gilliam, Sam
United States
1933
Male
Primary
304 x 114 1/2 in. (772.2 x 290.8 cm)
Acrylic
Acrylic
2018
2018
2018
Painting
2018.32
item
Memorial Art Gallery
8/31/2018
2018.32DI#1
00/00/00
http://127.0.0.1:5000/Media/images/2018.32_A1.jpg
2018.32-2018.33DI#1
digital image
7/16/2019
http://127.0.0.1:5000/Media/images/2018.32-2018.33_A1.jpg
2018.32DI#2
digital image
7/16/2019
http://127.0.0.1:5000/Media/images/2018.32_A2.jpg
2018.32DI#3
digital image
11/20/2019
http://127.0.0.1:5000/Media/images/2018.32_A3.jpg
Painting
Untitled
Sam Gilliam, 1933 -
Gilliam, Sam
United States
1933
Male
Primary
286 1/2 x 118 in. (727.7 x 299.7 cm)
Acrylic
Acrylic
2018
2018
2018
Painting
2018.33
item
Memorial Art Gallery
8/31/2018
2018.33DI#1
00/00/00
http://127.0.0.1:5000/Media/images/2018.33_A1.jpg
2018.32-2018.33DI#1
digital image
7/16/2019
http://127.0.0.1:5000/Media/images/2018.32-2018.33_A1.jpg
2018.33DI#2
digital image
7/16/2019
http://127.0.0.1:5000/Media/images/2018.33_A2.jpg
2018.33DI#3
digital image
11/20/2019
http://127.0.0.1:5000/Media/images/2018.33_A3.jpg
Print
Lost and Found
Valerie Maynard, (New York, NY, 1937 - )
Maynard, Valerie
United States
1937
Female
30 1/16 x 22 5/16 in. (76.3 x 56.7 cm)
Printer's ink
Printer's ink
1989
1989
1989
Images of Black People
Print
1993.21.8
item
Memorial Art Gallery
5/21/2009
93.21.8DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/93.21.8_A1.jpg
93.21.8DI#2
digital image
2/16/2017
http://127.0.0.1:5000/Media/images/93.21.8_A2.jpg
Print
Harriet
Elizabeth Catlett, (Washington, DC, 1915 - 2012, Cuernavaca, Mexico)
Catlett, Elizabeth
America and Mexico
1915 - 2012
Female
18 3/8 x 15 1/4 in. (46.6 x 38.7 cm)
.
.
.
overall sheet
sheet
.
.
.
block
image
Printer's ink
Printer's ink
1975
1975
1975
1900-2000, 20th century, Harriet Tubman, Images of Black People, linocuts, women
Print
1995.47
item
Memorial Art Gallery
9/8/1999
95.47SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
95.47DI1
digital image
3/6/2002
http://127.0.0.1:5000/Media/images/95.47_A1.jpg
95.47DI#2
digital image
1/8/2014
http://127.0.0.1:5000/Media/images/95.47_A2.jpg
Print
Sharecropper
Elizabeth Catlett, (Washington, DC, 1915 - 2012, Cuernavaca, Mexico)
Catlett, Elizabeth
America and Mexico
1915 - 2012
Female
24 1/8 x 22 1/4 in. (61.3 x 56.5 cm)
.
.
.
block
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
1968-1993
1968
1993
1900-2000, 20th century, Images of Black People, linocuts
Print
Gallery label text 2013:
Elizabeth Catlett honors the rural working poor in this commanding image of a strong, dignified African American woman fieldworker who, though worn from her labors, maintains her internal fortitude.
Catlett devoted her career as a sculptor and printmaker to addressing issues of social justice, especially the struggles of African American women. “I make work for my people,” Catlett has said, “not for an elite, and I’ve paid a price for my commitment.”
Based on her own experiences, Catlett pursued subjects that were personally significant, such as her grandmother’s stories of slavery and her own experience of being denied admission to the Carnegie Institute of Technology solely on the basis of race.
lower right, below imageinitialed, lower right, in the blocklower left, below imagelower right
1996.33
item
Memorial Art Gallery
9/8/1999
96.33SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
96.33DI1
digital image
3/28/2002
http://127.0.0.1:5000/Media/images/96.33_A1.jpg
Sculpture
Woman Fixing her Hair
Elizabeth Catlett, (Washington, DC, 1915 - 2012, Cuernavaca, Mexico)
Catlett, Elizabeth
America and Mexico
1915 - 2012
Female
18 1/2 x 9 7/16 x 11 5/8 in. (47 x 24 x 29.5 cm)
.
.
.
overall
overall
Terracotta
Terracotta
0
0
Images of Black People
Sculpture
Over the course of her long and prolific career, sculptor and printmaker Elizabeth Catlett used her art to celebrate the beauty and strength of Black women. In Woman Fixing Her Hair, Catlett has streamlined the figure’s details, creating a monumental quality in this small sculpture.
In 1946, after earning her master’s degree in art from the University of Iowa, Catlett moved to Mexico where she studied the traditional ceramic forms and techniques of the region. Woman Fixing Her Hair was made during Catlett’s early period in Mexico and its medium, size, and style reference ancient ceramic sculptures made in the region.
[Gallery label text, 2024]
back of base, lower rightunderside
2014.43
item
Memorial Art Gallery
6/25/2014
6633DI#1
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A1.jpg
6633DI#2
digital image
Three-quarter
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A2.jpg
6633DI#3
digital image
Three-quarter
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A3.jpg
6633DI#4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A4.jpg
6633DI#6
digital image
Bottom
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A6.jpg
6633DI#5
digital image
Back
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A5.jpg
2014.43DI#7
digital image
1/4/2017
http://127.0.0.1:5000/Media/images/2014.43_A7.jpg
2014.43DI#8
digital image
1/4/2017
http://127.0.0.1:5000/Media/images/2014.43_A8.jpg
Textiles
Seven Passages to a Flight
Faith Ringgold, 1930 -
Ringgold, Faith
United States
1930
Female
51 x 43 in. (129.5 x 109.2 cm)
.
.
.
without frame
Cotton
Cotton
Deluxe
1995
1995
1995
Images of Black People
Textiles
Ringgold, an African American woman who grew up in Harlem, made her first “story quilt” in 1983 in memory of her mother. The quilts were a way to honor her mother, who taught her to sew and to appreciate art and who had collaborated with Ringgold on many art projects. Generations of women in Ringgold’s family – back as far as her great-great-grandmother, who was a slave – made quilts. An autobiographical quilt, Seven Passages to a Flight tells the story of Ringgold’s life while also telling a larger story of race and gender issues.
Gallery label, 5/27/10
1996.92.1
item
Memorial Art Gallery
9/8/1999
96.92.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
96.92.1DI3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I2.JPG
96.92.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/96.92.1_A1.jpg
96.92.1DI2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I1.JPG
96.92.1DI4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I3.JPG
96.92.1DI5
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I4.JPG
96.92.1DI6
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I5.JPG
96.92.1DI7
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I6.JPG
96.92.1DI8
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I7.JPG
96.92.1DI9
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I8.JPG
96.92.1DI10
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I9.JPG
96.92.1DI11
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I10.JPG
96.92.1DI12
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I11.JPG
96.92.1DI13
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I12.JPG
96.92.1DI14
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I13.JPG
96.92.1DI15
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I14.JPG
96.92.1DI16
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/96.92.1_I15.JPG
96.92.1DI#17
digital image
1/20/2017
http://127.0.0.1:5000/Media/images/96.92.1_A2.jpg
Textiles
Seven Passages to a Flight
Faith Ringgold, 1930 -
Ringgold, Faith
United States
1930
Female
8 x 10 in. (20.3 x 25.4 cm)
.
.
.
overall
.
.
.
approximate installation dimensions
horizontal
Printer's ink
Printer's ink
Deluxe
1995
1995
1995
Images of Black People
Textiles
1996.92.2
item
Memorial Art Gallery
9/8/1999
96.92.2SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
96.92.2DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/96.92.2_A1.jpg
Print
Emerging into Spirit II
Artis Lane, (N. Buxton, Ontario, Canada, 1927 - )
Lane, Artis
United States
1927
Female
Primary
30 x 22 7/16 in. (76.2 x 57 cm)
.
.
.
sheet
sheet
Printer's ink
Printer's ink
A one run lithograph printed from an aluminum plate. Image was drawn on mylar using asphaltum wash, lithographic pencils, and stabilo pencils.
1996
1996
1996
Images of Black People
Print
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]
lower right, in imagelower left, in imagelower right, design of hand = publisher's blindstamplower right
1997.1.3
item
Memorial Art Gallery
11/17/2000
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.1.3DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.1.3_A1.jpg
97.1.3DI#2
digital image
5/16/2011
http://127.0.0.1:5000/Media/images/97.1.3_A2.jpg
Print
Hog Series CLIX: Morning Tea II
Tarleton Blackwell, 1956 -
Blackwell, Tarleton
United States
1956
Male
30 x 22 7/16 in. (76.2 x 57 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
A one run lithograph drawn by the artist on mylar with lithographic and stabilo pencils: exposed onto a photo-positive lithographic plate, and printed in black ink on Arches cover.
1996
1996
1996
Print
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]
lower right, below imagelower center, in the marginlower left, in marginlower right, design of hand = Publisher's blindstamplower right
1997.1.4
item
Memorial Art Gallery
9/8/1999
97.1.4SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.1.4DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.1.4_A1.jpg
97.1.4DI#2
digital image
5/16/2011
http://127.0.0.1:5000/Media/images/97.1.4_A2.jpg
Print
Studio Self
Valerie Maynard, (New York, NY, 1937 - )
Maynard, Valerie
United States
1937
Female
15 9/16 x 18 5/8 in. (39.5 x 47.3 cm)
.
.
.
sheet
Printer's ink
Printer's ink
ca. 1989
1984
1994
Images of Black People
Print
lower right, below imagelower left, below image
1997.34
item
Memorial Art Gallery
3/21/2000
97.34SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.34DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.34_A1.jpg
97.34DI#2
digital image
2/16/2017
http://127.0.0.1:5000/Media/images/97.34_A2.jpg
Print
I Can't Dance
Robert Colescott, 1925 - 2009
Colescott, Robert
United States
1925 - 2009
Male
30 3/16 x 22 7/16 in. (76.7 x 57 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
A one run lithograph printed from an aluminum plate. The mylar was drawn by the artist using lithographic pencils, stabilo pencils, tusche water wash, and solvent asphaltum wash. The image was printed on Arches buff paper in deep sepia colored ink.
1996
1996
1996
Images of Black People
Print
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]
lower left, in marginlower center, in marginlower left, in marginlower right
1997.1.6
item
Memorial Art Gallery
9/8/1999
97.1.6SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.1.6DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.1.6_A1.jpg
97.1.6DI#2
digital image
5/16/2011
http://127.0.0.1:5000/Media/images/97.1.6_A2.jpg
Print
Heart to Heart
Lionel Lofton, (Houston TX, 1954 - )
Lofton, Lionel
United States
1954
Male
30 3/16 x 22 7/16 in. (76.7 x 57 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
A one run lithograph printed from an aluminum plate. The mylar was drawn by the artist using lithographic pencils. Printed by hand in a deep black ink.
1996
1996
1996
Images of Black People
Print
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]
lower center, in the marginlower left, in marginlower right, below imagelower right, design of hand = publisher's blindstamplower right
1997.1.7
item
Memorial Art Gallery
9/8/1999
97.1.7SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.1.7DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.1.7_A1.jpg
97.1.7DI#2
digital image
5/16/2011
http://127.0.0.1:5000/Media/images/97.1.7_A2.jpg
Print
Neptune Washington
Ron Adams, (Detroit, MI, 1934 - )
Adams, Ron
United States
1934
Male
30 3/16 x 22 7/16 in. (76.7 x 57 cm)
.
.
.
sheet
sheet
Printer's ink
Printer's ink
A one run lithograph printed in dark brown ink. Image was drawn on lithographic stone by the artist using lithographic pencils, water tusche, asphaltum washes, and airbrush techniques.
1996
1996
1996
1900-2000, 20th century, Images of Black People, lithographs
Print
[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.
lower right, in imagelower centerlower left, in imagelower right
1997.1.8
item
Memorial Art Gallery
9/8/1999
97.1.8SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.1.8DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.1.8_A1.jpg
97.1.8DI#2
digital image
5/16/2011
http://127.0.0.1:5000/Media/images/97.1.8_A2.jpg
Print
The Trickster on His Throne, with Henchmen
Renée Stout, (Junction City, KS, 1958 - )
Stout, Renée
United States
1958
Female
30 1/8 x 22 7/16 in. (76.5 x 57 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
A one run lithograph printed in deep sepia ink. Image was drawn on mylar by the artist using stabilo pencils and lithographic pencils.
1996
1996
1996
Print
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]
lower right, in marginlower center, in marginlower left, in marginlower left, in the platelower right, design of hand = publisher's blindstamplower right
1997.1.9
item
Memorial Art Gallery
9/8/1999
97.1.9SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.1.9DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.1.9_A1.jpg
97.1.9DI#2
digital image
5/16/2011
http://127.0.0.1:5000/Media/images/97.1.9_A2.jpg
Print
Window Moth
John T. Scott, (New Orleans, Louisiana, 1940 - 2007, Houston, Texas)
Scott, John T.
United States
1940 - 2007
Male
30 x 22 7/16 in. (76.2 x 57 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
A one run lithograph printed in deep sepia ink. Image was drawn on mylar using lithographic pencils, stabilo pencils and water based tusche. Printed from an aluminum plate.
1996
1996
1996
Print
[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.
lower right, in marginlower center, in marginlower left, in marginlower right, design of hand = publisher's blindstamplower right
1997.1.10
item
Memorial Art Gallery
9/8/1999
97.1.10SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.1.10DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.1.10_A1.jpg
97.1.10DI#2
digital image
5/16/2011
http://127.0.0.1:5000/Media/images/97.1.10_A2.jpg
Print
Harriet Tubman
Margaret Taylor-Burroughs, (St. Rose Parish, LA, 1917 - 2010, Chicago, IL)
Taylor-Burroughs, Margaret
United States
1917 - 2010
Female
17 1/2 x 11 1/2 in. (44.5 x 29.2 cm)
.
.
.
block
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
ca. 1950
1945
1955
1900-2000, 20th century, Harriet Tubman, Images of Black People, linocuts, portraits, women
Print
lower right, below imagelower left, below image
1997.24
item
Memorial Art Gallery
3/20/2000
97.24SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.24DI1
digital image
3/6/2002
http://127.0.0.1:5000/Media/images/97.24_A1.jpg
97.24DI#2
digital image
11/20/2009
http://127.0.0.1:5000/Media/images/97.24_A2.jpg
Watercolor
Savoy Dancers
Richard Yarde, (Boston, MA, 1939 - 2012, Northampton, MA)
Yarde, Richard
United States
1939 - 2012
Male
41 9/16 x 29 1/2 in. (105.6 x 74.9 cm)
.
.
.
without frame
Watercolor
Watercolor
1998
1998
1998
1900-2000, 20th century, dance, Images of Black People, watercolors
Watercolor
lower right, below imageverso, upper left
1998.17
item
Memorial Art Gallery
9/8/1999
98.17SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.17DI1
digital image
12/1/2001
http://127.0.0.1:5000/Media/images/98.17_A2.jpg
98.17TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.17DI2
digital image
Memorial Art Gallery
Imaging Complete
3/13/2002
http://127.0.0.1:5000/Media/images/98.17_A1.jpg
98.17DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Won't Dance
A Hungry Monkey Will Not Dance
Cheryl Warrick, 1956 -
Warrick, Cheryl
United States
1956
Female
39 1/16 x 26 1/4 in. (99.2 x 66.7 cm)
.
.
.
without frame
Acrylic
Acrylic
1998
1998
1998
1900-2000, 20th century, American art, paintings
Painting
versoverso
1998.50
item
Memorial Art Gallery
3/6/2000
98.50DI1
digital image
4/3/2002
http://127.0.0.1:5000/Media/images/98.50_A1.jpg
Sculpture
Last Supper
Oliver Cheatham, 20th century
Cheatham, Oliver
United States
Male
11 3/8 x 25 5/8 x 3/4 in. (28.9 x 65.1 x 1.9 cm)
.
.
.
Wood
Wood
0
0
1900-2000, 20th century, folk art, Images of Black People, sculpture
Sculpture
1999.14
item
Memorial Art Gallery
4/12/2000
99.14SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
99.14DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/99.14_A1.jpg
Sculpture
The Nativity
Oliver Cheatham, 20th century
Cheatham, Oliver
United States
Male
12 1/2 x 25 1/4 x 7/8 in. (31.8 x 64.1 x 2.2 cm)
.
.
.
Wood
Wood
0
0
1900-2000, 20th century, folk art, Images of Black People, sculpture
Sculpture
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]
1999.15
item
Memorial Art Gallery
4/12/2000
99.15SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
99.15DI2
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/99.15_A2.jpg
99.15DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/99.15_A1.jpg
Drawing
How Things Survive
Thornton Dial, (Emelle, AL, 1928 - 2016, McCalla, AL)
Dial, Thornton
United States
1928 - 2016
Male
44 5/16 x 30 in. (112.6 x 76.2 cm)
.
.
.
sheet
sheet
Graphite
Graphite
1996
1996
1996
Drawing
lower leftversolower right
1999.65
item
Memorial Art Gallery
4/13/2000
99.65DI#1
digital image
3/8/2018
http://127.0.0.1:5000/Media/images/99.65_A1.jpg
Watercolor
Posing Ladies
Thornton Dial, (Emelle, AL, 1928 - 2016, McCalla, AL)
Dial, Thornton
United States
1928 - 2016
Male
30 x 43 3/4 in. (76.2 x 111.2 cm)
.
.
.
sheet
sheet
Watercolor
Watercolor
1998
1998
1998
Watercolor
lower leftverso
1999.64
item
Memorial Art Gallery
4/13/2000
99.64DI#1
digital image
3/8/2018
http://127.0.0.1:5000/Media/images/99.64_A1.jpg
Painting
Frederick Douglass and Abraham Lincoln Discussing Emancipation
Hale Woodruff, (Cairo, Illinois, 1900 - 1980, New York, NY)
Woodruff, Hale
United States
1900 - 1980
Male
11 1/4 x 11 in. (28.6 x 27.9 cm)
.
.
.
approximate installation dimensions
frame
Tempera
Tempera
1942-1943
1942
1943
Abraham Lincoln, Civil War, Frederick Douglass, Images of Black People, paintings
Painting
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]
2002.20
item
Memorial Art Gallery
10/11/2002
2002.20TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2002.20SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2002.20DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2002.20_A1.jpg
2002.20DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
14volk2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/14volk2.tif
Print
The Emancipation Approximation (scene 18)
Kara Walker, (Stockton, California, 1969 - )
Walker, Kara
United States
1969
Female
44 x 34 in. (111.8 x 86.4 cm)
.
.
.
.
.
.
overall
frame
Printer's ink
Printer's ink
1999-2000
1999
2000
1900-2000, 20th century, Images of Black People
Print
2002.28
item
Memorial Art Gallery
9/24/2002
2002.28DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2002.28_A1.jpg
Photograph
Untitled (the failure of Sylvester)
Lorna Simpson, 1960 -
Simpson, Lorna
United States
1960
Female
61 x 41 1/8 x 1 3/4 in. (154.9 x 104.5 x 4.4 cm)
.
.
.
overall framed size
frame
Gelatin silver print
Gelatin silver print
2001
2001
2001
Images of Black People
Photograph
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]
Lorna Simpson
2003.4
item
Memorial Art Gallery
4/30/2003
2003.4SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2003.4_A2.jpg
2003.4DI2
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/2003.4_A1.jpg
2003.4TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
M425_p291.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p291.tif
M425_p291(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p291(10).tif
Print
Little Boy
Luvon Sheppard, (Sanford, FL, 1940 - )
Sheppard, Luvon
United States
1940
Male
19 1/2 x 15 3/4 in. (49.5 x 40 cm)
.
.
.
overall
image
.
.
.
sheet (irregular)
Printer's ink
Printer's ink
0
0
Images of Black People
Print
lower leftlower right, below imagelower center, below image
2005.205
item
Memorial Art Gallery
8/31/2005
2005.205DI#1
digital image
Front
3/14/2007
http://127.0.0.1:5000/Media/images/2005.205_A1.jpg
Drawing
Untitled [boy]
Luvon Sheppard, (Sanford, FL, 1940 - )
Sheppard, Luvon
United States
1940
Male
18 5/16 x 13 1/16 in. (46.5 x 33.2 cm)
.
.
.
overall
image
.
.
.
sheet
Ink
Ink
0
0
Images of Black People
Drawing
2005.204
item
Memorial Art Gallery
8/31/2005
2005.204DI#1
digital image
Front
3/14/2007
http://127.0.0.1:5000/Media/images/2005.204_A1.jpg
Sculpture
Sears Ross tji wara (mother and child)
Willie Cole, (New Jersey, 1955 - )
Cole, Willie
United States
1955
Male
Primary
47 x 26 x 7 3/4 in. (119.4 x 66 x 19.7 cm)
.
.
.
overall
Mixed media
Mixed media
2002
2002
2002
EX2007.GG1.25
Sculpture
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]
2006.40
item
Memorial Art Gallery
9/22/2006
2006.40DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2006.40_A1.jpg
2006.40TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Maquette for "Swing Low"
Alison Saar, 1956 -
Saar, Alison
United States
1956
Female
Primary
22 1/16 x 12 3/16 x 24 in. (56.1 x 31 x 61 cm)
Bronze
Bronze
2007
2007
2007
Images of Black People
Sculpture
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]
lower edgelower edge
2008.15
item
Memorial Art Gallery
6/17/2008
6199DI1
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/6199_I1.JPG
6199DI2
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/6199_I2.JPG
2008.15DI#3
digital image
Three-quarter
7/14/2008
http://127.0.0.1:5000/Media/images/2008.15_A1.jpg
2008.15DI#4
digital image
Side view of maquette
7/14/2008
http://127.0.0.1:5000/Media/images/2008.15_A2.jpg
2008.15DI#5
digital image
Detail of maquette
7/14/2008
http://127.0.0.1:5000/Media/images/2008.15_A3.jpg
2008.15DI#6
digital image
Detail of maquette
7/14/2008
http://127.0.0.1:5000/Media/images/2008.15_A4.jpg
2008.15DI#7
digital image
Three-quarter
7/14/2008
http://127.0.0.1:5000/Media/images/2008.15_A5.jpg
2008.15_R1.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R1.jpg
2008.15_R10.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R10.jpg
2008.15_R11.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R11.jpg
2008.15_R12.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R12.jpg
2008.15_R13.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R13.jpg
2008.15_R14.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R14.jpg
2008.15_R15.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R15.jpg
2008.15_R16.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R16.jpg
2008.15_R2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R2.jpg
2008.15_R3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R3.jpg
2008.15_R4.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R4.jpg
2008.15_R5.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R5.jpg
2008.15_R6.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R6.jpg
2008.15_R7.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R7.jpg
2008.15_R8.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R8.jpg
2008.15_R9.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/2008.15_R9.jpg
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Print
Tango
Alison Saar, 1956 -
Saar, Alison
United States
1956
Female
Primary
29 1/8 x 41 3/16 in. (74 x 104.6 cm)
.
.
.
sheet
horizontal
sheet
.
.
.
block
image
Printer's ink
Printer's ink
2005
2005
2005
Print
lower right, below imagelower left, below image
2008.68
item
Memorial Art Gallery
12/3/2008
2008.68_I1.JPG
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2008.68_I1.JPG
2008.68DI#2
digital image
5/17/2010
http://127.0.0.1:5000/Media/images/Inventory pictures/2008.68_I2.JPG
2008.68DI#3
digital image
1/20/2017
http://127.0.0.1:5000/Media/images/2008.68_A2.jpg
Painting
After Memling’s Portrait of a Man with a Letter
Kehinde Wiley, 1977 -
Wiley, Kehinde
United States
1977
Male
Primary
24 1/2 x 19 3/4 x 4 13/16 in. (62.2 x 50.1 x 12.2 cm)
.
.
.
overall
frame
.
.
.
sight
image
Oil
Oil
2013
2013
2013
Images of Black People
Painting
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.
[Label text for Hawks Gallery reinstallation, summer 2019]
back of panelinside doors of frame, the model's name
Kehinde Wiley
2013.79
item
Memorial Art Gallery
9/5/2013
2013.79DI#1
digital image
9/5/2013
http://127.0.0.1:5000/Media/images/Inventory pictures/2013.79_I1.jpg
2013.79DI#2
overall with frame
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2013.79_A1.jpg
2013.79DI#3
detail
digital image
Right side
00/00/00
http://127.0.0.1:5000/Media/images/2013.79_A2.jpg
2013.79DI#4
digital image
Detail
5/27/2015
http://127.0.0.1:5000/Media/images/2013.79_A3.jpg
2013.79DI#5
digital image
5/27/2015
http://127.0.0.1:5000/Media/images/2013.79_A4.jpg
Painting
Portrait of Qusuquzah #6
Mickalene Thomas, (Camden, NJ, 1971 - )
Thomas, Mickalene
United States
1971
Female
Primary
48 x 36 in. (121.9 x 91.4 cm)
Acrylic
Acrylic
2015
2015
2015
Images of Black People
Painting
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]
2015.1
item
Memorial Art Gallery
3/11/2015
2015.1DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2015.1_A1.jpg
2015.1DI#2
digital image
9/12/2019
http://127.0.0.1:5000/Media/images/2015.1_A2.jpg
Sculpture
Nam
Melvin Edwards, 1937 -
Edwards, Melvin
United States
1937
Male
Primary
14 3/16 x 15 3/8 x 7 5/16 in. (36 x 39 x 18.5 cm)
.
.
.
overall
overall
Steel
Steel
1973
1973
1973
Sculpture
These sculptures are part of Melvin Edwards’ Lynch Fragments series, which symbolizes the lived experiences of Black men and women in America. Through his practice of assemblage and transformation, Edwards addresses political, cultural, and social themes through abstracted forms.
Nam and Texas Tale—made nearly twenty years apart—remain true to Edwards’ distinct vision, evoking themes of protest and resistance. Nam references the Vietnam War. The diamond form, with its dark, concealed interior, hints at the deep wounds inflicted by the war. Texas Tale alludes to the artist’s childhood in Houston, Texas, during a time of racial segregation. A combination of abstract shapes and recognizable forms suggests both agricultural tools and implements of bondage.
[Gallery label text, 2024]
back
2015.24
item
Memorial Art Gallery
10/1/2015
2015.24DI#1
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.24_A1.jpg
2015.24DI#2
digital image
6/10/2016
http://127.0.0.1:5000/Media/images/Inventory pictures/2015.24_I1.JPG
2015.24DI#2
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.24_A2.jpg
2015.24DI#3
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.24_A3.jpg
Sculpture
Texas Tale
Melvin Edwards, 1937 -
Edwards, Melvin
United States
1937
Male
Primary
18 x 8 5/16 x 11 5/16 in. (45.7 x 21.1 x 28.7 cm)
.
.
.
overall
overall
Steel
Steel
1992
1992
1992
Sculpture
These sculptures are part of Melvin Edwards’ Lynch Fragments series, which symbolizes the lived experiences of Black men and women in America. Through his practice of assemblage and transformation, Edwards addresses political, cultural, and social themes through abstracted forms.
Nam and Texas Tale—made nearly twenty years apart—remain true to Edwards’ distinct vision, evoking themes of protest and resistance. Nam references the Vietnam War. The diamond form, with its dark, concealed interior, hints at the deep wounds inflicted by the war. Texas Tale alludes to the artist’s childhood in Houston, Texas, during a time of racial segregation. A combination of abstract shapes and recognizable forms suggests both agricultural tools and implements of bondage.
[Gallery label text, 2024]
back
2015.23
item
Memorial Art Gallery
10/1/2015
2015.23DI#1
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.23_A1.jpg
2015.23DI#2
digital image
6/10/2016
http://127.0.0.1:5000/Media/images/Inventory pictures/2015.23_I1.JPG
2015.23DI#2
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.23_A2.jpg
2015.23DI#3
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.23_A3.jpg
Painting
The 7 Yard
Daze, (Brooklyn, NY, 1962 - )
Daze
United States
1962
Male
Primary
46 1/16 x 46 1/16 in. (117 x 117 cm)
Oil
Oil
2011
2011
2011
Images of Black People
Painting
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]
back of canvas
2016.180
item
Memorial Art Gallery
8/5/2016
2016.180DI#1
digital image
8/5/2016
http://127.0.0.1:5000/Media/images/Inventory pictures/2016.180_I1.JPG
2016.180DI#2
digital image
6/7/2017
http://127.0.0.1:5000/Media/images/2016.180_A1.jpg
Time-based media art
Conversations wit de Churen V: As da Art World Might Turn
Kalup Linzy, (Clermont, FL, 1977 - )
Linzy, Kalup
United States
1977
Male
Primary
2006
2006
2006
Images of Black People
Time-based media art
2017.2
item
Memorial Art Gallery
2/8/2017
2017.2DI#11
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A11.jpg
2017.2DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A1.jpg
2017.2DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A2.jpg
2017.2DI#3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A3.jpg
2017.2DI#4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A4.jpg
2017.2DI#5
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A5.jpg
2017.2DI#12
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A12.jpg
2017.2DI#6
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A6.jpg
2017.2DI#7
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A7.jpg
2017.2DI#8
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A8.jpg
2017.2DI#9
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A9.jpg
2017.2DI#10
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2017.2_A10.jpg
Drawing
Boy in Blue
D. Duclair, active mid-20th century
Duclair, D.
Haiti
11 5/16 x 7 1/16 in. (28.8 x 17.9 cm)
.
.
.
overall
sheet
Watercolor
Watercolor
0
0
Images of Black People
Drawing
lower right
1977.182
item
Memorial Art Gallery
9/8/1999
77.182DI#1
digital image
9/4/2015
http://127.0.0.1:5000/Media/images/77.182_A1.jpg
Photograph
Lyrics of Sunshine and Shadow (After Anna Murray Douglass)
Isaac Julien -- Lessons of the Hour Project
Isaac Julien -- Lessons of the Hour Project
England
Primary
Ball, Rob
England
1977
Male
Julien, Isaac
England
1960
Male
16 7/8 x 14 7/8 in. (42.9 x 37.8 cm)
.
.
.
with frame
frame
.
.
.
sheet
sheet
2019
2019
2019
EX2019.DG1.2
Photograph
2019.1.3
item
Memorial Art Gallery
3/14/2019
2019.1.3DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2019.1.3_A1.jpg
2019.1.3DI#2
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/2019.1.3_A2.jpg
Photograph
Lyrics of Sunshine and Shadow (After Frederick Douglass I)
Isaac Julien -- Lessons of the Hour Project
Julien, Isaac
England
1960
Male
Isaac Julien -- Lessons of the Hour Project
England
Primary
Ball, Rob
England
1977
Male
16 7/8 x 14 7/8 in. (42.9 x 37.8 cm)
.
.
.
with frame
frame
2019
2019
2019
EX2019.DG1.1
Photograph
2019.1.2
item
Memorial Art Gallery
3/14/2019
2019.1.2DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2019.1.2_A1.jpg
2019.1.2DI#2
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/2019.1.2_A2.jpg
Photograph
Lyrics of Sunshine and Shadow (After JP Ball)
Isaac Julien -- Lessons of the Hour Project
Isaac Julien -- Lessons of the Hour Project
England
Primary
Ball, Rob
England
1977
Male
Julien, Isaac
England
1960
Male
16 7/8 x 14 7/8 in. (42.9 x 37.8 cm)
.
.
.
sheet
sheet
.
.
.
with frame
frame
2019
2019
2019
EX2019.DG1.3
Photograph
2019.1.4
item
Memorial Art Gallery
3/14/2019
2019.1.4DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2019.1.4_A1.jpg
2019.1.4DI#2
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/2019.1.4_A2.jpg
Time-based media art
Lessons of the Hour—Frederick Douglass
Isaac Julien, (London, 1960 - )
Julien, Isaac
England
1960
Male
Primary
2019
2019
2019
Time-based media art
2019.1.1
item
Memorial Art Gallery
3/6/2019
2019.1DI#4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2019.1_A4.jpg
2019.1DI#3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2019.1_A3.jpg
2019.1DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2019.1_A2.jpg
2019.1DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2019.1_A1.jpg