{ "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" : 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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