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The print looks back on the long history of Black enslavement and treatment as property and market- place commodity. It, in addition, looks forward to a present and future in which sports and entertainment may continue that sense of Black bodies and minds being “owned.”
Paul Keene’s print suggests connecting various extended family members with community-wide struggles and the promise of the future. “The phrase ‘Final Notice’ is not to signify an end of past hardship, but to proclaim and offer a challenge for a new beginning that will break old cycles.”
The connection between this couple, the idea of choosing who to love, the institution of marriage, and a family construct was rarely afforded slaves as their own choice. This print explores the connection/disconnection between the institutions of slavery, marriage, and family at different times among Blacks in United
This abstracted image of a Black youth is from the artist’s Urban Warriors series. This young man shows confidence and determination as he confronts the many challenges coming his way, including the anger that society has placed on him due to racism and social injustice.
“It is the process of formation of what was/is behind my face that my work explores. Through the manipu lation of imagery and color, I hope to reveal some of what goes on behind the changing face of America.“In the print Face-Off, I have taken my face and made it into a mask of Color…the tones are simply layers of ink on a piece of paper, just as skin is a layer of tissue on other tissue.”
“Portrait of a Young Woman is one of a series of portraits I have created which were based on archival photographs of Asian women. Although little is known about the real woman in the print, her face inspired a fictional narrative about the subject’s history (Japanese American internment camps during WWII). Portraiture, as a form of biography, is part of a body of work which attempts to reveal the presence of an inner life in subjects that have often been dehumanized and culturally stereotyped. Portraiture in this context serves as a way to present positive images of Asians in America, who are seen in relation to work, family and the community.”
Hagar’s dress is among a suite of works by Taylor Pickett that reference the Middle Passage – the transport of African captives across the Atlantic as cargo for profit – as the foreground passages and crossings in life. often uses garments, notably dresses, as metaphors or carriers of identity and life story.
In this print Paul Keene pays homage to Blues music, its spirituality, and Black people who, while enduring racial oppression, found ways to enjoy social interactions and music that spoke to them in the southern Mississippi Delta during the early 1900s generation, Louis Delsarte explores how culture and resistance evolved in Harlem during the 1940s and 1950s.
Jean LaMarr, of the Paiute and Pit River Tribes, uses her art to dramatize the difference between Native American and non-Native American cultures. Her print Untitled (Covergirl) depicts a Native American woman in a coquettish pose, dressed in a traditional rawhide skirt and leggings and non-traditional lace bodice.
“Art for me is an instrument of communication — with myself and with others. It forces me to continually examine my own thoughts and actions, as well as those of others. The experiences in life can be viewed in a flexible and inclusive manner without limitations. Art is not some theory that you learn but a way of life that you choose to develop. Once nurtured it thrives on your memory bank and your need to reach out and seek to understand the tangible and the intangible. Thus, for me, art and life are inseparable.” – SL
Floyd Newsum’s print is a powerful and sensitive depiction of a woman soaring, transcendent.
Huckaby’s The 99% Project apart of an installation of 101 Lithographic Portraits Produced at Brandywine Workshop and Archives. He began this series by drawing family members and individuals he encountered near his neighborhood, Huckaby focuses less on locale than on the process of engaging with people who might otherwise be marginalized in society.
Heavily influenced by his travel to Ghana and other West African countries early on, the artist depicts family, ancestry, and the central role of the mother. Ideas, beliefs and the symbols of these African cultures, traditions and myths are embodied in the animals, furniture, utensils and shapes represented in the composition.
A dreamlike image of a young Indigenous Aboriginal woman under five canoes. The print with poem on the right edge (a collaboration with the artist’s poet-wife, Carol A.Beane) memorializes the land and the various Indigenous Aboriginal peoples who have been relocated (removed) from it in Australia.
View All Resources Hock E Aye Vi Edgar Heap of Birds 1989 Screenprint Image/sheets (two joined), approximately: 72 15/16 x 45 1/8 inches (183.7 x