Teaching Resources

Artura.org Teacher Guide 2020

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Artura.org Teacher Guide 2021

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Rick Bartow, Crow Dance, offset lithograph, 30" x 22" 1988, Artura.org

Crow Dance

In his 1988 print Crow Dance, we see Native American artist Rick Bartow (1946–2016) both following and playing with his own cultural tradition. These works invite the students to engage in cultural inquiry into traditions to understand how artists follow and break with tradition.

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Generations

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.”

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200 Yrs

This print celebrates the election of Barack Obama as the first Black and 44th president of the United States. It also pays homage to all the exceptional and courageous people who preceded Obama and made his election possible two hundred years after the Slave Act of 1808.

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Quest: We Who Believe in Freedom Cannot Rest

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
States history.

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My Country Needs Me…

Rodney Ewing’s print shows the face of a Black youth with the words “My country needs me, and if I were not here I would have to be invented” from Hortense J. Spillers’ “Mama’s Baby, Papa’s Maybe.”

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Storm’s Coming

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.

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St. George

In this print a Black soldier in a Civil War uniform holds a cross. Other crosses appear on his hands and decorate his uniform. While this soldier may not have the look of a traditional saint, he does have the stature of a noble soldier.

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Promise Land

Urban Street Scene — Diversity-rich Brooklyn, NY is home to many religious groups. In this scene, members of a Black Jewish congregation stand in front of a store front house of worship.

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Rhythms Across Generations

By recalling stories of musicians, writers and artists who were also socially active and represented his parent’s generation, Louis Delsarte explores how culture and resistance evolved in Harlem during the 1940s and 1950s.

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Face-Off

“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.”

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Untitled (Danny Alvarez)

The central figure in this color woodcut is inspired by the Aztec goddess Tonantzin, a general title bestowed on female deities who were worshiped by Indigenous peoples living in what is now Mexico and elsewhere in Central America.

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Portrait of a Young Woman

“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.”

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Hagar’s Dress

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.

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Blues Band

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.

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Buil II

Buil II is the detailed drawing of an early version of the modern skyscraper. In this print, Hideki Kumura uses the form and shape of the building to investigate live, value and color in printmaking.

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Hinode

This computer-assisted maze-like drawing turns three dimensional drawing into interweaving shapes where lines move in multiple directions in a tight, layered environment in which the foreground form is only distinguishable by the weight of the solid yellow lines.

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Cut

This color abstraction by Odili Odita, who is a professor at Tyler School of Art and Architecture in Philadelphia, employs geometric shapes in colorful contrasting values.

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Down on War

The artist’s grandfather Allan Freelon used art as therapy to recover from injury and traumatic stress during service in Europe during WWI. He later became the first Black art supervisor for the school district in his hometown of Philadelphia.

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Untitled (Covergirl)

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.

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Weapon 3

Rectangle, square, and triangle are the main design elements in this print. The leaning arrow serves as a line to complete the 90-degree angle that allows the vertical rectangle to stand straight

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Brambles

Reflections and mirrored images are often used to create visual excitement, extend senses of depth and length, and create other enhancing effects in the design of buildings and their interiors.

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Untitled

In this collage and constructed print, lines set at angles create shapes and forms that, in turn, repeat to create patterns. Colors accentuate the differences in the forms and their harmony and unity.

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Standing

A playful composition of geometric shapes accented by color fill-ins in which white is used as another shape defining color or a negative space in the composition.

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Jonkonnu Festival by Vincent Smith

Jonkonnu Festival

View All Resources Vincent Smith 1996 Color offset lithograph Image/sheet: 21 1/2 x 30″ 2009-61-80 VIEW OBJECT RECORD About the Work This print depicts a

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Watching

View All Resources Elizabeth Grajales 1989 Color offset lithograph Image/sheet: 21 5/8 x 30″ (54.9 x 76.2 cm) 2009-61-33 VIEW OBJECT RECORD About the Print

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Bronx Project

View All Resources Toshio Sasaki 1991 Color offset lithograph Image/sheet: 21 ¾ x 30 inches 2009-61-75 VIEW OBJECT RECORD About the Print From the Artist

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Artistic Perspective

View All Resources Anna Marie Pavlik 2001 Color offset lithograph Image (irregular): 20 3/8 x 28½”; Sheet: 22 x 29¾ ” 2009-61-68 VIEW OBJECT RECORD

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Family Ark

View All Resources John Biggers 1992 Color offset lithograph triptych Image/sheets (three joined): 29¾ x 49½ ” Center panel (image/sheet): 29¾ x 21 9/16″ Right

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El Túnel

View All Resources Ibrahim Miranda 1999 Screenprint printed in light tan and black inks Image: 1¼ x 24 “;Sheet: 21¾ x 27½ ” 2009-61-57 VIEW

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Isaiah

View All Resources Izaiah Zagar 1986 Color offset lithograph Image/sheet: 30 x 22 ” 2009-61-90 VIEW OBJECT RECORD About the Print From the Artist Philadelphia

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