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Found 1,923 Resources

Obama 08

National Museum of African American History and Culture
One pair of hand-painted sneakers (.1ab) featuring Barack Obama, with shoe box (.2). The shoes are a pair of white basketball sneakers, Nike Air Force 1s, painted over with an image of Obama's face in tones of grey against a blue background on the side panel; each sneaker features Obama in a different pose with the title [Obama 08] to the bottom left.The logo from the Obama campaign is painted in color to the left of Obama's image and in grey on the top toe panel. The left shoe (.1a) has navy laces and features the message [YES WE CAN] in white against a navy background; the right shoe (.1b) has red laces and features the message [CHANGE] in white against a navy background. The sneakers also feature blue stars placed on the inner shoe front panel and the artist's signature on the left sneaker.

Nobody Like Jesus / I Know Who Holds Tomorrow

National Museum of African American History and Culture
A black vinyl 78 rpm record has a blue Jewel J-203 label at its center. The blue label is printed with black and blue text. The record label logo features above the vinyl record's center; it reads [Jewel . . . . . . RECORDS] just under the image of a cut jewel surrounded by white light rays. One side lists [NOBODY LIKE JESUS / ALBERTINA WALKER / & THE CARAVANS] below the record's center, the other side lists [I KNOW WHO / HOLDS TOMORROW / ALBERTINA WALKER / & THE CARAVANS]. Following the curve of the blue label edge beneath the song title and included recording artists is dark blue text which reads [PRODUCED BY JEWEL RECORDS - 728 TEXAS ST. SHREVEPORT, LA.].

Negroes fishing in creek near cotton plantations outside Belzoni Miss. Delta, October 1939

National Museum of African American History and Culture
A dye transfer photograph of rural life outside of Belzoni, Mississippi by Marion Post Wolcott. At a daytime muddy creek near a cotton plantation, a man and three women fish, surrounded by dry foliage and dull green mature trees. Seated along the edges of the creek, the man, crouched, wears a sand-colored hat; bright shirt; dark trousers, and holds high a long fishing rod. To his proper left, leaning forward on her knees, is a woman wearing a light-colored long sleeve dress and light-colored wide-brim bucket hat. To her proper left sits another woman, her legs crossed towards the water. She wears a light-colored wide-brim hat and blouse, and holds a fishing rod in her proper right hand. Nearer to the unseen photographer amidst the water dry foliage, at the bottom left of the camera’s frame, stands a woman wearing a long pink dress over a short sleeve shirt and wide-brim hat. She holds a fishing rod in both hands. The back of the photograph from the top left corner to bottom right, features provenance marks and inscriptions: [RWFA 1950 / PF112995-111 / ARTIST: MARION POST WOLCOTT / TITLE: NEGROES FISHING IN CREEK NEAR COTTON PLANTATIONS OUTSIDE BELZONI MISS. DELTA / TRANSPARENCY DATE: OCT. 1939 / PRINTING DATE: 12/86 / LIGHT GALLERY REG. NO.: 107.8]. Beneath the authentication disclaimer is the signature [Tennyson Schad].

Negroes fishing in creek near cotton plantations outside Belzoni Miss. Delta, October 1939

National Museum of African American History and Culture
A dye transfer color photograph of rural life outside of Belzoni, Mississippi by Marion Post Wolcott. At a daytime muddy creek near a cotton plantation, a man and three women fish. They are surrounded by dry foliage and dull green mature trees. Seated along the edges of the creek, the man, crouched, wears a sand-colored hat; bright shirt; dark trousers, and holds a long fishing rod in his proper right hand. Seated to his proper left, arms crossed, is a woman wearing a light-colored long sleeve dress and light-colored wide-brim bucket hat. To her proper left sits another woman, her legs sprawled towards the water. She wears a light-colored wide-brim hat and blouse, and holds a fishing rod. Nearer to the unseen photographer among the dry foliage, at the bottom right of the camera’s frame, stands a woman wearing a long pink dress over a short sleeve shirt and wide-brim hat. She holds a fishing rod in her proper right hand. The back of the photograph, from the top left corner to bottom right, features provenance marks and inscriptions: [RWFA 1868 / PF113003-111 / ARTIST: MARION POST WOLCOTT / TITLE: NEGROES FISHING IN CREEK NEAR COTTON PLANTATIONS OUTSIDE BELZONI MISS. DELTA / TRANSPARENCY DATE: OCT. 1939 / PRINTING DATE: 12/86 / LIGHT GALLERY REG. NO.: 107.8]. Beneath the authentication disclaimer is the signature [Tennyson Schad].

Music and Acrobats

National Museum of African Art
One of seven (7) hand-colored prints of varying sizes from the artist’s Decades of Printmaking series featuring black human figures, a drummer and houses on a red and yellow background.

Music Lesson

National Museum of African Art
One of seven (7) hand-colored prints of varying sizes from the artist’s Decades of Printmaking series, this print features a seated musician on a black and checkered, likely nighttime, background with many human faces inside of their head.

Mother Nature

National Museum of African Art
One of seven (7) hand-colored prints of varying sizes from the artist’s Decades of Printmaking series featuring wood grain in black on a colored, textural background.

Moonlight Entertainment

National Museum of African Art
One of seven (7) hand-colored prints of varying sizes from the artist’s Decades of Printmaking series featuring a central figure seated cross-legged surrounded by other people, with foliage and houses in the background. The overall print is black, with colored textural backgrounds visible in the negative space of the figures.

Mass Mobilization

National Museum of African Art
One of seven (7) hand-colored prints of varying sizes from the artist’s Decades of Printmaking series, this print features multiple textures within different geometric shapes on a black background.

Kye Kye Mmaban

National Museum of African Art
Wrapper composed of sixteen strips with ten different warp stripes in striped and rectangular patterns of dark blue, white, light blue, gray, light yellow and magenta.

House of the head

National Museum of African Art
Cylinder topped by arches formed by two crossing bands, lower half covered with precisely aligned cowries, tips extending forward, framing four rectangular imported mirrors; one missing glass; triangular hide flaps between mirrors, one partial, one missing; flat lid with shells conforming to circle; leather trim with fine patina. Missing cowries at base. Top: two high wide crisscrossed bands forming openwork crown, upper halves covered in rows of cowries, large mirrors below; projection top center wrapped in worn red cloth; one complete tassels atop, some as braid with red fiber strips; some partial.

For Your Marriage to Work, First You Must Divorce of Yourselves

National Museum of African Art
One of seven (7) hand-colored prints of varying sizes from the artist’s Decades of Printmaking series, this print features a man and a woman with hearts between them on multiple geometric textures.

Dixie Café

National Museum of African American History and Culture
A depiction of a segregated café rendered in black and white, with black diners seated in the "Colored" section on the left, and white diners seated in the "White" section on the right. The drawing is signed and dated by the artist on the front.

Da ("Big Old Man")

National Museum of African Art
Wood face mask with articulated lower mandible.

Black Forum, Vol. 1, No. 2

National Museum of African American History and Culture
Volume 1, Number 2, Winter 1976-77, of Black Forum Magazine. The cover has red and black ink on a white glossy paper background, along with monochromatic photographs of G. Falcon Beazer, John Sanders, Mason A. Cox, and Margarite Gaines, on the right. The left column of the cover indicates the content of the magazine: [In This Issue: / G. Falcon Beazer an Interview / Profiles: / John Sanders, Artists / Mason A. Cox, Poet / Margarita Gaines, Dancer / Notes of a Black Revolutionary / Fiction/ Poetry & Reviews]. The magazine has forty-eight ink on paper pages and includes text, photos, poems, and a crossword puzzle.

Animalistic Mask

National Museum of African Art
One of seven (7) hand-colored prints of varying sizes from the artist’s Decades of Printmaking series featuring an abstract animal mask in black on a red, yellow and blue textured background.

19th Century Kid (Queen Victoria)

National Museum of African Art
Mannequin of a young girl without a head and dressed in a Victorian style dress made from brightly colored contemporary printed fabric decorated with a soccer ball and flower pattern.

96-4

Smithsonian American Art Museum

48-State Quilt

Smithsonian American Art Museum

2:45 am Until Sunrise on Tet, the Lunar New Year, January 31, 1968, U.S. Embassy, Saigon, Vietnam (Looking North)

Smithsonian American Art Museum
Von Mertens's series As the Stars Go By depicts the position of the stars at specific violent moments in American history in which "what came before seems separate from what follows." With the aid of a computer, she manipulates empirical data into subjective patterns, making these distant events personal. She then meticulously translates her compositions into fiber, bringing the image forth stitch by stitch on hand-dyed fabric over the course of several months.

Connections: Contemporary Craft at the Renwick Gallery, 2019

24 Harness Pattern Twill Weave Scarf

Smithsonian American Art Museum

1856 - 1857 Virginia Ivey's Russellville Fair Quilt

National Museum of American History
Virginia Ivey designed this white-work quilt to capture the excitement and lively interest of a county fairground in the mid-nineteenth century. The center circle, 40 inches in diameter, is edged by a board fence complete with gate. Inside the fence is the quilted inscription: "1856 A REPRESENTATION OF THE FAIR GROUND NEAR RUSSELLVILLE KENTUCKY." The central judges' pavilion with the judges, encircled by horses and riders, fair buildings and workers, animals of all sorts, and of course the fairgoers themselves, all in a state of arrested motion, contribute to the unique design.

Virginia Ivey's needlework and artistic skills resulted in a quilt that depicts the smallest details of fence rail, walking stick and saddle, or men shaking hands in greeting. The surface outline was quilted using two layers of fine white cotton with a thin cotton fiber filling, stitched through all three layers. The sculpted effect of the design was achieved with stuffed and corded quilting techniques and grounded with stippling, 12 stitches to the inch. The quilt is finished with a 4½-inch woven and knotted cotton fringe. Her needlework is often described as using needle and thread much like another artist might use pen or brush.

Virginia Mason Ivey was born on October 26, 1828 in Tennessee. She was the daughter of Mourning Mason and Capt. David Ivey, a farmer and soldier in the War of 1812. According to family information her father named her after his native state. When Virginia was a young child the family moved to Keysburg, a small town in Logan County, Kentucky. Aunt Jennie, as she was known to the family, according to her niece Ida B. Lewis, "never had any lessons in art-just-her own talent and creative instinct. She loved beauty in many forms and had a most attractive personality and was quite a pretty woman." Virginia Ivey never married and when she died she left this quilt to her niece, Lillian Virginia Lewis.

"I have a quilt which I value most highly. It was made by my aunt, Virginia M. Ivey. I cannot care for it much longer and I should like very much to know that it will have excellent care and that it will give pleasure to many people who will appreciate its remarkable workmanship and its great beauty". So wrote Lillian V. Lewis about the quilt she donated to the Museum in 1949. Now over 150 years old, this elaborate example of white-work quilting, "A REPRESENTATION OF THE FAIR GROUND NEAR RUSSELLVILLE KENTUCKY 1856," has been exhibited at fairs and museums and has won many prizes.

16 Harness Pattern Shawl

Smithsonian American Art Museum

1.8 Renwick

Smithsonian American Art Museum
1897-1920 of 1,923 Resources