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PAST - works for the course HISTART / AMCULT 244: Art of the American Century   

Instructor: Rebecca Zurier

This print is made of colorful forms and words in bright letters and bold fonts, arranged on a white background. Block letters display words in a mixed-up format, some upside down, some on their sides. On left side there is a section with smaller writing in yellowish ink on grey.<br /><br />
Text:<br />
To the Lovings, new hope i love you much (most beautiful darling) more than anyone on earth and i like you better than everything in the sky--sunlight and singing welcome your coming although winter may be everywhere with such a silence and such a darkness no one can quite begin to guess (except my life) the true time of the year-- and if what calls itself a world should have the luck to hear singing (or glimpse such sunlight as will leap higher than high through gayer than gayest someone's heart at your each nearness) everyone certainly would (my most beautiful darling) believe in nothing but love. cummings
Corita
New Hope
1966
screenprint | paper
Gift of Robert Cugno and Robert Logan
2010/1.205
Edward Hopper
East Side Interior
1882 - 1931
etching | paper
Museum Purchase
1931.9
Two men sit at the center of the print with inquisitive looks upon their faces. Certain facial elements are distorted. They stand with shoulders haunched, and pupiless eyes. Both sets of arms are restrained by handcuffs, and they are handcuffed to one another at the center of the print.
Ben Shahn
Portrait of Sacco and Vanzetti
1958
screenprint | paper
Gift of Dr. and Mrs. Irving F. Burton
1975/1.70
A black and white photograph of a man&#39;s profile against a glass door. He faces to the viewer&#39;s left, head lowered and eyes closed.
Danny Lyon
John Lewis in Nashville
1963
gelatin silver print | paper
Gift of Thomas Wilson '79 and Jill Garling '80
2016/2.454
Black and white image of a marriage ceremony with the bride and groom sitting beneath a decorated archway. 
Joanne Leonard
Ruth Ester’s Wedding Party in Garden
1970
gelatin silver print | paper
Gift of the artist
2016/2.173
A portrait of James Chaney.  His eyes are enlarged and brows thick.  His hair is made up of many thick brush strokes.  His gaze is centered at the viewer.  Above his head is his name written in brown-orange ink.
Ben Shahn
James Chaney
1965
offset photolithograph | paper
Gift of the Robbins Center for Cross Cultural Communication, Founder Warren M. Robbins
2011/1.105
In this drawing, four women walkshoulder to shoulder toward the left. They are wearing long skirts of the early twentieth century and sashes, and they are carrying pendants over their right shoulders and small pieces of paper in their left.
John Sloan
Votes for Women
1912
crayon, ink, graphite | white paper
Museum Purchase
1964/2.154
Bernard Schardt
Girl Sewing
1930 - 1940
woodcut | paper
Allocated by the U.S. Government
Commissioned through the New Deal art projects
1943.119

From the course catalog: 

"The 20th-century United States was the emblem of all things modern, but how would Americans make a modern art? This lecture/discussion class surveys art and the visual and material environment from the emergence of the United States as a world power in the 1890s to the questioning of the "American Way of Life" by Pop and activist artists during the era of the Civil Rights movement and the Vietnam War. In lectures, discussion, and original hands-on-research, we will examine the work of such celebrated figures as Frank Lloyd Wright, Jacob Lawrence, Georgia O'Keeffe, Isamu Noguchi, Edward Hopper, Walker Evans, and Diego Rivera, but also the culture of consumerism and emergent racial and ethnic identities—from furniture to photography to propaganda posters—in which they worked. "

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September 29, 2017 3:30 p.m.

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