W23 Silver - LSWA 228 001

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An American flag in shades shades of white and cream painted directly on the wall from a template when displayed. 
Sonya Clark
Whitewashed
2017
digital file |
Museum purchase made possible by the Director's Acquisition Committee, 2021
2021/1.169
A splatter painted bird cage stand with a rounded top cage on top in red, green, orange, white and blue. There is mesh on one side of the bottom of the cage that is also splatter painted. Inside the cage hanging from the top is a small bell, part of an American flag and a replica of a human penis, painted black, hanging upside down.
Tyree Guyton
Untitled (bird cage, re-lynching)
1980 – 2010
metal bird cage stand, American flag, rubber elements, metal bell and rectangular-shaped screen |
Gift of H. David Zucca
2013/2.312
A "Norton Abrasives" wooden crate is filled with empty rusted gallon paint containers with dried paint inside. A cracked rearview mirror is attached to one side and an American flag is smushed into one side of the box. A small toy platypus sits inside one of the paint cans, although the platypus is moveable; instructions to museum state that museum staff can place platypus where they please.
Tyree Guyton
Untitled (Paint Cans)
paint cans, wooden crate, American flag, rearview mirror, and ceramic figurine
33 1/2 in x 28 1/8 in x 12 in (85.09 cm x 71.44 cm x 30.48 cm)
Gift of H. David Zucca
Masimba Hwati
Ngoromera
2020
brass, iron, copper, carbon steel, plastic |
Museum purchase made possible by the University of Michigan Office of Diversity, Equity, and Inclusion, and the Director's Acquisition Committee, 2020
2020/2.2
Jess T. Dugan
Collin at sunset
2020
photograph | paper
Museum purchase with funds from the Estates of Robert Metcalf and James van Sweden, by exchange
2022/1.53.7
A collection of 19 blue and white plates which, when laid out side-by-side, creates the image of Bruce Lee, a man with dark hair wearing a suit and tie. The border of the piece is comprised of scrolling flowers and vines along with a dragon.
Steven Young Lee
Icon
2019
porcelain, cobalt |
Museum purchase made possible by the William C. Weese, M.D. Endowment for Ceramic Arts
2021/1.127A
Portrait of a man with a powdered hairstyle close to his ears and gathered back at the nape of his neck. He wears a dark coat and and is placed in front of a pink background. At the level of the man's face, the canvas is shredded into long, loosely hanging strips. 
Titus Kaphar
Flay (James Madison)
2019
oil, nails | canvas
Museum Purchase made possible by Joseph and Annette Allen
2019/2.184
Dollhouse replica of a two-storey Victorian-style flat in the East End of London. The façade is red brick with white molding. The upper storey has two tall windows that face onto the street; the door into the flat is on the left, and to the right of it is a large bay window. The split-level interior holds a bedroom and parlor, both of which are decorated with wallpaper and furnishings, including cabinets, chairs, tables, fireplaces, and a canopy bed. Reproductions of paintings by Shonibare and Jean-Honoré Fragonard hang on the walls. A seal on the right-facing outside wall reads: “Yinka Shonibare, artist, lives here.”<br /><br />
First Floor: Reproduction of Diary of a Victorian Dandy: 14:00 Hours (1998) by Yinka Shonibare; Cabinet with shelves and books; wing chair with footstool; large bureau; fireplace; round table; side table; two chairs; bowl and cup;<br /><br />
Second Floor: Canopy bed; mirror; small bureau; reproduction of The Swing (1767) by Jean-Honore Fragonard; fireplace; chair; washstand with pit
Yinka Shonibare
Untitled (Dollhouse); from the 2002 Peter Norton Family Christmas Project
2002
resin, plastic, wood, paper and fabric
The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art, with generous support from the National Endowment for the Arts and the Institute for Museum and Library Services
2008/2.256
A dark-skinned figure with a tall headdress or updo hairstyle, a high-necked black cowl that covers the top of the shoulders, black and white bodice with a checked design, and a flowing, feathery white skirt long enough to obscure the figure&#39;s feet. The figure&#39;s bare arms are visible on either side of the skirt.&nbsp;
Ayana V. Jackson
Cascading Celestial Giant I
2019
archival pigment print | German etching paper
Museum purchase made possible by the Director's Acquisition Committee, 2021
2021/1.167
A dark-skinned figure with a tall headdress or updo hairstyle, a high-necked black cowl that covers the top of the shoulders, black and white bodice with a checked design, and a flowing, feathery white skirt long enough to obscure the figure&#39;s feet. The figure&#39;s arms are bare and their hands are hidden behind the skirt.&nbsp;
Ayana V. Jackson
Cascading Celestial Giant II
2019
archival pigment print | German etching paper
Museum purchase made possible by the Director's Acquisition Committee, 2021
2021/1.168
An assemblage of found objects: a salvaged wood frame with wood inlay letters spelling &quot;COLORED,&quot; four portrait photographs of African American females (two photogaphs on either side of a printed poem), nine thread samples under photographs, and one hand mirror hanging on a decorative brass hook to the viewer&#39;s right of the frame. The poem reads:&nbsp;<br />
&quot;Light is Alright<br />
Yellow is Mellow<br />
Brown, Stick Around<br />
Black, Get Back<br />
(but black don&#39;t crack)&quot;<br />
<br />
The wood has a strong smell, may have been treated with molasses.<br />
<br />
&nbsp;
Betye Saar
Colored
mixed media assemblage with photographs, paper, and thread on wood
14 ½ in x 30 in x 1 ½ in (36.83 cm x 76.2 cm x 3.81 cm);10 in x 5 in x ½ in (25.4 cm x 12.7 cm x 1.27 cm)
Museum purchase made possible by Dr. James and Vivian Curtis and the W. Hawkins Ferry Fund
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United States, 1834–1884
Frederick Douglass
1876
Albumen print photograph, autographed
William H. Brearley Photograph Album
On loan from the University of Michigan Clements Library


After escaping slavery, abolitionist leader Frederick Douglass (1818–
1895) pioneered the idea that photography could create new images
of African Americans, allowing them to regain agency and craft
their likenesses in ways that were formerly impossible. Douglass
recognized that existing photographic representations of African
Americans were often one-sided racist caricatures perpetuated
by their white creators. His “Pictures and Progress” lectures, first
given in 1861, set out his revolutionary visions for photography and
social reform.
In his lifetime, Douglass was photographed more than any other
person in nineteenth-century America. While the images closely
document his curated visual transformations, Douglass unfailingly
presents himself as an honorable and sophisticated subject. Scholar
Henry Louis Gates has called this an unprecedented representation
of a Black man “clothed in his own form.”

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March 28, 2023 8:43 a.m.

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