There Is a Woman in Every Color: Black Women in Art

Catalogue

Patterns of Visibility

ELIZABETH CATLETT (American-Mexican, 1915–2012), There is a Woman in Every Color, 1975, color linoleum cut, screenprint, and woodcut, 22 1/4 x 29 15/16 in. (56.52 x 76.04 cm), Museum Purchase, Lloyd O. and Marjorie Strong Coulter Fund, 2015.61. © 2021 Catlett Mora Family Trust / Licensed by VAGA at Artists Rights Society (ARS), NY

Painted portrait of Mrs. Nancy Lawson, a Black woman wearing an untied lace cap, black ribbon necklace, and a fancy dress while holding a book. She is seated against burgundy velvet curtains with a window looking out to a pastoral landscape — WILLIAM MATTHEW PRIOR (American, 1806–1873), Mrs. Nancy Lawson, 1843, oil on canvas, 30 1/8 in. x 25 in. (76.52 cm x 63.5 cm), Shelburne Museum, Shelburne, Vermont. Artwork in the public domain.

Pastel portrait of a light-skinned, biracial woman wearing a choker and pink-and-white striped shawl and tied headdress — DESCHAMPS DE LA TALAIRE (French, active in Paris, circa 1760), Portrait of a Biracial Woman, 18th century, pastel on paper laid down on canvas, 16 1/8 x 13 1/4 in. (40.96 x 33.66 cm), Museum Purchase, Lloyd O. and Marjorie Strong Coulter Fund, 2021.7. Artwork in the public domain.

Painted portrait of a smiling Black woman seated in a curved chair wearing a blue dress, a gold and blue shawl, and a blue hat with flowers and a feather in the front — ILSE MARTHA BISCHOFF (American, 1901–1990), Mary, 1943, oil on canvas, 34 1/8 x 32 1/4 in. (86.68 x 81.92 cm), Hood Museum of Art, Dartmouth College, Gift of the artist. Artwork published under fair use.

Photographic portrait of a biracial woman seated with hands resting in her lap — UNIDENTIFIED PHOTOGRAPHER (American), [Portrait of a Biracial Woman], c. 1855-60, quarter plate ambrotype in thermoplastic case, 4 1/4 x 3 1/4 in. (10.8 x 8.26 cm), Museum Purchase, Gridley W. Tarbell II Fund, 2020.22.4. Artwork in the public domain.

Carte de visite of Sojourner Truth seated in chair wearing a dress, cap, and shawl, holding a pair of knitting needles and yarn as her proper left-hand rests on a fabric-covered table with a vase of flowers atop. A printed inscription at the bottom of the photograph reads: “I Sell the Shadow to Support the Substance. Sojourner Truth.” — UNIDENTIFIED PHOTOGRAPHER (American), Sojourner Truth with Flowers, CDV, 1864, albumen silver print, 4 x 2 1/2 in. (10.16 x 6.35 cm), Museum Purchase, James Phinney Baxter Fund, 2018.36. Artwork in the public domain.

A small plaster bust painted brown of a young Black boy wearing a wrinkled shirt, slightly opened, with a bebop cap tilted to the side. The boy wears a pensive facial expression — AUGUSTA SAVAGE (American, 1892–1962), Gamin, ca. 1930, painted plaster, 9 x 5 3/4 x 4 1/4 in. (22.86 x 14.61 x 10.8 cm), Gift of halley k harrisburg, Class of 1990, and Michael Rosenfeld, 2020.52. Artwork in the public domain.

Photographic portrait of Edmonia Lewis leaning against a fabric-covered pillar and resting her proper right elbow on the pillar — HENRY ROCHER (American, 1824–1887), Edmonia Lewis, 1870, albumen silver print, 3 15/16 x 2 3/8 in. (10 x 6.1 cm), McGuigan Collection. Artwork in the public domain.

An abstract color woodcut of a woman from Benin, looking to the side, with a broad nose and big lips, wearing a necklace and a flower — DAVID DRISKELL (American, 1931-2020), Benin Woman III, 1972, color woodcut on paper, 15 5/8 in. x 11 1/2 in. (39.69 cm. x 29.21 cm.), Museum Purchase, Art Objects Fund, 1974.62. © Estate of David C. Driskell. Courtesy of DC Moore Gallery, New York

Painted portrait of an enslaved Black woman with a pensive expression, sitting and holding a staff — EASTMAN JOHNSON (American, 1824–1906), Dinah, Portrait of a Negress, ca. 1867, oil on board, 10 3/4 x 8 1/2 in. (27.31 x 21.59 cm), Gibbes Museum of Art, Charleston, South Carolina, Gift of Kathleen Hammer and Arthur Seelbinder and partial museum purchase with funds provided by gifts from Maureen and Roger Ackerman, Ryder Harwood Bishop, Angela R. Black, Mr. and Mrs. Wayne L. Burdick, Susan and Van Campbell, Ted Dintersmith and Elizabeth Hazard, Deborah C. and Neil G. Fisher, Laura D. and Stephen F. Gates, Paulo R. and Beth A. Geiss, Mr. and Mrs. James A. Ham, Sr., Pam and Monte Harrington, Bury and Lesesne Hudson, Teresa D. and Roger L. Jones, Lenna Ruth Macdonald and Robert C. Carew, Angela D. and Ben F. Mack, Debbie Rice-Marko and John Marko, Gwen and Layton McCurdy, Peter and Suzanne Pollak, Harriet B. and Richard W. Smartt, Mr. Todd Smith and Mr. Ben Hood, Tom and Lenora White, Mr. John Henry Dick, Mr. Don R. Gestefeld, Mrs. C. Gustavus Memminger, Ms. Evelyn Borchard Metzger and Ms. Doris Rosenthal. Artwork in the public domain.

Marble bust of a woman of white European descend with a middle-parted hairstyle and an open-necked blouse — EDMONIA LEWIS (American, 1844–1907), Unidentified Female Bust, 1869, marble, 22 x 19 x 11 in. (55.88 x 48.26 x 27.94 cm), Gift of Elizabeth C. Roak and Robert H. Roak, 2017.62. Artwork in the public domain.

Painted portrait of a young girl of African descent gazing down and wearing a tied yellow fabric headwrap — ROBERT GAVIN (Scottish, 1826–1883), Head of a Creole Girl, ca. 1855–1871, oil on panel, 10 x 7 1/2 in. (25.4 x 19.05 cm), Gift of Paul and Anima Katz, Williams College Museum of Art, Williamstown, MA. Artwork in the public domain.

Classical Beauty

Photograph of a nude Black woman shown from the waist up facing the viewer with both hands on upper chest — WILLIAM WITT (American, 1921–2013), Black Nude Hands On Chest, 1941, printed 1950s, early gelatin silver print, 14 x 11 in. (36 x 28 cm), Gift of Jon and Nicole Ungar, 2016.46.219. Artwork published under fair use.

WILLIAM WITT (American, 1921–2013), Black Nude and Radiator, 1948, vintage gelatin silver print, 14 x 11 in. (36 x 28 cm), Gift of Jon and Nicole Ungar, 2016.46.231. Artwork published under fair use.

Marble sculpture of the female allegory of Africa wearing an elephant headdress, carrying a full cornucopia, seated on a pillar and lion’s head — RANDOLPH ROGERS (American, 1825–1892), Africa, ca. 1850s, marble, 31 7/8 x 16 3/4 x 10 1/2 in. (81 x 42.5 x 26.7 cm), McGuigan Collection. Artwork in the public domain.

Painted portrait of a nude Black woman standing with a hand on her proper left hip gazing at the viewer, situated against a circular lavender background — BARKLEY L. HENDRICKS (American, 1945–2017), Sister Lucas, circa 1975, oil on canvas, 48 in. (121.92 cm), Lent by “Friends of the Museum.” © Estate of Barkley L. Hendricks. Courtesy of the artist’s estate and Jack Shainman Gallery, New York.

HIRAM POWERS (American, 1805–1873), Greek Slave, ca. 1845-46, marble, 24 in. (60.96 cm), McGuigan Collection. Artwork in the public domain.

Photograph of a nude Black woman kneeling in a large leather chair, head turned towards the viewer — WILLIAM WITT (American, 1921–2013), Nude In Leather Chair, 1948, vintage gelatin silver, 8 1/2 x 7 in. (22 x 18 cm), Gift of Jon and Nicole Ungar, 2016.46.230. Artwork published under fair use.

Photograph of a nude Black woman laying down on her side, back towards the viewer, in a sparse room in front of a hot water radiator — WILLIAM WITT (American, 1921–2013), Sleeping Nude, 1947, later gelatin silver print, 11 x 13 7/8 in. (27.94 x 35.24 cm), Gift of Todd Gitlin and Laurel Cook, 2015.53.14. Artwork published under fair use.

Force of Labor

Photograph of a Wet Nurse of African Descent with braided hair and a checkered shirt holding a white infant in a christening gown — DESIDERIO LAGRANGE (French-Mexican, 1849-1926), [Wet Nurse of African Descent and White Infant], mid-to-late 19th century, cabinet card, 4 1/4 x 6 1/2 in. (10.8 x 16.51 cm), Museum Purchase, Gridley W. Tarbell II Fund, 2020.22.1. Artwork in the public domain.

Text excerpt from “Narrative of Phebe Ann Jacobs, or, ‘Happy Phebe’” by Mrs. (Phebe Lord) T.C. Upham — PHEBE LORD UPHAM (MRS. T.C. UPHAM (American, 1804-1882), Narrative of Phebe Ann Jacobs, or, “Happy Phebe” / by Mrs. T.C. Upham, Imprint: New York: American Tract Society, [185-?], book; 8 p.; 18 cm, 7 1/16 in. (18 cm), Courtesy the George J. Mitchell Department of Special Collections & Archives, Bowdoin College Library, pg. 1

Daguerreotype portrait of a squirming white child seated in chair with enslaved Black girl staring directly at the viewer and holding the white child in place — JOHN CATHERWOOD (American), [Squirming White Child and Black Child Nanny, Winchester, Kentucky], 19th century, sixth plate daguerreotype, 3 ¼ x 2 ¾ in. (8.26 x 6.99 cm), Private collection. Artwork in the public domain.

mage of a small fabric-covered box (at left) that reads: “Ball, Black and Co. Jewelers, New York,” with a used silver thimble that is engraved with the initials “P,” “A,” and “J.” — BALL, BLACK, & COMPANY (American, 1851-1874), Thimble belonging to Phebe Ann Jacobs (formerly enslaved to Maria Wheelock; servant to the Allen family), 19th century, silver, Courtesy the George J. Mitchell Department of Special Collections & Archives, William Allen Family Papers, Bowdoin College Library. Artwork in the public domain.

Photograph of a Black woman ascending a turned staircase in a building with crumbling architecture — AARON SISKIND (American, 1903–1991), Untitled, from Harlem Document, 1939, gelatin silver print, 9 7/16 in. x 7 7/16 in. (24 cm. x 18.9 cm.), Museum Purchase, 1988.10. Artwork published under fair use.

Photograph of a young Black girl staring out of an open window of a log home. The interior of the window door and home contain layers of newspaper on the walls — ARTHUR ROTHSTEIN (American, 1915–1985), Gee’s Bend, Alabama, 1937, printed later, gelatin silver print, 9 1/2 x 13 in. (24.13 x 33.02 cm), Gift, Daveed D. Frazier, MD Collection, 2017.48.14. Artwork in the public domain.

Photograph of an elderly Black woman seated surrounded by a white infant seated on the woman’s proper right knee, a young white girl resting against the woman at her proper left, and a young white boy standing at the woman’s proper right. All subjects are against a studio photography backdrop — JOHN B. WORTHAM (American, 1838-1889), [African American Woman (Nanny) & Three White Children], cabinet card, late 19th century, 4 1/4 x 6 1/2 in. (10.8 x 16.51 cm), Museum Purchase, Gridley W. Tarbell II Fund, 2020.22.3. Artwork in the public domain.

Painting and fabric collage depicting a Black woman in a red shirt with her proper left hand resting at her waist while holding a tall staff in her proper right hand. Flowers are seen in the bottom left of the painting — BENNY ANDREWS (American, 1930–2006), Mrs. Viola Andrews–My Mother, 1974, oil with fabric collage on canvas, 60 1/8 x 48 1/8 x 1 1/2 in. (152.72 x 122.24 x 3.81 cm), Gift of halley k harrisburg ’90 and Michael Rosenfeld, 2018.39. © 2021 Estate of Benny Andrews / Licensed by VAGA at Artists Rights Society (ARS), NY, Courtesy Michael Rosenfeld Gallery, LLC, New York, NY

Photograph of an elderly Black woman seated surrounded by a white infant seated on the woman’s proper right knee, a young white girl resting against the woman at her proper left, and a young white boy standing at the woman’s proper right. All subjects are against a studio photography backdrop — JOHN B. WORTHAM (American, 1838-1889), [African American Woman (Nanny) & Three White Children], cabinet card, late 19th century, 4 1/4 x 6 1/2 in. (10.8 x 16.51 cm), Museum Purchase, Gridley W. Tarbell II Fund, 2020.22.2. Artwork in the public domain.

Documented Histories

Lithograph of historical figures Madam CJ Walker, Sojourner Truth, Ida B. Wells, Fannie Lou Hamer, Harriet Tubman, Rosa Parks, and Mary McLeod Bethune join fictional character Willia Marie Simone around a quilt depicting sunflowers, while standing in a garden full of sunflowers. Vincent Van Gogh stands behind the women carrying a vase of flowers

Photograph of a Black woman standing outside on a busy street in Manhattan during the Occupy Wall Street protest wearing a dress that reads: “One of the 99%. I want a fair chance to work, learn and grow in the U.S. I helped to build.”

Photograph of Fannie Lou Hamer and other Black Mississippians demonstrating out in the rain

Drawing of a Black woman’s face in profile wearing a stoic expression. The face hovers above a rusted and worn shooting gallery target with two crows on top of the target’s bar

Photograph of an elderly Black woman standing and resting her proper left arm against a chair where a young Black boy is seated. Both people are in a kitchen

Photograph of about fifteen Black teenage girls standing around in a jail cell in Georgia

Photograph of an elderly Black woman in a quilted jacket standing outside on a busy street in Manhattan during the Occupy Wall Street protest

Artistic Explorations

An abstract sculpture with bronze folded and crinkled top with silk rope tassels hanging loosely from the base — BARBARA DEWAYNE CHASE-RIBOUD (American, born 1939), Zanzibar #3, ca. 1972, bronze with silk (rope tassels), 12 1/2 in. x 13 1/2 in. x 13 1/2 in. (31.75 cm x 34.29 cm x 34.29 cm), Bequest of William H. Alexander, 2003.11.24. © Barbara Chase-Riboud

Chromogenic print of a Black woman with an afro wearing a colorful printed dress rests on her side toward the viewer, laying atop an assortment of different printed sofas, pillows, and textiles — MICKALENE THOMAS (American, born 1971), Tell Me What You’re Thinking, 2016, chromogenic print on paper, 39 3/4 x 49 1/2 in. (100.97 x 125.73 cm), Museum Purchase, Lloyd O. and Marjorie Strong Coulter Fund, 2018.8. © 2021 Mickalene Thomas / Artists Rights Society (ARS), New York

Silkscreen print of a large white bra with lace and floral patterns hovering above a brown box full of two dozen fragile eggs — MILDRED HOWARD (American, born 1945), Thirty-Eight Double Dee (from 10 x 10: Ten Women, Ten Prints, a serigraph portfolio), 1995, silkscreen on paper, 22 x 22 in. (55.88 x 55.88 cm), Archival Collection of Marion Boulton Stroud and Acadia Summer Arts Program, Mt. Desert Island, Maine. Gift from the Marion Boulton “Kippy” Stroud Foundation, 2018.10.8.4. © Courtesy the Artist and Anglim/Trimble, San Francisco. Digital reproduction by Sean Burrus

Photograph of a photograph and landscape image from a print publication layered together on a royal blue carpet — LESLIE HEWITT (American, born 1977), Riffs on Real Time (8 of 10), 2006–2009, c-print, 30 in. x 24 in. (76.2 cm x 60.96 cm), Museum Purchase, Collectors’ Collaborative and Funds Contributed by Isaac L. Lagnado, 2012.20. © Courtesy the artist and Perrotin

Two-part photograph of a Black woman standing against a red background holding a high school yearbook open — LORNA SIMPSON (American, born 1960), H.S., 1992, 2 dye diffusion color Polaroid prints, engraved on Plexiglas, 49 1/2 x 20 1/2 in. (125.73 x 52.07 cm), Collection of Alvin Hall. © Lorna Simpson. Courtesy the artist and Hauser & Wirth

Film still with lines drawn from corners to central figure of a Black woman with a worried facial expression — JA’TOVIA GARY (American, born 1984), An Ecstatic Experience, 2015, Film, 6 minutes, color, Museum Purchase, Greenacres Acquisition Fund in partnership with the New Media Arts Consortium, a collaboration of the art museums at Bowdoin College, Brandeis University, Colby College, Middlebury College, Mount Holyoke College, and Skidmore College, 2020.2. © Ja’Tovia Gary. Courtesy Paula Cooper Gallery, New York

Chromogenic print of a distorted television screen depicting a tennis match with geometric dots and arrows drawn on the surface — HOWARDENA PINDELL (American, born 1943), Video Drawings: Tennis, 1975, chromogenic print 8 x 10 in. (20.32 x 25.4 cm), Museum Purchase, Lloyd O. and Marjorie Strong Coulter Fund, 2018.7. Courtesy the artist and Garth Greenan Gallery, New York

Gouache drawing with the title “The Hi-Brids” written at the with three figures of African descent pictured below with broad noses and big lips — KARA WALKER (American, born 1969), The Hi-Brids, gouache on paper, 9 1/16 x 12 3/8 in. (23.02 x 31.43 cm), Gift of Marion Boulton “Kippy” Stroud Foundation, 2020.39.4. © Kara Walker

Lithograph with background image of an aluminum ceiling tile with a dark blue printed round table. On top of the table rests a severed head on a charger dish with cloth draped around it — ALISON SAAR (American, born 1956), Blue Plate Special, 1993, lithograph, etching and chine collé, 29 1/8 in. x 28 3/4 in. x 24 1/2 in. (73.98 cm x 73.03 cm x 62.23 cm), Anonymous Gift and Museum Purchase, Art Collections Purchase Fund, 1994.3. © Alison Saar. Courtesy of L.A. Louver, Venice, CA

Lithograph and collage featuring a colorful amphora resting on table as a woman of African descent gazes toward the amphora. Bright forest landscape with dinosaurs in background — PAULA WILSON (American, born 1975), Remodeled, 2007, woodcut, lithograph, collage on paper 19 1/2 x 25 1/2 in. (49.53 x 64.77 cm), Archival Collection of Marion Boulton Stroud and Acadia Summer Arts Program, Mt. Desert Island, Maine. Gift from the Marion Boulton “Kippy” Stroud Foundation, 2018.10.423. © Courtesy of the Artist. Digital reproduction by Sean Burrus

Silkscreen print of layered green, blue, dark red rectangles on black background. Two corseted figures superimposed on the rectangular surfaces — MARY LOVELACE O’NEAL (American, born 1942), Dark Days in the Abundant Blue Light of Paris (from 10 x 10: Ten Women, Ten Prints, a serigraph portfolio), 1995, silkscreen on paper, 22 x 22 in. (55.88 x 55.88 cm), Archival Collection of Marion Boulton Stroud and Acadia Summer Arts Program, Mt. Desert Island, Maine. Gift from the Marion Boulton “Kippy” Stroud Foundation, 2018.10.8.8. © Mary Lovelace O’Neal. Digital reproduction by Sean Burrus

Gouache drawing of five faces depicting five people of varying shades of skin tone and facial expressions. The title “Quadroon Song” is written at the top of the drawing — KARA WALKER (American, born 1969), Quadroon Song, gouache on paper, 9 1/16 x 12 3/8 in. (23.02 x 31.43 cm), Gift of Marion Boulton “Kippy” Stroud Foundation, 2020.39.3. © Kara Walker

An abstract painting with pink and red splotches densely packed on a white background — ALMA WOODSEY THOMAS (American, 1891–1978), Double Cherry Blossoms, 1973, acrylic on canvas, 60 in. x 40 1/8 in. (152.4 cm x 101.92 cm), Gift of halley k harrisburg, Class of 1990, and Michael Rosenfeld, 2003.28. Artwork in the public domain.

Linoleum cut image of a silhouetted woman of African descent free falling upside down while wearing a necklace, cuff bracelet, and what appears to be a loin cloth or pubic hair — KARA WALKER (American, born 1969), African/American, 1998, linoleum cut on cream wove paper, 46 1/2 x 60 1/2 in. (118.11 x 153.67 cm), Collection of Alvin Hall. © Kara Walker

Four abstract drawings featuring black and white lines and various shapes, black handprints, and colored lines, all on a white background — JULIE MEHRETU (American, born 1970), Myriads, Only By Dark, 2014, multi-color aquatint and spit-bite, 81 1/4 x 45 1/4 in. (206.38 x 114.94 cm), Colby College Museum of Art, The Lunder Collection. © Julie Mehretu. Courtesy of the artist and Marian Goodman Gallery, New York

Etching, aquatint, and styrene stencil depicting a dark-skinned Black woman wearing a striped bathing suit and headwrap, sitting on wooden floor with her proper right hand on her hip — EMMA AMOS (American, 1937-2020), Pool Lady, 1980, etching, aquatint, and styrene stencil, 23 ¼ x 21 ¼ in. (59.06 x 53.98 cm), Museum Purchase, Barbara Cooney Porter Fund, 2021.13. © Emma Amos; Courtesy RYAN LEE Gallery, New York. Digital reproduction by Sean Burrus

Photograph of a salt and pepper shaker set depicting Sambo and Mammy stereotypes sitting on a domestic kitchen counter with silverware, utensils, and a cut cantaloupe — CARRIE MAE WEEMS (American, born 1953), American Icons: Untitled (Salt and Pepper Shakers), 1988-89, silver gelatin print, 19 15/16 x 15 7/8 in. (50.64 x 40.32 cm), Archival Collection of Marion Boulton Stroud and Acadia Summer Arts Program, Mt. Desert Island, Maine. Gift from the Marion Boulton “Kippy” Stroud Foundation, 2018.10.329. © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York.

Gouache drawing of a standing female figure standing behind shorter woman passing her hands through the shorter woman’s face. The title “Crossover Artist” is written at the top of the drawing — KARA WALKER, American, born 1969, Crossover Artist, gouache on paper, 9 1/16 x 12 3/8 in. (23.02 x 31.43 cm), Gift of Marion Boulton “Kippy” Stroud Foundation, 2020.39.1. © Kara Walker

Gouache drawing of a Black woman laying on her stomach covered in biting snakes with a large jar of milk, titled “LAIT,” on her head. The title “Poor Baby” is written at the top of the drawing — KARA WALKER (American, born 1969), Poor Baby, gouache on paper, 9 1/16 x 12 3/8 in. (23.02 x 31.43 cm), Gift of Marion Boulton “Kippy” Stroud Foundation, 2020.39.2. © Kara Walker

Influential Literature

Printed collage of two Black men sprouting from plant foliage, stalks of wheat, and two blooming flowers

Text excerpt from Kara Walker’s “Freedom, a Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times,” 1997

A text-based artwork that reads, “This could be/ the permanent rebellion/ that lasts a lifetime./ calling a halt to the universe/ because life doesn’t wait/ the savage is loose/ where we are.”

Mixed media collage with a frame image of two Black men wearing zoot suits standing on the sidewalk of Harlem with brownstones and tenement buildings in the background. A Black woman with a pink dress and hand on her proper left hip stands out of the frame

Needlework sampler stitched with the poem verses: “The well-taught philosophic mind, to all compassion gives; Casts round the world an equal eye, And feels for each that lives. Wrought by Mary D’Silver in the 8th Year of her Age. Negro School Philadelphia, 1793.”

Graphite drawing of a two books, one at the top turned to the title page which reads: “Those Extraordinary Twins: Authoritative Texts / Textual Introduction and Table of Varies / Criticism.” The second book at the bottom turned to two blank pages

Text excerpt from Zora Neale Hurston’s “Magnolia Flower,” published in the artist book “Bookmarks in the Pages of Life,” c. 2000