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To ‘jump someone’, also refers to an aggressive and surprise attack or of unplanned intercourse." -Diane Victor", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund, Purchased in honor of Kay Wilson, curator, 1983-2020", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6468, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6468", "Disp_Access_No" : "2021.030", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Cleaning up - the waste collector", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Diane Victor", "Sort_Artist" : "Victor, Diane", "Disp_Dimen" : "35 13/16 x 25 in. (91 x 63.5 cm)", "Disp_Height" : "35 13/16 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Manièr noir stone lithograph", "Support" : "Rives BFK", "Disp_Medium" : "Manièr noir stone lithograph on Rives BFK", "Info_Page_Comm" : " Printed at Atelier le Grand Village "An informal industry of waste collectors or gleaners has developed in cities like Johannesburg where unemployed people collect selected materials, either plastics or metal or paper to sell back to recycling centres. This has resulted in a subculture of strange adornments and carts which are used to hold and transport the days’ finds. This part manière noire stone lithograph was based on a photo I took in downtown Joburg near my studio, of a man carrying an inordinate about of bags full of waste many of which were slung around and tied to his body. In this lithograph this figure attains gigantic proportions towering over the city he moves through, the bags of waste contents hinting at colonial baggage and recyclable ideas imposed by generations of western imposition: churches, laws, the heads of the disposable bodies and lives, the by-product of these systems." -Diane Victor", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund, Purchased in honor of Kay Wilson, curator, 1983-2020", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_030_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_030_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_030_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_030_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5260", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6469, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6469", "Disp_Access_No" : "2021.031", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "The boy who cried wolf", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Diane Victor", "Sort_Artist" : "Victor, Diane", "Disp_Dimen" : "42 1/2 x 30 5/16 in. (108 x 77 cm)", "Disp_Height" : "42 1/2 in.", "Disp_Width" : "30 5/16 in.", "Dimen_Extent" : "", "Medium" : "Manièr noir stone lithograph", "Support" : "Rives BFK", "Disp_Medium" : "Manièr noir stone lithograph on Rives BFK", "Info_Page_Comm" : " Printed at Atelier le Grand Village "This diptych consists of human and animal hybrids, making reference to both thereonthropic and Christian imagery in a contemporary context. The two lithographs are intended to work as a pair but function as individual works too. Therianthropy is the mythological belief in the ability of humans to metamorphosize into animals resulting in a being that amalgamates aspects of both creatures, becoming a hybrid. This notion was often explored in Greek mythologies. The Therianthrope was believed to acquire the character, mannerisms or physicality of animals within a shamanic state of transcendence. Depictions of this transcendence exist from Paleolithic times [cave depictions in southern France] to more recent San bushman painting in rock overhangs in southern Africa and in Aboriginal art from Australia. Therianthropic hybridity between man and animal is an old human fantasy linked to multiple mythologies featured in most ancient cultures and early belief systems and is often linked to tales of morality or disobedience. Human fascination in this animal/man hybrid continued beyond ancient belief systems, infiltrating the mythologies of countless cultures. Returning early explorers thrilled their audiences with tales of dog-headed men and other oddities inhabiting the outer reaches of their known worlds and imaginations, [Pliny the elder and later John Mandeville wrote of the fictitious dog-headed race [the cynocphany] of Nacumeria. During the reformation bestial head swops were used to demonize and ridicule religious opponents [both catholic and protestant ]. This form of caricature continues into contemporary political cartooning as an attempt to detract, disempower and mock opponents. Bestial hybrids continue to hold our imaginations and infiltrate our contemporary subcultures modified for public consumption through entertainment and escapism in literature, plays, film and in contemporary gaming worlds where they emerge as part of our subcultural panacea [wolverine, Spiderman, the list is long] These works also engage with notions of camouflage and disguise as a prelude to predatory acts. Things are not what they seem, and our predatory aggressive behaviors are often driven by unsuspected motives. We have been taught to be fearful of that which is hidden or disguised. Fear mongering has long been a common human practice and at present with the pandemic, even more so. Not that some issues are without warrant and that caution needs to be exercised, however excessive fear can be debilitating and tends to numb reaction times. Fear mongering can be used as an instrument of control, power or to sew uncertainty and division. The boy who cried wolf is an old folk tale warning us of the dangers of making false alarms. To ‘cry wolf’ is to give false warning or even false hope. In a time of ‘alternative truths’ and misinformation, the risk arises that when real trouble appears so much emotional energy has been expended on false statements that a sense of apathy ensues leading to greater danger. The increasing dependence on anti-depressants, anti-anxiety and calming medications results in a numbing of natural reactions to danger and fear. Society is thus less prepared or able to deal with a real crisis or to perceive the danger. In the boy who cried wolf, the figure of a youth cloaked by the skin of the hyena emerges almost playfully from the deception, as if part of a children’s game of truth or dare. Yet one is aware of the almost animalistic attraction of the beauty of youth. Here the hand gesture reminds the viewer of the gesture of the Christ child as depicted in religious paintings. Two fingers raised in a seeming act of blessing resemble a form that is visually similar to that of an aggressive animal claw – the strong profile of the hyena and its anthropomorphized limb dominate the initial reading of the image allowing for an ambiguous reading of the scene. The second lithograph, The goat that led the flock, continues the theme of religious and secular imagery combined with that of the therianthrope. Goats (although domesticated herd animals) do not have as positive a connotation as sheep do within western society. Often In slaughterhouses it was common to use a goat to lead an unsuspecting group of sheep into the slaughter pens, keeping them calm, after which the goat would be released and reused in its role again. Thus a certain amount of trickery is employed. In the image, below the goat head, the arm that points references the arm of the John the Baptist who traditionally points the way to the Christ in religious paintings. The Baptist is often depicted dressed in rough animal hide (as a textural difference to the smoother refined depiction of the Christ figure), but here the figure is camouflaged in a organic woven dress similar to the raffia and leaf fabrics worn by dancers in the costumed ceremonial dances from Northern and Western Africa (Burkina Faso etc.). These dancers typically employ animal masks [evoking forest spirits] as part of their camouflage and deception. In nature, pattern appears in the coats of wild animals as a form of concealment allowing for protection or even predation. In ritual performance, animal pattern is mimicked and adopted/adapted into the costumes of the dancers. Hidden within the textured garment a figure confronts the viewer through what resembles a hooded balaclava, a garment often associated with criminal or covert activity. In place of the traditional cross or staff held by John the Baptist, the figure holds a sjambok, a local whip made of leather and rubber often used for the herding of livestock, crowd control, and more commonly now (as seen in the city streets of Johannesburg, South Africa, where I work) used by security guards to control public movement and to protect drivers, caught in traffic, from criminal elements waiting to prey on unsuspecting motorists. The sjambok becomes a rod to persuade the public (flock) to behave and follow and not deviate from what is expected. Religious beliefs traditionally offered moral guidance and direction during times of stress when confusion and disinformation abounded. Today, because of the technological age in which we live, we look to other forms of guidance on social media, the internet and through hearsay. As in the past, false alarms and deception are part of our contemporary currency, human nature does not change, and one needs to be more wary and critical of the falsehoods and misinformation posing as truths and guidance. These two works serve to remind the viewer to take care of what you allow yourself to believe in or are seduced by and to be aware of the falsehoods, fake news and misinformation that is peddled as truth and used as a means to control, persuade or intimidate." -Diane Victor", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund, Purchased in honor of Kay Wilson, curator, 1983-2020", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "6470", "Rel_Obj_Title" : "The goat who led the flock" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_031_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_031_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_031_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_031_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5261", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6470, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6470", "Disp_Access_No" : "2021.032", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "The goat who led the flock", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Diane Victor", "Sort_Artist" : "Victor, Diane", "Disp_Dimen" : "24 13/16 x 35 13/16 in. (63 x 91 cm)", "Disp_Height" : "24 13/16 in.", "Disp_Width" : "35 13/16 in.", "Dimen_Extent" : "", "Medium" : "Manièr noir stone lithograph", "Support" : "Rives BFK", "Disp_Medium" : "Manièr noir stone lithograph on Rives BFK", "Info_Page_Comm" : " Printed at Atelier le Grand Village "This diptych consists of human and animal hybrids, making reference to both thereonthropic and Christian imagery in a contemporary context. The two lithographs are intended to work as a pair but function as individual works too. Therianthropy is the mythological belief in the ability of humans to metamorphosize into animals resulting in a being that amalgamates aspects of both creatures, becoming a hybrid. This notion was often explored in Greek mythologies. The Therianthrope was believed to acquire the character, mannerisms or physicality of animals within a shamanic state of transcendence. Depictions of this transcendence exist from Paleolithic times [cave depictions in southern France] to more recent San bushman painting in rock overhangs in southern Africa and in Aboriginal art from Australia. Therianthropic hybridity between man and animal is an old human fantasy linked to multiple mythologies featured in most ancient cultures and early belief systems and is often linked to tales of morality or disobedience. Human fascination in this animal/man hybrid continued beyond ancient belief systems, infiltrating the mythologies of countless cultures. Returning early explorers thrilled their audiences with tales of dog-headed men and other oddities inhabiting the outer reaches of their known worlds and imaginations, [Pliny the elder and later John Mandeville wrote of the fictitious dog-headed race [the cynocphany] of Nacumeria. During the reformation bestial head swops were used to demonize and ridicule religious opponents [both catholic and protestant ]. This form of caricature continues into contemporary political cartooning as an attempt to detract, disempower and mock opponents. Bestial hybrids continue to hold our imaginations and infiltrate our contemporary subcultures modified for public consumption through entertainment and escapism in literature, plays, film and in contemporary gaming worlds where they emerge as part of our subcultural panacea [wolverine, Spiderman, the list is long] These works also engage with notions of camouflage and disguise as a prelude to predatory acts. Things are not what they seem, and our predatory aggressive behaviors are often driven by unsuspected motives. We have been taught to be fearful of that which is hidden or disguised. Fear mongering has long been a common human practice and at present with the pandemic, even more so. Not that some issues are without warrant and that caution needs to be exercised, however excessive fear can be debilitating and tends to numb reaction times. Fear mongering can be used as an instrument of control, power or to sew uncertainty and division. The boy who cried wolf is an old folk tale warning us of the dangers of making false alarms. To ‘cry wolf’ is to give false warning or even false hope. In a time of ‘alternative truths’ and misinformation, the risk arises that when real trouble appears so much emotional energy has been expended on false statements that a sense of apathy ensues leading to greater danger. The increasing dependence on anti-depressants, anti-anxiety and calming medications results in a numbing of natural reactions to danger and fear. Society is thus less prepared or able to deal with a real crisis or to perceive the danger. In the boy who cried wolf, the figure of a youth cloaked by the skin of the hyena emerges almost playfully from the deception, as if part of a children’s game of truth or dare. Yet one is aware of the almost animalistic attraction of the beauty of youth. Here the hand gesture reminds the viewer of the gesture of the Christ child as depicted in religious paintings. Two fingers raised in a seeming act of blessing resemble a form that is visually similar to that of an aggressive animal claw – the strong profile of the hyena and its anthropomorphized limb dominate the initial reading of the image allowing for an ambiguous reading of the scene. The second lithograph, The goat that led the flock, continues the theme of religious and secular imagery combined with that of the therianthrope. Goats (although domesticated herd animals) do not have as positive a connotation as sheep do within western society. Often In slaughterhouses it was common to use a goat to lead an unsuspecting group of sheep into the slaughter pens, keeping them calm, after which the goat would be released and reused in its role again. Thus a certain amount of trickery is employed. In the image, below the goat head, the arm that points references the arm of the John the Baptist who traditionally points the way to the Christ in religious paintings. The Baptist is often depicted dressed in rough animal hide (as a textural difference to the smoother refined depiction of the Christ figure), but here the figure is camouflaged in a organic woven dress similar to the raffia and leaf fabrics worn by dancers in the costumed ceremonial dances from Northern and Western Africa (Burkina Faso etc.). These dancers typically employ animal masks [evoking forest spirits] as part of their camouflage and deception. In nature, pattern appears in the coats of wild animals as a form of concealment allowing for protection or even predation. In ritual performance, animal pattern is mimicked and adopted/adapted into the costumes of the dancers. Hidden within the textured garment a figure confronts the viewer through what resembles a hooded balaclava, a garment often associated with criminal or covert activity. In place of the traditional cross or staff held by John the Baptist, the figure holds a sjambok, a local whip made of leather and rubber often used for the herding of livestock, crowd control, and more commonly now (as seen in the city streets of Johannesburg, South Africa, where I work) used by security guards to control public movement and to protect drivers, caught in traffic, from criminal elements waiting to prey on unsuspecting motorists. The sjambok becomes a rod to persuade the public (flock) to behave and follow and not deviate from what is expected. Religious beliefs traditionally offered moral guidance and direction during times of stress when confusion and disinformation abounded. Today, because of the technological age in which we live, we look to other forms of guidance on social media, the internet and through hearsay. As in the past, false alarms and deception are part of our contemporary currency, human nature does not change, and one needs to be more wary and critical of the falsehoods and misinformation posing as truths and guidance. These two works serve to remind the viewer to take care of what you allow yourself to believe in or are seduced by and to be aware of the falsehoods, fake news and misinformation that is peddled as truth and used as a means to control, persuade or intimidate." -Diane Victor", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund, Purchased in honor of Kay Wilson, curator, 1983-2020", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "6469", "Rel_Obj_Title" : "The boy who cried wolf" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_032_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_032_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_032_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_032_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5262", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6471, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6471", "Disp_Access_No" : "2021.033", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "Taken for a ride", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Diane Victor", "Sort_Artist" : "Victor, Diane", "Disp_Dimen" : "42 1/2 x 30 5/16 in. (108 x 77 cm)", "Disp_Height" : "42 1/2 in.", "Disp_Width" : "30 5/16 in.", "Dimen_Extent" : "", "Medium" : "Manièr noir stone lithograph", "Support" : "Rives BFK", "Disp_Medium" : "Manièr noir stone lithograph on Rives BFK", "Info_Page_Comm" : " Printed at Atelier le Grand Village "This is a stone litho made at Le atelier le grand village in 2019. This work is a parody on the post-colonial safari into Africa [the darkest] and on the institution of the grand tour, a well established social ritual for the wealthy and bored to make excursions into the unknown to elevate their ennui and inform themselves of the ‘other’ in its natural state. The wealthy westerner who makes a tourist venture into the unknown to see exotic peoples and natural curiosities beyond his civilized boundaries. To see different lands and peoples, which he would consider his inferiors but worthy of observing. With wealth to flaunt and determined to affirm his status these travelers were often carried by the local population sometimes in a litter, a sedan chair, a palanquin, or on the backs of local inhabitants, thus ensuring the tourist would not risk getting there feet wet or dirty and could see the sights in leisure. In this work, a crippled tourist poses astride a strange and exotic creature. He has come prepared, wearing his best floral shirt, travel pillow and a sleep mask, thus armed he is ready to capture the sights- to see what should be seen as informed by the guide book and in doing so to up his rankings on social media. Despite being crippled he sits erect maintaining an air of prowess yet needing to be carried he has been planted on the back of an animal, some constructed prop or hobby horse -but this is no normal hobby horse it has far too, many legs. Perhaps it is some pantomime beast or a masked creature escaped from a masquerade dance and perhaps he is ignorant of his ride. The tourist seems not to have noticed that his mount is not as it seems, he looks proudly at the viewer, lording over his surrounding unaware that the animal or construct that carries him is camouflaged disguising it's real content and perhaps will be taking him for a ride he did not bargain on having. To be taken for a ride implies being conned or deceived of not fully understanding a situation you are part of. Believing to be in a position of power or superiority over which the rider has no control when in actual fact the legs under you are not what you perceived them to be’. A joy ride with unexpected outcomes. Taken for a ride has other implications, third world economies promised support and upliftment by western colonial powers were taken for a different ride, undeveloped countries stripped of there mineral and natural and human resources before being aware of the inherent wealth they held. Promised one thing – development yet receiving another – exploitation. the metaphor of the joy ride explores both sides of this relationship." -Diane Victor", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund, Purchased in honor of Kay Wilson, curator, 1983-2020", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_033_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_033_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_033_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_033_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5263", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6453, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6453", "Disp_Access_No" : "2021.039", "_AccNumSort1" : "", "Disp_Create_DT" : "2020", "_Disp_Start_Dat" : "2020", "_Disp_End_Date" : "2020", "Disp_Title" : "Analog #9", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Carrie Moyer", "Sort_Artist" : "Moyer, Carrie", "Disp_Dimen" : "28 x 18 1/2 in. (71.12 x 46.99 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "18 1/2 in.", "Dimen_Extent" : "", "Medium" : "Mixed media and collage", "Support" : "paper", "Disp_Medium" : "Mixed media and collage on paper", "Info_Page_Comm" : "", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "Collage", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Analog No9.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Analog No9.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Analog No9.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/Analog No9.jpg", "IsPrimary" : "1", "_SurrogateID" : "5229", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6452, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6452", "Disp_Access_No" : "2021.038", "_AccNumSort1" : "", "Disp_Create_DT" : "2020", "_Disp_Start_Dat" : "2020", "_Disp_End_Date" : "2020", "Disp_Title" : "Analog #6", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Carrie Moyer", "Sort_Artist" : "Moyer, Carrie", "Disp_Dimen" : "21 1/4 x 14 7/8 in. 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Villalongo's Mothership Connection presents two images: at left, the silhouette of a ship used for transporting the enslaved, derived from a well-known print created in 1787; at right, a disembodied figure both emerging from and disappearing into the darkness. Meteorites, minerals, and rock crystals are interspersed with African statuary and masks — objects that are markers of the primordial, spiritual, ritual, and cultural, and also serve as currency in the trade and trafficking of resources, commodities, and black bodies. The celestial and earthly are bound together through the imagery of historical violence and its repercussions in the present. The diagram of the ship recalls the tragic history of the Middle Passage for enslaved Africans and, in Villalongo’s conception, its lasting mark on the contemporary African diaspora. 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Rosenthal Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/villalongo_the-mothership-connection.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/villalongo_the-mothership-connection.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/villalongo_the-mothership-connection.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/villalongo_the-mothership-connection.jpg", "IsPrimary" : "1", "_SurrogateID" : "5342", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/villalongo_the-mothership-connection detail left.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/villalongo_the-mothership-connection detail left.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/villalongo_the-mothership-connection detail left.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/villalongo_the-mothership-connection detail left.jpg", "IsPrimary" : "0", "_SurrogateID" : "5343", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/villalongo_the-mothership-connection detail right.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/villalongo_the-mothership-connection detail right.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/villalongo_the-mothership-connection detail right.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/villalongo_the-mothership-connection detail right.jpg", "IsPrimary" : "0", "_SurrogateID" : "5344", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6553, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6553", "Disp_Access_No" : "2021.052", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "January 6", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fred Hagstrom", "Sort_Artist" : "Hagstrom, Fred", "Disp_Dimen" : "14 x 15 in. (35.56 x 38.1 cm)", "Disp_Height" : "14 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "", "Medium" : "Artist''s book printed in relief from laser cut blocks", "Support" : "", "Disp_Medium" : "Artist's book printed in relief from laser cut blocks", "Info_Page_Comm" : " 28 page artist book. From the artist: "January 6 uses excerpts from the powerful testimony of four police officers made before congress on July 27, 2021. The images are iconic photographs from that day. The officers make clear how much they endured during that day, and after. They also make the point that people should be held accountable for having prompted or participated in the events of that day." Sample text: “Despite being outnumbered, we did our job. Every member of the House of Representatives, Senator, and staff member made it home safely. Sadly, as a result of that day, we lost officers- some really good officers. We are not asking for medals or even recognition. We simply want accountability and justice. For most people, January 6 happened for a few hours that day. But for those of us who were in the thick of it, it has not ended.” ", "Dedication" : "Rosborough Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "Artist's book", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "28 pages", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_052_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_052_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_052_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_052_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5546", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_052_002.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_052_002.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_052_002.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_052_002.jpg", "IsPrimary" : "0", "_SurrogateID" : "5547", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_052_003.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_052_003.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_052_003.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_052_003.jpg", "IsPrimary" : "0", "_SurrogateID" : "5548", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_052_004.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_052_004.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_052_004.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_052_004.jpg", "IsPrimary" : "0", "_SurrogateID" : "5549", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6549, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6549", "Disp_Access_No" : "2021.050", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "The Threat", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Brooks", "Sort_Artist" : "Brooks, John", "Disp_Dimen" : "56 x 46 in. (142.24 x 116.84 cm)", "Disp_Height" : "56 in.", "Disp_Width" : "46 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " This painting was inspired by a series of events: the 2020 killing of Breonna Taylor, in Brooks’s hometown of Louisville, by a hoard of at least seven police officers breaking into her apartment and firing their guns at will; the 2021 publication of historian Carol Anderson’s book, The Second: Race and Guns in a Fatally Unequal America, which explores roots of the Second Amendment in the late 18th century to sanction militias of civilians to round up escaped enslaved people, and the ways those Constitutionally-guaranteed gun rights are routinely denied to Black Americans; and the artist’s experience of a particular image by photographer Bob Mizer, a contributor to body-building magazines in the 1950s that were ostensibly intended for the All-American man, but which overflowed with homoerotic imagery. Brooks has doubled Mizer’s original photograph as a mirror image, rendering hyper-masculine military posing and gunplay as something men do for (and to appeal to) each other. The frequent target of their violence, a Black person, is here represented in a portrait of Nebraska-born model Alton Mason as he appeared in a post on Instagram, an evolution of the pin-up pictorial for the iPhone Age. The artist’s first solo exhibition in New York, I See This Echoing, was held in the March Gallery in 2022. ", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_050_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_050_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_050_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_050_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5354", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6550, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6550", "Disp_Access_No" : "2021.051", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "Degenerates", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Brooks", "Sort_Artist" : "Brooks, John", "Disp_Dimen" : "46 x 56 in. (116.84 x 142.24 cm)", "Disp_Height" : "46 in.", "Disp_Width" : "56 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_051_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_051_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_051_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_051_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5355", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6727, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6727", "Disp_Access_No" : "2021.056", "_AccNumSort1" : "", "Disp_Create_DT" : "1992", "_Disp_Start_Dat" : "1992", "_Disp_End_Date" : "1992", "Disp_Title" : "Temple", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fred Hagstrom", "Sort_Artist" : "Hagstrom, Fred", "Disp_Dimen" : "30 3/16 x 28 1/16 in. (76.6 x 71.3 cm)", "Disp_Height" : "30 3/16 in.", "Disp_Width" : "28 1/16 in.", "Dimen_Extent" : "", "Medium" : "Plastic relief print", "Support" : "", "Disp_Medium" : "Plastic relief print", "Info_Page_Comm" : " Printed from 3 blocks of high-impact polystyrene. ", "Dedication" : "Gift of Fred Hagstrom", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6728, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6728", "Disp_Access_No" : "2021.057", "_AccNumSort1" : "", "Disp_Create_DT" : "2020", "_Disp_Start_Dat" : "2020", "_Disp_End_Date" : "2020", "Disp_Title" : "untitled (Como Park) from the Japanese Garden series", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "Japanesee Gardens", "Disp_Maker_1" : "Fred Hagstrom", "Sort_Artist" : "Hagstrom, Fred", "Disp_Dimen" : "29 5/8 x 21 7/8 in. (75.3 x 55.5 cm)", "Disp_Height" : "29 5/8 in.", "Disp_Width" : "21 7/8 in.", "Dimen_Extent" : "", "Medium" : "Etching and collagraph with chine collé", "Support" : "", "Disp_Medium" : "Etching and collagraph with chine collé", "Info_Page_Comm" : " Black was produced using an etched copper plate while the colors were produced froom monoprints using plastic collagraph blocks.", "Dedication" : "Gift of Fred Hagstrom", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6729, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6729", "Disp_Access_No" : "2021.058", "_AccNumSort1" : "", "Disp_Create_DT" : "2020", "_Disp_Start_Dat" : "2020", "_Disp_End_Date" : "2020", "Disp_Title" : "untitled from the Bird series", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "Birds", "Disp_Maker_1" : "Fred Hagstrom", "Sort_Artist" : "Hagstrom, Fred", "Disp_Dimen" : "25 11/16 x 21 1/4 in. (65.3 x 54 cm)", "Disp_Height" : "25 11/16 in.", "Disp_Width" : "21 1/4 in.", "Dimen_Extent" : "", "Medium" : "Etching and collagraph with chine collé", "Support" : "", "Disp_Medium" : "Etching and collagraph with chine collé", "Info_Page_Comm" : " Black was produced using an etched copper plate while the colors were produced from monoprints using plastic collagraph blocks. ", "Dedication" : "Gif tof Fred Hagstrom", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6646, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6646", "Disp_Access_No" : "2021.055", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "How to Transition on Sixty-Three Cents a Day", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leopoldo Bloom", "Sort_Artist" : "Bloom, Leopoldo", "Disp_Dimen" : "11 x 11 x 1 in. (27.94 x 27.94 x 2.54 cm)", "Disp_Height" : "11 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "", "Medium" : "Epistolary artist book in collage, digital print, and letterpress in custom enclosure", "Support" : "", "Disp_Medium" : "Epistolary artist book in collage, digital print, and letterpress in custom enclosure", "Info_Page_Comm" : "", "Dedication" : "Bea '40 and Joe '41, Wall Art Endowment", "Copyright_Type" : "", "Disp_Obj_Type" : "Artist's book", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_055_001.jpeg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_055_001.jpeg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_055_001.jpeg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_055_001.jpeg", "IsPrimary" : "0", "_SurrogateID" : "5366", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_055_002.jpeg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_055_002.jpeg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_055_002.jpeg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_055_002.jpeg", "IsPrimary" : "1", "_SurrogateID" : "5367", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_055_003.jpeg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_055_003.jpeg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_055_003.jpeg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_055_003.jpeg", "IsPrimary" : "0", "_SurrogateID" : "5368", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6851, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6851", "Disp_Access_No" : "2021.061", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "2021 Grinnell Prize", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tilly Woodward", "Sort_Artist" : "Woodward, Tilly", "Disp_Dimen" : "11 x 8 1/2 in. (27.94 x 21.59 cm)", "Disp_Height" : "11 in.", "Disp_Width" : "8 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : " "Victoria Jones’ work as founder and executive director of TONE centers on Black joy, activism, and community building in Memphis, Tennessee, and particularly in the Orange Mound neighborhood. Her vision encompasses dismantling oppression and racism at a conceptual/systemic level, while being deeply rooted in place and community, incubating Black arts innovation, as well as property and businesses ownership, resulting in macro and micro cultural, social/emotional, and economic impact. In this painting I thought about the importance of being rooted in a place over time-- the work TONE does in Orange Mound is both immediately transformational and far-reaching in its impact. The lock and key represent the ability to claim and release the joy within, as well as the power that comes from having the keys of ownership, and the implications for future generations in terms of economic growth and well-being. Purple cone flowers and black-eyed Susans are native to the Memphis area, joyful and exuberant in their color, resilient in their ability to grow. Their beauty and function as sources of pollen and seed production are exponential. Through TONE, Orange Mound is a place reimagined. It was once a plantation, named for the hedges of Osage Orange that lined the fields, and later became one of the largest Black communities in the U.S. This painting is, I hope, a metaphor for the work TONE does, and an opportunity to imagine, to look anew. The leaves of the Osage Orange are painted to show their underside, making the capillary system more evident. The capillaries function in the tree as TONE functions through its network of partnerships, nourishing the larger community. The fruit of the Osage Orange, often called a hedge-apple, is sliced in half, revealing a sunburst of seeds and emanating a sense of light, a promise of future." -Tilly Woodward Go to the Grinnell Prize paintings: https://www.grinnell.edu/about/grinnellprize/symposium/2011", "Dedication" : "The 2021 Grinnell College Innovator for Social Justice Prize, Victoria Jones, Tone", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_061_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_061_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_061_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_061_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5372", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6799, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6799", "Disp_Access_No" : "2021.060", "_AccNumSort1" : "", "Disp_Create_DT" : "2004", "_Disp_Start_Dat" : "2004", "_Disp_End_Date" : "2004", "Disp_Title" : "Leave No Child Behind", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sue Coe", "Sort_Artist" : "Coe, Sue", "Disp_Dimen" : "8 1/4 x 12 in. (20.96 x 30.48 cm)", "Disp_Height" : "8 1/4 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "Sheet", "Medium" : "Mixed media drawing", "Support" : "white Strathmore Bristol board", "Disp_Medium" : "Mixed media drawing on white Strathmore Bristol board", "Info_Page_Comm" : "", "Dedication" : "Rosborough Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_060_001.jpeg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_060_001.jpeg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_060_001.jpeg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_060_001.jpeg", "IsPrimary" : "1", "_SurrogateID" : "5371", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "07/21/2021", "View" : "" } , ] },{ "embark_ID" : 6576, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6576", "Disp_Access_No" : "2021.054", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Contemplation", "Alt_Title" : "", "Obj_Title" : "Contemplation from The Life of Toussaint L'Ouverture", "Series_Title" : "The Life of Toussaint L'Ouverture", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "28 1/2 x 18 1/2 in. 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Rosenthal Fund and Christopher McKee and Kay Wilson Purchase Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "6502", "Rel_Obj_Title" : "The Life of Toussaint L'Ouverture" } ], "Related_Sibling" : [ { "Rel_Obj_ID" : "6332", "Rel_Obj_Title" : "St. Marc" },{ "Rel_Obj_ID" : "6340", "Rel_Obj_Title" : "Dondon" },{ "Rel_Obj_ID" : "6339", "Rel_Obj_Title" : "Flotilla" },{ "Rel_Obj_ID" : "6341", "Rel_Obj_Title" : "The Opener" },{ "Rel_Obj_ID" : "6338", "Rel_Obj_Title" : "The Capture" },{ "Rel_Obj_ID" : "6337", "Rel_Obj_Title" : "The March" },{ "Rel_Obj_ID" : "6336", "Rel_Obj_Title" : "The Burning" },{ "Rel_Obj_ID" : "6345", "Rel_Obj_Title" : "The Birth of Toussaint L'Ouverture" },{ "Rel_Obj_ID" : "6344", "Rel_Obj_Title" : "Deception" },{ "Rel_Obj_ID" : "6335", "Rel_Obj_Title" : "To Preserve Their Freedom" },{ "Rel_Obj_ID" : "6334", "Rel_Obj_Title" : "Toussaint at Ennery" },{ "Rel_Obj_ID" : "6333", "Rel_Obj_Title" : "The Coachman" },{ "Rel_Obj_ID" : "6346", "Rel_Obj_Title" : "General Toussaint L'Ouverture" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_054_001.jpeg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_054_001.jpeg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_054_001.jpeg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_054_001.jpeg", "IsPrimary" : "1", "_SurrogateID" : "5365", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6955, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6955", "Disp_Access_No" : "2021.079", "_AccNumSort1" : "", "Disp_Create_DT" : "1645", "_Disp_Start_Dat" : "1645", "_Disp_End_Date" : "1645", "Disp_Title" : "Head of a Laughing Man after Bijlert from Reisbüchlein (Little travel book) ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wenceslaus Hollar", "Sort_Artist" : "Hollar, Wenceslaus", "Disp_Dimen" : "2 9/16 x 2 3/16 in. 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(22.7 x 15 cm)", "Disp_Height" : "8 15/16 in.", "Disp_Width" : "5 7/8 in.", "Dimen_Extent" : "", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : " Cacasenno, demonstrating his poor equestrian skills in this genre scene, is the nephew of Bertoldo and cousin of Bertoldino, named in the print’s title. They are three peasants in a play by Venetian playwright Carlo Goldoni who together, through resolve and mishap, strive to prevent the daughter of the King of Verona from being married to a nefarious foreign nobleman. Goldoni’s play is better known today in a film adaptation by Italian director Mario Monicelli from 1984, and, closer to the Bolognese artist Crespi’s day, an opera first staged in 1748, the year after Crespi’s death. This print, and an etching by Wenceslaus Hollar, are the a couple of the Museum’s purchases from Carolyn Bullard and Susan Schulman, longtime art dealers and reliable sources of rare prints for the Museum who concluded their partnership in 2022. ", "Dedication" : "Clinton A. 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(30.6 x 32.5 x 15.4 cm)", "Disp_Height" : "12 1/16 in.", "Disp_Width" : "12 13/16 in.", "Dimen_Extent" : "", "Medium" : "Wood engraving", "Support" : "white wove paper", "Disp_Medium" : "Wood engraving on white wove paper", "Info_Page_Comm" : " Sheet size: 12 1/16 x 12 13/16 in. (30.6 x 32.5 cm) Image size: 7 3/16 x 6 1/16 in. in. (18.2 x 15.4 cm)", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6943, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6943", "Disp_Access_No" : "2021.066", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Crossroads", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rudy O. Pozzatti", "Sort_Artist" : "Pozzatti, Rudy O.", "Disp_Dimen" : "19 11/16 x 13 9/16 in. (50.01 x 34.45 cm)", "Disp_Height" : "19 11/16 in.", "Disp_Width" : "13 9/16 in.", "Dimen_Extent" : "", "Medium" : "Etching from zinc plate", "Support" : "", "Disp_Medium" : "Etching from zinc plate", "Info_Page_Comm" : " Sheet: 24 7/8 x 18 15/16 in. (63.1 x 48.1 cm) Image: 19 11/16 x 13 9/16 in. (50.01 x 34.45 cm)", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6944, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6944", "Disp_Access_No" : "2021.067", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Elk", "Alt_Title" : "Deer", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rudy O. 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(22.6 x 18.1 cm)", "Disp_Height" : "8 7/8 in.", "Disp_Width" : "7 1/8 in.", "Dimen_Extent" : "", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6945, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6945", "Disp_Access_No" : "2021.068", "_AccNumSort1" : "", "Disp_Create_DT" : "1932", "_Disp_Start_Dat" : "1932", "_Disp_End_Date" : "1932", "Disp_Title" : "I: Le Père Ubu Chez Lénine from Reincarnations du Père Ubu", "Alt_Title" : "Two Ships", "Obj_Title" : "", "Series_Title" : "Reincarnations du Père Ubu", "Disp_Maker_1" : "Georges Rouault", "Sort_Artist" : "Rouault, Georges", "Disp_Dimen" : "17 5/16 x 12 7/8 in. 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(64.8 x 49.8 x 36.04 cm)", "Disp_Height" : "25 1/2 in.", "Disp_Width" : "19 5/8 in.", "Dimen_Extent" : "", "Medium" : "Intaglio", "Support" : "", "Disp_Medium" : "Intaglio", "Info_Page_Comm" : " Sheet: 25 1/2 x 19 5/8 in. (64.8 x 49.8 cm) Image: 18 3/4 x 14 3/16 in. (47.7 x 36 cm)", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6947, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6947", "Disp_Access_No" : "2021.070", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "War of Succession", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Enrique Sanchez", "Sort_Artist" : "Sanchez, Enrique", "Disp_Dimen" : "67 11/16 x 19 5/16 in. (171.96 x 49.1 cm)", "Disp_Height" : "67 11/16 in.", "Disp_Width" : "19 5/16 in.", "Dimen_Extent" : "", "Medium" : "Embossed woodcut", "Support" : "", "Disp_Medium" : "Embossed woodcut", "Info_Page_Comm" : "", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6948, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6948", "Disp_Access_No" : "2021.075", "_AccNumSort1" : "", "Disp_Create_DT" : "n.d.", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "unknown Asian", "Sort_Artist" : "unknown Asian", "Disp_Dimen" : "10 3/16 x 7 15/16 in. (25.8 x 20.2 cm)", "Disp_Height" : "10 3/16 in.", "Disp_Width" : "7 15/16 in.", "Dimen_Extent" : "", "Medium" : "Painting", "Support" : "brown paper", "Disp_Medium" : "Painting on brown paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_075.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_075.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_075.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_075.jpg", "IsPrimary" : "1", "_SurrogateID" : "5883", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6949, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6949", "Disp_Access_No" : "2021.071", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "The Fisherman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Harry E. 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(35.5 x 45 cm)", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6950, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6950", "Disp_Access_No" : "2021.072", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "Les différentes poisses gracieuses du trapèze, from La Régénération de L’Homme par la Gymnastique", "Alt_Title" : "The various graceful poses on a trapeze, from The regeneration of man through gymnastics The rejuvenation of man by exercise", "Obj_Title" : "", "Series_Title" : "La Régénération de L’Homme par la Gymnastique", "Disp_Maker_1" : "Honoré Daumier", "Sort_Artist" : "Daumier, Honoré", "Disp_Dimen" : "7 1/2 x 10 1/4 in. (19 x 26 cm)", "Disp_Height" : "7 1/2 in.", "Disp_Width" : "10 1/4 in.", "Dimen_Extent" : "", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6951, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6951", "Disp_Access_No" : "2021.073", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Trdina, mrtvaška srajca (The Death-Shirt)", "Alt_Title" : "The Death-Shirt", "Obj_Title" : "", "Series_Title" : "Trdina", "Disp_Maker_1" : "Boris Kobe", "Sort_Artist" : "Kobe, Boris", "Disp_Dimen" : "19 5/8 x 23 7/16 in. (49.9 x 59.6 cm)", "Disp_Height" : "19 5/8 in.", "Disp_Width" : "23 7/16 in.", "Dimen_Extent" : "", "Medium" : "Monoprint", "Support" : "", "Disp_Medium" : "Monoprint", "Info_Page_Comm" : " Sheet: 19 5/8 x 23 7/16 in. (49.9 x 59.6 cm) Image: 15 x 18 1/2 in. (38.1 x 47 cm) The following is the story of The Death-Shirt as translated from Trdina, Janez, and Boris Kobe. 1970. Trdinove bajke in povesti o Gorjancih. “There was a young peasant that had to work every day for his landlord, the count of Dolenjska. One afternoon, after the work was over, the landlord said to him, “I haven’t beaten anyone today yet, so I am going to beat you,” and he beat him with a heavy stick. This injustice was too much for the youth to take so he snapped back in anger. “Well, I haven’t killed anybody yet, so I am going to kill you,” and he beat the landlord with his shovel and split his skull. Knowing what is awaiting him if he gets caught, the young peasant decided to run away. He was wondering away “Gorjanci” mountains for many days and one day he found a big cave. He went in and deep inside he noticed someone laying on the ground. When he got close enough he saw that it was a devil himself. He asked the devil what is he doing here, and the devil told him that he is making “death shirts.” He was making these shirts out of the skin of humans who died from some unnatural cause, and such a shirt would give a full protection to anybody wearing it because his opponents would be just too frightened to ever get close. The peasant asked the devil if he could make him such a shirt, and the devil said that he could, if he (the peasant) would give him one year of his life. The peasant agrees and the devil cuts a piece of the peasant’s hair and throws it in a pot. Full of black water. He stirs it good and then pulls out a cord, that had knots on it (1st picture). He cuts [a knot] off and throws it into another pot of water, stirs it again and then washes it. (By doing it he took one year of the peasant’s life.). Then the devil went out in search for a corpse whose skin he could use. He found somebody that was hanged and he took his skin (picture no. 2), made a shirt out of it and gave it to the peasant (picture no. 3). However, he told the peasant that the shirt lasts only for one year, and that at the end of each year he has to come and get a new shirt in exchange for one year of his life. The peasant took the shirt and put it on and now was able to beat any enemy with ease. He went back home, and when the count heard that he’s back, he had sent his soldiers to get him, but the soldiers were so frightened that they ran away. Finally, the count went to get him, but seeing the terrible shirt himself, he fell dead on the ground. The peasant was now able to do nearly anything he wanted, without any fear of being caught. He was fighting the count’s soldiers, he was smuggling goods across the border, he was fighting the Turks (picture 4), and every year he came to the devil to get a new shirt and give him one year of his life. This was going on for 30 years. When on the 31st year, the peasant came again for a new shirt, the devil cut again some of his hair and thew it into the black water, but when he pulled the cord out there was no knot on it. “This is the end of your life,” said the devil, “You have used all the years you had.” Saying this he straggled the peasant (picture 5)." ", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Slovenia", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6952, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6952", "Disp_Access_No" : "2021.074", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Trdina, Rajska Ptica (The Bird of Paradise)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Boris Kobe", "Sort_Artist" : "Kobe, Boris", "Disp_Dimen" : "19 1/2 x 23 1/4 in. (49.5 x 59.1 cm)", "Disp_Height" : "19 1/2 in.", "Disp_Width" : "23 1/4 in.", "Dimen_Extent" : "", "Medium" : "Monoprint", "Support" : "", "Disp_Medium" : "Monoprint", "Info_Page_Comm" : " Sheet: 19 1/2 x 23 1/4 in. (49.5 x 59.1 cm) Image: 15 x 18 3/8 in. (38.1 x 46.7 cm) The following is the story of The Death-Shirt as translated from Trdina, Janez, and Boris Kobe. 1970. Trdinove bajke in povesti o Gorjancih. "Once upon a time, there lived a count. One day, when he was hunting in “Gorjanci” (name of a mountainous country on the south of Slovenia) with his friend and other hunters, he saw a bear and started to chase him. Pretty soon he got separated from the rest of the hunters. The bear had disappeared in a forest and the count went after him, but the bear just disappeared. Suddenly, the count realizes that he is in a strange and unknown place. It was the most beautiful place, and he’d never seen anything like that before in his life. Golden apples were hanging on the trees, and honey was pouring from tree-trunks. Springs were all over the place, and the silver-like water was running over the golden sand. The ground was covered with flowers and blossoms and the air was filled with delicious fragrances. The place was very quiet, except for a beautiful singing of a bird with a golden real, who was sitting on a tree. The count had to sit down and listen to this beautiful song. He’d been listening for a while, and after an hour or so, as least that’s what he thought, he remembered that he better try and find the rest of his hunting party. He started looking for them but it seemed like they had just disappeared in the ground. He was wondering around for quite some time without any success, Furthermore, he noticed a startling fact that the country roads were more or less unknown to him. There were roads and paths he’d never seen before, though he used to know his own land very good, since he’d been away on a hunt, a ride, or a tour. Finally he had met some peasants that were working on a field. He asked them if they had seen his hunting party and they said that they didn’t. When they started to tell, they told him about their troubles. They had a good master, a count, some thirty years ago but he disappeared once when he was hunting in Gorjanci. He was never too oppressive, he allowed them to keep a large part of their crops and always helped them if they were in need. But after he disappeared, a new count had taken over and appropriated the castle and the land, and he is taking all the crops, making peasants to plough his fields [picture 1] and punishing any kind of opposition with death [picture 2]. His soldiers are killing peasants whenever they feel like and they use their heads for bowling [picture 3]. Then the old count realized that he must have spent more than thirty years listening to the bird of paradise. He told the peasants who he really is and some of the oldest of them recognized him and greeted him with tears in their eyes. The count then told his peasants to go and get all the weapons they have and he would then lead them through a secret underground tunnel to his castle, where they will surprise and kill the usurping count and his soldiers. The peasants did what their beloved count said and they defeated their oppressors without any problems. Then they had a great feast in the honor and miraculous return of their old count, and this time they bowled with the heads of the soldiers [picture 4]." 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(24.5 x 13.2 cm)", "Disp_Height" : "9 5/8 in.", "Disp_Width" : "5 3/16 in.", "Dimen_Extent" : "", "Medium" : "Illuminated manuscript fragment", "Support" : "", "Disp_Medium" : "Illuminated manuscript fragment", "Info_Page_Comm" : "", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Manuscript fragment", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6954, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6954", "Disp_Access_No" : "2021.077", "_AccNumSort1" : "", "Disp_Create_DT" : "n.d.", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "untitled (music playing)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "unknown Asian", "Sort_Artist" : "unknown Asian", "Disp_Dimen" : "9 1/8 x 5 15/16 in. (23.1 x 15.1 cm)", "Disp_Height" : "9 1/8 in.", "Disp_Width" : "5 15/16 in.", "Dimen_Extent" : "", "Medium" : "Illuminated manuscript fragment", "Support" : "", "Disp_Medium" : "Illuminated manuscript fragment", "Info_Page_Comm" : "", "Dedication" : "Gift of Kent Tool '60", "Copyright_Type" : "", "Disp_Obj_Type" : "Manuscript fragment", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6551, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6551", "Disp_Access_No" : "2021.062", "_AccNumSort1" : "", "Disp_Create_DT" : "1998", "_Disp_Start_Dat" : "1998", "_Disp_End_Date" : "1998", "Disp_Title" : "Our Savior's View", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Hartman", "Sort_Artist" : "Hartman, John", "Disp_Dimen" : "11 5/8 x 19 1/2 in. (29.53 x 49.53 cm)", "Disp_Height" : "11 5/8 in.", "Disp_Width" : "19 1/2 in.", "Dimen_Extent" : "", "Medium" : "Color drypoint with spitbite", "Support" : "", "Disp_Medium" : "Color drypoint with spitbite", "Info_Page_Comm" : "", "Dedication" : "Gift of John L. and Roslyn Bakst Goldman", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_GOLDMAN_001_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_GOLDMAN_001_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_GOLDMAN_001_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_GOLDMAN_001_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5356", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6554, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6554", "Disp_Access_No" : "2021.063", "_AccNumSort1" : "", "Disp_Create_DT" : "2000", "_Disp_Start_Dat" : "2000", "_Disp_End_Date" : "2000", "Disp_Title" : "Landslide at Harbour Breton", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Hartman", "Sort_Artist" : "Hartman, John", "Disp_Dimen" : "11 3/4 x 19 1/2 in. (29.85 x 49.53 cm)", "Disp_Height" : "11 3/4 in.", "Disp_Width" : "19 1/2 in.", "Dimen_Extent" : "", "Medium" : "Color drypoint and aquatint", "Support" : "", "Disp_Medium" : "Color drypoint and aquatint", "Info_Page_Comm" : "", "Dedication" : "Gift of John L. and Roslyn Bakst Goldman", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_GOLDMAN_002_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_GOLDMAN_002_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_GOLDMAN_002_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_GOLDMAN_002_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5357", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6565, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6565", "Disp_Access_No" : "2021.064", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Little Miss Muffett II", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "Nursery Rhymes", "Disp_Maker_1" : "Paula Rego", "Sort_Artist" : "Rego, Paula", "Disp_Dimen" : "21 3/8 x 15 in. (54.29 x 38.1 cm)", "Disp_Height" : "21 3/8 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "", "Medium" : "Hand-colored etching and aquatint", "Support" : "", "Disp_Medium" : "Hand-colored etching and aquatint", "Info_Page_Comm" : " Born in Lisbon, Paula Rego has spent the majority of her career in London, where she attended the Slade School of Art. An accomplished painter, pastelist, and printmaker who has yet to be celebrated in this country, her work from a very young age has been inspired by folklore and stories frequently deployed for the entertainment of children, yet as disarming, and of tutorial value, for receptive audiences of less recent vintage. This is one of two prints Rego based, upon the request of a grandchild, on the nursery rhyme of Little Miss Muffet. John and Roz Goldman, longtime print collectors and friends of the Museum, acquired this print for their collection in 2010. Upon adding Rego’s other Miss Muffet print, Little Miss Muffet I, to their collection, they donated this one to GCMoA, another gifted artwork in their three decades of gifts to Grinnell College. It is the first work by Paula Rego to enter the Museum’s collection. Image size: 8 3/8 x 9 in. (21.27 x 22.86 cm) Sheet size: 21 3/8 x 15 in. (54.29 x 38.1 cm) ", "Dedication" : "Gift of John L. and Roslyn Bakst Goldman", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_GOLDMAN_003_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_GOLDMAN_003_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_GOLDMAN_003_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_GOLDMAN_003_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5363", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6957, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6957", "Disp_Access_No" : "2021.082", "_AccNumSort1" : "", "Disp_Create_DT" : "Photo taken 1949, Printed 2000", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Billie Holiday, New York City, 1949", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Herman Leonard", "Sort_Artist" : "Leonard, Herman", "Disp_Dimen" : "45 x 35 in. (114.3 x 88.9 cm)", "Disp_Height" : "45 in.", "Disp_Width" : "35 in.", "Dimen_Extent" : "", "Medium" : "Silver gelatin print", "Support" : "", "Disp_Medium" : "Silver gelatin print", "Info_Page_Comm" : "", "Dedication" : "Gift of John '71 and Katherine Rosenbloom in honor of Lesley Wright", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_082.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_082.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_082.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_082.jpg", "IsPrimary" : "1", "_SurrogateID" : "5637", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6958, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6958", "Disp_Access_No" : "2021.083", "_AccNumSort1" : "", "Disp_Create_DT" : "Photo taken 1949, Printed 2000", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Dexter Gordon, Royal Roost, NYC, 1949", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Herman Leonard", "Sort_Artist" : "Leonard, Herman", "Disp_Dimen" : "45 x 35 in. (114.3 x 88.9 cm)", "Disp_Height" : "45 in.", "Disp_Width" : "35 in.", "Dimen_Extent" : "", "Medium" : "Silver gelatin print", "Support" : "", "Disp_Medium" : "Silver gelatin print", "Info_Page_Comm" : "", "Dedication" : "Gift of John '71 and Katherine Rosenbloom in honor of Lesley Wright", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_083.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_083.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_083.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_083.jpg", "IsPrimary" : "1", "_SurrogateID" : "5638", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6959, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6959", "Disp_Access_No" : "2021.084", "_AccNumSort1" : "", "Disp_Create_DT" : "Photo taken 1948, Printed 2007", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Ella Fitzgerald, Duke Ellington, Benny Goodman, & Jackson Robbins, Downbeat, NYC, 1948", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Herman Leonard", "Sort_Artist" : "Leonard, Herman", "Disp_Dimen" : "32 x 40 in. (81.28 x 101.6 cm)", "Disp_Height" : "32 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "", "Medium" : "Epson archival pigment print", "Support" : "", "Disp_Medium" : "Epson archival pigment print", "Info_Page_Comm" : "", "Dedication" : "Gift of John '71 and Katherine Rosenbloom in honor of Lesley Wright", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_084.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_084.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_084.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_084.jpg", "IsPrimary" : "1", "_SurrogateID" : "5639", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6960, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6960", "Disp_Access_No" : "2021.085", "_AccNumSort1" : "", "Disp_Create_DT" : "Photo taken 1948, Printed 2008", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Dizzy Gillespie, Royal Roost, NYC, 1948", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Herman Leonard", "Sort_Artist" : "Leonard, Herman", "Disp_Dimen" : "40 x 32 in. (101.6 x 81.28 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "", "Medium" : "Photograph", "Support" : "", "Disp_Medium" : "Photograph", "Info_Page_Comm" : "", "Dedication" : "Gift of John '71 and Katherine Rosenbloom in honor of Lesley Wright", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_085.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_085.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_085.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_085.jpg", "IsPrimary" : "1", "_SurrogateID" : "5640", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6548, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6548", "Disp_Access_No" : "2021.049", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "The siblings in my studio, aka: Gemini, Sagittarian", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Oscar yi Hou", "Sort_Artist" : "yi Hou, Oscar", "Disp_Dimen" : "54 3/8 x 35 5/8 in. (138.11 x 90.49 cm)", "Disp_Height" : "54 3/8 in.", "Disp_Width" : "35 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " Born in Liverpool of Cantonese immigrants, yi Hou moved to New York In 2017 to study at Columbia University. His work combines graphic interpretations of poetry, calligraphy, and graffiti with portraiture that celebrates his community through the lens of his Queer Asian diasporic identity. This painting was acquired from his first solo exhibition in New York in 2021. Since then, he has been named recipient of the third annual UOVO prize, which resulted in his first solo museum exhibition and mural commission at the Brooklyn Museum tfall of 2022. ", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_049_001.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_049_001.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_049_001.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_049_001.jpg", "IsPrimary" : "1", "_SurrogateID" : "5349", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_049_002.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_049_002.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_049_002.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_049_002.jpg", "IsPrimary" : "0", "_SurrogateID" : "5350", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_049_003.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_049_003.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_049_003.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_049_003.jpg", "IsPrimary" : "0", "_SurrogateID" : "5351", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_049_004.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_049_004.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_049_004.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_049_004.jpg", "IsPrimary" : "0", "_SurrogateID" : "5352", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_049_005.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_049_005.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_049_005.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_049_005.jpg", "IsPrimary" : "0", "_SurrogateID" : "5353", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7022, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7022", "Disp_Access_No" : "2022.001", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "The One About the Farmer's Daughter: Stereotypes and Self-Portraits - Conversations Among Rural Women", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Linda Gammell", "Sort_Artist" : "Gammell, Linda", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Artist''s book", "Support" : "", "Disp_Medium" : "Artist's book", "Info_Page_Comm" : " From the artists' description: "Artist's book presenting stereotypes of rural women as identified by the women in the project workshops, contrasted by photographs and texts from interviews representing a more accurate picture of the values, concerns, and lives of rural women. Produced with the assistance from the Minnesota Food Association and the Blandin Foundation of Minnesota." ", "Dedication" : "Gift of Linda Gammell & Sandra Menefee Taylor", "Copyright_Type" : "", "Disp_Obj_Type" : "Artist's book", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 7023, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7023", "Disp_Access_No" : "2022.002", "_AccNumSort1" : "", "Disp_Create_DT" : "1995", "_Disp_Start_Dat" : "1995", "_Disp_End_Date" : "1995", "Disp_Title" : "Sacred Into Science", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Linda Gammell", "Sort_Artist" : "Gammell, Linda", "Disp_Dimen" : "in. (cm)", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Artist''s book", "Support" : "", "Disp_Medium" : "Artist's book", "Info_Page_Comm" : " From the artists' description: "A time line mrking the beginnings of agri / culture as a site of women's domain in prehistory to the present when the intervention of science and biotechnology challlenge what we think and know about animals, food, and ourselves." ", "Dedication" : "Gift of Linda Gammell & Sandra Menefee Taylor", "Copyright_Type" : "", "Disp_Obj_Type" : "Artist's book", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 7024, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7024", "Disp_Access_No" : "2022.003", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "SE 1/4 Section 6, Township N. Range 21 W of the 5th Principle Meridian 160 Acres: Landscape of Hope and Despair", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Linda Gammell", "Sort_Artist" : "Gammell, Linda", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Offset lithography and letterpress housed in a cloth folio with an embossed handmade paper cover", "Support" : "", "Disp_Medium" : "Offset lithography and letterpress housed in a cloth folio with an embossed handmade paper cover", "Info_Page_Comm" : " From the artisits' description: "The book tells the story of a rural crossroads community and an adjacent family farm in Bath township, Freeborn County, Minnesota from the 1940s to the present. 80 acres of the family farm were lost to foreclosure in the 1980s. The book combines photography and oral history to explore memories of the area as it is and was. Accompanying quotations from other sources provide additional context on contemporary farm issues. Produced with a fellowship from the Jerome Foundation / Minneapolis Institute of Arts." ", "Dedication" : "Gift of Linda Gammell & Sandra Menefee Taylor", "Copyright_Type" : "", "Disp_Obj_Type" : "Artist's book", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 7026, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7026", "Disp_Access_No" : "2022.004", "_AccNumSort1" : "", "Disp_Create_DT" : "2003", "_Disp_Start_Dat" : "2003", "_Disp_End_Date" : "2003", "Disp_Title" : "Seed / House, Dress", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Linda Gammell", "Sort_Artist" : "Gammell, Linda", "Disp_Dimen" : "20 x 24 in. 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Rosenthal Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "Print", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6941, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6941", "Disp_Access_No" : "2022.005", "_AccNumSort1" : "", "Disp_Create_DT" : "2004", "_Disp_Start_Dat" : "2004", "_Disp_End_Date" : "2004", "Disp_Title" : "My Mother and Me", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Celia Paul", "Sort_Artist" : "Paul, Celia", "Disp_Dimen" : "14 3/16 x 11 9/16 in. 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The piece shows fragments of Black queer bodies that I photographed in 2019 spliced with parts of early to mid-century West African sculptures and masks. The inclusion of a Wurkun columnar figure, historically employed in divination rituals to enlist the help of ancestors and the dead in the face of adversity, symbolizes a conception of past and present as a healing cultural space. Through the unity of images of bodies currently under siege and objects from the past that can access the spirit realm to aid those bodies, Twenty-Twenty depicts a core ethos of Black Quantum Futurism, a collective and a philosophy created by Moor Mother (Camae Ayewa) and Rasheeda Phillips that, in their words, “focuses on recovery, collection, and preservation of communal memories, histories, and stories.” Collage: 32 1/4 x 28 3/4 inches. ", "Dedication" : "Marie-Louise and Samuel R. Rosenthal Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "Collage", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/gcac_2021_053_001.jpeg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/gcac_2021_053_001.jpeg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/gcac_2021_053_001.jpeg", "IIIF_URL": "http://iiif.gallerysystems.com/gcac_2021_053_001.jpeg", "IsPrimary" : "1", "_SurrogateID" : "5359", "Image_Type" : "Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7224, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7224", "Disp_Access_No" : "2022.011", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1972", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1977", "Disp_Title" : "Christmas Bombing of Hanoi 1972", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Murray Dewart", "Sort_Artist" : "Dewart, Murray", "Disp_Dimen" : "20 x 8 x 9 in. 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