{"title":"The Armory Show 2026","description":"\u003cp\u003eSelected staff and collector picks curated for The Armory Show\u003c\/p\u003e","products":[{"product_id":"factory-vii","title":"Factory VII","description":"\u003cp\u003e\u003cem\u003eFactory VII, \u003c\/em\u003e2020\u003cbr\u003eLithograph\u003cbr\u003eEdition of 36\u003cbr\u003e22 1\/2 x 27 1\/2 in\u003cbr\u003eCollaborative Printer: Galen Gibson-Cornell\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eBouton grew up in Paris, spending time in her grandparents' Le Corbusier apartment and absorbing the playful modernism of Jacques Tati's films. That early education in how built space shapes human experience never left her. She has since lived and worked across multiple continents, and wherever she has landed, the architecture around her has become her primary material, not just as subject matter but as a kind of language.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003e\u003cem\u003eFactory VII\u003c\/em\u003e extends her ongoing Habitat \u0026amp; Urban Matters series, which turns its attention to North American urban landscapes as sites of reflection, both literal and interior. Bouton is drawn to buildings at every stage of their life: new construction, abandoned warehouses, half-demolished homes. What interests her is not the building itself so much as the accumulated weight of the lives it has held and the particular beauty that emerges from design and degradation in combination. Grand facades, patchworks of broken windows, mirrored skies, and the quiet geometry of decay all find their way into her work.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eHer process is singular. Working through a modern approach to engraving, Bouton produces monotypes and prints that are monochromatic at their foundation, then builds color through halftones, shades, and densities that register almost like light changing across a surface. \u003cem\u003eFactory VII\u003c\/em\u003e pushed that practice further. The printmaking process demanded she move beyond her characteristic restraint, giving way to vibrant tonal progressions that feel both unexpected and inevitable.\u003c\/p\u003e","brand":"Agathe Bouton","offers":[{"title":"Default Title","offer_id":39262107533462,"sku":"ART-000713","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/2020-Bouton-Agathe-FactoryVII-OL-Web_Ready.jpg?v=1614279345"},{"product_id":"cut","title":"Cut","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eWhy is the title\u003cem\u003e Cut?\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eThe title of this piece refers to the situation that occurs diagonally through the middle of the work. The dramatic juxtaposition of the two spaces creates a dynamic situation of visual slippage. On one hand, I am making reference to the question of unity within a visual space. At the same time, I am commenting on the display of difference, and how differences can be coexistent.\u003cbr\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eIn my paintings, I am dealing with memory, the presence and absence of experiences removed; nostalgia for a lost past, and the hope for something new and better.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Excerpted fromhttps:\/\/www.artsy.net\/artwork\/odili-donald-odita-cut-1, accessed 7-6-2021\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e[Odili Donald Odita] is best known for his large-scale canvases with kaleidoscopic patterns and vibrant hues, which he uses to reflect the human condition. For Odita, color in itself has the possibility of mirroring the complexity of the world as much as it has the potential for being distinct. In his paintings, we see color interwoven and mixed, becoming an active agent in representing the essential power that light has in identifying the entirety of our world. He thinks of his colors as agents to express thoughts, ideas, and transformational change. Much of his color selection is based on personal memories and created intuitively by hand-mixing, so that no two shades are ever repeated.\u003cbr\u003e\u003cbr\u003eBorn in Nigeria and raised in the American Midwest, Odita’s work is also heavily inspired by a sense of dual identity, combining aspects of Western modernity with African culture. His practice speaks to a contrast of cultures and a desire to create something new from a set of distinct parts. In this sense, his paintings, like a stitched or quilted textile, are weavings from different spaces, times and various temperaments, which convey the complexity of culture, identity, and being.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Excerpted from https:\/\/jackshainman.com\/artists\/odili_donald_odita, accessed 7-8-2021\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e","brand":"Odili D. Odita","offers":[{"title":"Default Title","offer_id":46273541079190,"sku":"ART-000436","price":5500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/84529_ca_object_representations_media_1269_original.jpg?v=1772595778"},{"product_id":"between-body-and-soul","title":"Between Body and Soul","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen I think about spirit, I think of the forces of nature—air, fire and water. I think about how these natural elements have shaped our lives and how they continue to impact us today.\u003cbr\u003e\u003cbr\u003eThe steam iron for me is a vessel for all three of these elements; air and water together make steam and fire is present as the source for heat. Now consider the juxtaposition. In this lithograph,\u003cem\u003eBetween Body and Soul\u003c\/em\u003e,I use the iron as a catalyst for the discussion about the Journey from Africa to the Americas. There are several design elements that feature the iron itself that led me to this concept. Foremost though is the description of the Iron as a domestic tool form here I link slavery to domestic work as its most extreme is servitude.\u003cbr\u003e\u003cbr\u003eTo make this connection even clearer, I chose iconic African Art objects that share some of the same silhouettes as parts of the steam iron in an exploded view. This is perceptual engineering, aka a visual double, an exercise in \"Now you see it, now you don't.\"\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e\n\u003cp\u003eWillie Cole's work uses contexts of postmodern eclecticism and combines references and appropriation from African and African American imagery. He also has used Dadaist readymades; Surrealist transformation of everyday objects including irons, high-heeled shoes, hairdryers, bicycle parts, and discarded plastic water bottles; icons of American pop culture; and African and Asian masks.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Willie Cole","offers":[{"title":"Default Title","offer_id":46273541865622,"sku":"ART-000705","price":10000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/5874_ca_object_representations_media_1483_original.jpg?v=1772595801"},{"product_id":"afro-blue-matter","title":"Afro Blue Matter","description":"\u003cblockquote\u003e \u003cp\u003e\u003cstrong\u003eFrom t\u003c\/strong\u003e\u003cstrong\u003ehe Artist\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThispiece...honors the great Mongo Santamaria, [John] Coltrane, BLM [Black Lives Matter], and the legacy of racial injustice that led to the movement, the dark matter that makes up the majority of the universe, and [our] ancestors' DNA in our hair. It is about space. The space of the universe, the space between the teeth of the comb. The space between musical notes. Comb through space and you find our essence and the roots of culture.\u003cbr\u003e\u003cbr\u003e I use craft and materials to investigate identity. Simple objects become cultural interfaces. Through them I navigate accord and discord. When trying to unravel complex issues, I am instinctively drawn to things that connect to my personal narrative as a point of departure: a comb or a strand of hair. Charged with agency, simple objects have the mysterious ability to reflect or absorb us. I find my image, my personal story, in an object. But it is also the object’s ability to act as a rhizome, the multiple ways in which it can be discovered or read by a wide audience that draws me in. To sustain my practice, I milk the object, its potential, its image, and its materiality. I manipulate the object in a formal manner to engage the viewer in conversation about collective meaning. If we unravel a cloth together, what do we learn in the process? What is the connection between combs, hair, and textiles? Can a strand of hair tell a life story or a whole cultural history? I trust that my stories, your stories, our stories are held in the object. In this way, the everyday “thing” becomes a lens through which we may better see one another. A visual vocabulary derived from object and image forms a language ranging from the vernacular to the political to the poetic.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e \u003c\/blockquote\u003e \u003cbr\u003e","brand":"Sonya Clark","offers":[{"title":"Default Title","offer_id":46273542455446,"sku":"ART-000638","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/27901_ca_object_representations_media_1616_original.jpg?v=1772595819"},{"product_id":"untitled-rashid-johnson","title":"Untitled","description":"\u003cp\u003eOffset Lithograph, 2020\u003c\/p\u003e\n\u003cp\u003e28 1\/4 x 22 1\/2 inches\u003c\/p\u003e","brand":"Rashid Johnson","offers":[{"title":"Default Title","offer_id":46279812645014,"sku":"ART-000714","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/2020-Johnson-Rasheed-Untitled-OL-Web_Ready.jpg?v=1614280227"},{"product_id":"towards-enlightenment-b-green","title":"Towards Enlightenment B (green)","description":"\u003cblockquote\u003e \u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e My personal style reflects the distinct backgrounds shaping my pursuit. My principal rule is to maintain the millennia-long Chinese civilization in art. The blending of elements in different ways has helped me to explore different avenues at different times.\u003cbr\u003e\u003cbr\u003e My work clearly mirrors my life as a Chinese living almost the entire life away from the homeland, finding no roots, drifting across the wide ocean, wandering in foreign lands, and feeling like flowing water in a continual moment. I had a bilingual education, and this has made me feel that I lack full acquaintance with the essence of the Chinese culture or the Western culture.\u003cbr\u003e\u003cbr\u003e I have chosen the use of geometric elements to dissect shapes, to introduce hidden structural grids, and to effect rhythmical movements. The presence of such geometrical elements helps to emphasize contemporaneity in ink painting, with brushwork and themes, which clearly reflect the tradition.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Adapted and excerpted from https:\/\/www.sothebys.com\/en\/articles\/explorations-in-ink-artists-in-conversation, accessed 7-29-2021\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e \u003c\/blockquote\u003e","brand":"Wucius Wong","offers":[{"title":"Default Title","offer_id":46279820378262,"sku":"ART-000707","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Wong_ElgtB1.jpg?v=1606779276"},{"product_id":"towards-enlightenment-a-yellow","title":"Towards Enlightenment A (yellow)","description":"\u003cblockquote\u003e \u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e My personal style reflects the distinct backgrounds shaping my pursuit. My principal rule is to maintain the millennia-long Chinese civilization in art. The blending of elements in different ways has helped me to explore different avenues at different times.\u003cbr\u003e\u003cbr\u003e My work clearly mirrors my life as a Chinese living almost the entire life away from the homeland, finding no roots, drifting across the wide ocean, wandering in foreign lands, and feeling like flowing water in a continual moment. I had a bilingual education, and this has made me feel that I lack full acquaintance with the essence of the Chinese culture or the Western culture.\u003cbr\u003e\u003cbr\u003e I have chosen the use of geometric elements to dissect shapes, to introduce hidden structural grids, and to effect rhythmical movements. The presence of such geometrical elements helps to emphasize contemporaneity in ink painting, with brushwork and themes, which clearly reflect the tradition.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Adapted and excerpted fromhttps:\/\/www.sothebys.com\/en\/articles\/explorations-in-ink-artists-in-conversation, accessed 7-29-2021\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e \u003c\/blockquote\u003e","brand":"Wucius Wong","offers":[{"title":"Default Title","offer_id":46279820476566,"sku":"ART-000706","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Wong_ElgtA1.jpg?v=1606779271"},{"product_id":"negroes-to-be-sold","title":"Negroes to be Sold","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eNegroes To Be Sold\u003c\/em\u003e, 2009\u003cbr\u003eRelief Print on Handmade Elephant Paper\u003cbr\u003eEdition of 30\u003cbr\u003e24 x 17 in.\u003cbr\u003eCollaborative Printer: Kandice Fields\u003c\/p\u003e\n\u003cp\u003eHank Willis Thomas is a photo conceptual artist working primarily with themes related to identity, history, and popular culture. \u003cem\u003eNegroes to Be Sold \u003c\/em\u003eappropriates and riffs on the form and appearance of 18th-century advertisements for the sale of slaves, inserting familiar silhouettes of contemporary sports and entertainment figures and of the now iconic figures used to represent enslaved bodies. Realized as a laser-cut relief print, Thomas has captured the style and tactile quality of 18th-century prints with raised lettering that rendersthe printing surface as a sculptural relief. The original auction advertisement appropriated by the artist was published in Charleston, SC,on April 26, 1760.\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Hank Willis Thomas","offers":[{"title":"Default Title","offer_id":46279820509334,"sku":"ART000182","price":10000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/36582_ca_object_representations_media_1254_large_d1ccc7f8-db76-4867-bf4e-c9db57191503.jpg?v=1781723474"},{"product_id":"aquarium-renaissance","title":"Aquarium Renaissance","description":"\u003cp\u003eOffset Lithograph, 1984\u003c\/p\u003e\n\u003cp\u003e22 1\/4 x 30 inches\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eFor more information about this artist or print please visit this link:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ca href=\"https:\/\/artura.org\/Detail\/title\/15601\" target=\"_blank\" title=\"Aquarium Renaissance - Fred Wessel\" rel=\"noopener noreferrer\"\u003ehttps:\/\/artura.org\/Detail\/title\/15601\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s1\"\u003eArtura is a free and open educational resource, powered by the \u003ca href=\"https:\/\/brandywineworkshopandarchives.org\/\" data-mce-href=\"https:\/\/brandywineworkshopandarchives.org\/\"\u003e\u003cspan class=\"s2\"\u003eBrandywine Workshop and Archives\u003c\/span\u003e\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fred Wessel","offers":[{"title":"Default Title","offer_id":46279821000854,"sku":"ART-000174","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Wessel_Renaissance1.jpg?v=1606779269"},{"product_id":"islas-y-mares","title":"Islas y Mares","description":"\u003cblockquote\u003e \u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003cbr\u003e  \u003cbr\u003e I have symbols in my work. The first, indeed, is the city as a container of joys, sorrows, longings of the human, the other is the pendulum, which is a symbol of time—and the other is the fruit of allegorical pleasure.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Excerpted from https:\/\/www.picassomio.com\/jose-omar-torres.html, accessed 6-18-2021\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e \u003c\/blockquote\u003e Except for minor exceptions, all the work of José Omar Torres transits between the figurative and the abstract, with a certain preference for primary colors. Figuration and abstraction that merge into the same canvas and that have been refined until reaching an essence where only some minimal references are needed to enter the city, the Island or time, whose abstract condition the painter captures, sometimes moving through the space of the canvas or paper the image of the pendulum that, like the inevitable sword of Damocles, swings for his work, for his life, for the existence of everything and everyone; and others, resorting to the constant flow of the sea from which the Island is born and its resistance against all winds and threats of all kinds. \u003cbr\u003e\u003cem\u003e—Excerpted from https:\/\/slp.gob.mx\/secult\/Paginas\/Muestra-de-pintura-y-colagrafía-del-artista-cubano-José-Omar-Torres.aspx , accessed 6-18-2021\u003c\/em\u003e","brand":"Jose Omar Torres","offers":[{"title":"Default Title","offer_id":46279821983894,"sku":"ART-000288","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Torres_IslasyMares1.jpg?v=1606779268"},{"product_id":"mystic-sky-with-self-portrait","title":"Mystic Sky with Self-Portrait","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eThere has been an apparent thread in my art that weaves from early prints of the 1960s through later collages and assemblages and ties into the current installations. That thread is a curiosity about the mystical.\u003cbr\u003e\u003cbr\u003eI am intrigued with combining the remnant of memories, fragments of relics and ordinary objects, with the components of technology. It's a way of delving into the past and reaching into the future simultaneously. The art itself becomes the bridge.\u003cbr\u003e\u003cbr\u003eCuriosity\u003cbr\u003eabout the unknown\u003cbr\u003ehas no boundaries.\u003cbr\u003eSymbols, images, place and cultures merge.\u003cbr\u003etime slips away.\u003cbr\u003eThe stars, the cards, the mystic vigil\u003cbr\u003emay hold the answers.\u003cbr\u003eBy shifting the point of view\u003cbr\u003ean inner spirit is released.\u003cbr\u003eFree to create.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Excerpted from http:\/\/www.betyesaar.net\/gal\/gallery.html#fourth, accessed 7-5-2021\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e\n\u003cp\u003eBetye Saar's work is intertwined with explorations of world religions, astrology, and mysticism. Saar used objects and symbols of personal significance in\u003cem\u003e Mystic Sky with Self Portrait\u003c\/em\u003e, 1992, a seven-color offset with collage in an edition of 100, such as celestial planets, a crescent moon, dice, a pyramid, and stars moving toward a flaming heart in the center of the print on a blue backdrop. Her self-portrait shows the artist looking inward, inviting the viewer to enter her spiritual realm. \"I realized that by changing the function of the objects, I could transform information and work magic,\" Saar says. With its collaged shooting stars and a cosmic array of imagery, including a pair of dice (fate\/fortune), a flaming heart (spiritual love), an eye in a pyramid (God's all-seeing eye), and a floating mask, Saar's interest in spirituality and symbolism is evident in this artwork (hidden identity and magic). Saar peers out from the bottom corner, an open hand (is it hers?) reaching for the warmth of a red, blazing sun. Her palm is adorned with a miniature moon and sun, as well as the Greek letter omega (the ultimate culmination of all). Across this orderly, personal universe, dynamic images of power and identity tilt and align.\u003cbr\u003e\u003csub\u003e—Adapted from Brandywine Workshop and Archives records and \"Fresh, Human and Personal: Signature of Brandywine Workshop,\" \u003cem\u003eThree Decades of American Printmaking: The Brandywine Workshop Collection\u003c\/em\u003e (Manchester, VT: Hudson Hills Press, 2004)\u003c\/sub\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/artura.org\/content\/resources\/mystic-sky-with-self-portrait\/\"\u003eVIEW TEACHING RESOURCE ↗️︎\u003c\/a\u003e\u003c\/strong\u003e; summary\u003c\/p\u003e","brand":"Betye Saar","offers":[{"title":"Default Title","offer_id":46279824572566,"sku":"ART-000062","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/SaarB_SelfPotrait1.jpg?v=1606779251"},{"product_id":"black-snake-blues","title":"Black Snake Blues","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003cbr\u003eThis piece was inspired by the old blues standard\"Black Snake in my Bed.\"It depicts a woman in bed, longing for her lover\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e\n\u003cp\u003eThe title of this piece is taken from the song “Black Snake Blues,” first recorded by Victoria Spivey in 1926 and better known by Blind Lemon Jefferson’s 1927 version, “Black Snake Moan.”\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Excerpted fromhttps:\/\/risdmuseum.org\/art-design\/collection\/black-snake-blues-20146644\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e\u003cbr\u003eHere the woman is in a bedroom scene, yearning for her lover. It is unclear if the snake has replaced the woman’s lover or removed him. The position that she is laying suggests she is reminiscing on past relationships that containedintimacy and comfort. Regardless of the two subjects' relationships, the print carries a strong feeling of sexuality and desire.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e","brand":"Alison Saar","offers":[{"title":"Default Title","offer_id":46279824638102,"sku":"ART-000009","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Saar_Snake1.jpg?v=1606779249"},{"product_id":"katrina-footprint","title":"Katrina Footprint","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eI like working with arrows andthe unconsciousness. After Katrina I realized I had drawn the footprint and a storm, specifically a hurricane. I did the drawings on Mylar several months before Katrina and kept adding to it. Proceeds (part) will go to New Orleans community organizations andNew Orleans animal rescue groups.\u003cbr\u003e—\u003cem\u003eFrom Brandywine Workshop and Archives records\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eOne of the things I like about printmaking is the serendipitous result. I like to call it a kiss of very unique impression.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e\n\u003cp\u003eHowerdena Pindell continues to create art that often expresses issues of racism, feminism, human rights, and spirituality, typically weaving personal experience with images selected from media, and always elegantly constructed and deeply affecting. The creative process itself sometimes leads her to valuable discoveries she can exploit for effect.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e\u003cbr\u003ePindell frequently uses long, symbolic destruction\/reconstruction processes. She cuts canvases into strips and sews them back together, constructing surfaces in layers. She paints or draws on sheets of paper, then uses a paper hole punch to punch out dots from the paper, drop the dots onto the canvas, and then squeegees paint through the stencilleft in the paper from which she punched the dots. Her paintings are almost always installed unstretched, held in place only by the strength of a few finishing nails. The artist's interest in gridded, sequential imagery, as well as surface texture, is evident throughout her work. Pindell [turns to] thematic focuses in...politically charged work to confront societal issues such as homelessness, AIDS, war, genocide, misogyny, xenophobia, and apartheid.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Adapted fromhttps:\/\/www.howardenapindell.org\/, accessed 7-8-2021\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e","brand":"Howardena Pindell","offers":[{"title":"Default Title","offer_id":46279825916054,"sku":"ART-000218","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Pindell_Katrina1.jpg?v=1606779244"},{"product_id":"autobiography-past-present-ii","title":"Autobiography: Past \u0026 Present II","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eI wanted to do a second version of my first diptych —like a time capsule. African mask\/sculpture relates to my DNA search through the National Geographic Genome Project. My mother's ancestors originated in Uganda 82,000-100,000 years ago.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e\u003cbr\u003eOne of the things I like about printmaking is the serendipitous result.I like to call it a kiss of very unique impression.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e\n\u003cp\u003eHowardena Pindell continues to create art that often expresses issues of racism, feminism, human rights, and spirituality, typically weaving personal experience with images selected from media, and always elegantly constructed and deeply affecting. The creative process itself sometimes leads her to valuable discoveries she can exploit for effect.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e\u003cbr\u003ePindell frequently uses long, symbolic destruction\/reconstruction processes. She cuts canvases into strips and sews them back together, constructing surfaces in layers. She paints or draws on sheets of paper, then uses a paper hole punch to punch out dots from the paper, drop the dots onto the canvas, and then squeegees paint through the stencilleft in the paper from which she punched the dots. Her paintings are almost always installed unstretched, held in place only by the strength of a few finishing nails. The artist's interest in gridded, sequential imagery, as well as surface texture, is evident throughout her work. Pindell [turns to] thematic focuses in politically charged work to confront societal issues such as homelessness, AIDS, war, genocide, misogyny, xenophobia, and apartheid.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Adapted fromhttps:\/\/www.howardenapindell.org\/, accessed 7-8-2021\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e","brand":"Howardena Pindell","offers":[{"title":"Default Title","offer_id":46279825948822,"sku":"ART-000216","price":7000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Pindell_AutoII1.jpg?v=1606779245"},{"product_id":"otumwa","title":"Otumwa","description":"\u003cblockquote\u003e \u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e I am extremely interested in the sharing of ideas, the transfer of knowledge for ceramics arts and crafts practice in general, the exchange of academic experience and collaborations with colleagues at other institutions, universities and communities with my emphasis on links with developing countries.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Excerpted fromhttp:\/\/visualarts.britishcouncil.org\/collection\/artists\/odundo-magdalene-1950, accessed 7-8-2021\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e \u003c\/blockquote\u003e Odundo’s artworks are redolent of the human body in a way that reminds the viewer strongly of the inherent connections between the simple vessel form and the concept of the body as a vessel…The universality of her formal language has been deepened by her formal references to classical forms from ancient cultures all over the world. Her study of Greek, Chinese, Aztec, and African forms have allowed her to find the simple yet powerful shapes common to them all.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Excerpted from https:\/\/www.theclaystudio.org\/artists\/magdalene-odundo, accessed 7-8-2021\u003c\/em\u003e\u003c\/sub\u003e","brand":"Magdalene Odundo","offers":[{"title":"Default Title","offer_id":46279827456150,"sku":"ART-000358","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Odundo_Otumwa1.jpg?v=1606779228"},{"product_id":"boy-on-a-bench","title":"Boy on a Bench","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArt for me is an instrument of communication—with myself and with others. It forces me to continually examine my own thoughts and actions, as well as those of others. The experiences in life can be viewed in a flexible and inclusive manner without limitations. Art is not some theory that you learn but a way of life that you choose to develop. Once nurtured it thrives on your memory bank and your need to reach out and seek to understand the tangible and the intangible. Thus, for me, art and life are inseparable.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e","brand":"Samella Lewis","offers":[{"title":"Default Title","offer_id":46279832797334,"sku":"ART-000519","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Lewis_ManOnBench1.jpg?v=1606779204"},{"product_id":"diva","title":"Diva","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArt for me is an instrument of communication—with myself and with others. It forces me to continually examine my own thoughts and actions, as well as those of others. The experiences in life can be viewed in a flexible and inclusive manner without limitations. Art is not some theory that you learn but a way of life that you choose to develop. Once nurtured it thrives on your memory bank and your need to reach out and seek to understand the tangible and the intangible. Thus, for me, art and life are inseparable.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e","brand":"Samella Lewis","offers":[{"title":"Default Title","offer_id":46279832830102,"sku":"ART-000522","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Lewis_Diva1.jpg?v=1606779199"},{"product_id":"cleo-color","title":"Cleo (Color)","description":"\u003cblockquote\u003e \u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eArt for me is an instrument of communication—with myself and with others. It forces me to continually examine my own thoughts and actions, as well as those of others. The experiences in life can be viewed in a flexible and inclusive manner without limitations. Art is not some theory that you learn but a way of life that you choose to develop. Once nurtured it thrives on your memory bank and your need to reach out and seek to understand the tangible and the intangible. Thus, for me, art and life are inseparable.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e \u003c\/blockquote\u003e \u003cp\u003e\u003cem\u003eCleo\u003c\/em\u003e, by Samella S. Lewis, is a portrait painting art historical reference produced in 1996. Lewis employs a symmetrically composed frontal view of a young girl holding a flower to present portraiture as an icon; Her face framed by a large cross. Lewis is a pioneer in African American art history research and publication. She has influenced several generations of artists as a creator, curator, collector, and art historian.\u003cbr\u003e\u003csub\u003e—Adapted from \"Fresh, Human and Personal: Signature of Brandywine Workshop,\" \u003cem\u003eThree Decades of American Printmaking: The Brandywine Workshop Collection\u003c\/em\u003e (Manchester, VT: Hudson Hills Press, 2004)\u003c\/sub\u003e\u003cbr\u003e \u003c\/p\u003e","brand":"Samella Lewis","offers":[{"title":"Default Title","offer_id":46279832895638,"sku":"ART-000521","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Lewis_Cleo1.jpg?v=1606779200"},{"product_id":"blind-spots","title":"Blind Spots","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist \u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBlind Spots\u003c\/em\u003e was inspired by a trip to Japan to study Japanese traditional printmaking techniques. My desire was to create densely composed images representing the confluence of people and cultures. The areas, or spots, of primary colors are designed to restrict the flow of visual information or completely shut down visual stimuli in any given area. Thereby metaphorically representing areas of blindness or views that we stereotypically hold towards others that are different from us or biases based on ignoranceand inability to see clearly.\u003cbr\u003e\u003cem\u003e—From Brandywine Workshop and Archives records \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eMy work as an artist is based on both public and a private narrative. The public narrative has led to a commentary on issues that impact society in general including race, poverty, political concerns, isolation, and class. My private narrative pushes me further and presents my personal negotiation of these same issues and frequently confronts ramifications that are more intimate in their nature. My sense of humanity, and my consciousness as a thinking and feeling being, have led me to explore topics that are painful, personal, and that at times show man’s indifference to others. As an artist I have attempted to communicate this awareness in an intellectual and sensual manner.\u003cbr\u003e\u003cem\u003e—Excerpted from http:\/\/artjaz.com\/artists\/holton\/index_mb.html, accessed 6-23-2021\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWorks by Curlee Raven Holton challenge us to look at areas of society that may be uncomfortable and pose important questions about humanity. What is most frightening for us? Why are some people seemingly invisible? This print contains seven figures submersed in an overlay of bright, texturized colors. Some figures are participating in activities, such as playing on a swing or applying makeup. Floating circles of different colors and sizes take their place in the foreground, involving themselves within the lives of the figures.\u003cbr\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/p\u003e","brand":"Curlee Raven Holton","offers":[{"title":"Default Title","offer_id":46279835418774,"sku":"ART-000089","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Holton_Blndspts1.jpg?v=1606779187"},{"product_id":"to-enter-the-forest","title":"To Enter The Forest","description":"\u003cblockquote\u003e \u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eI've learned to 'get rid of rules'...which is the best form of creation.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Excerpted from \u003c\/em\u003eSam Gilliam: Of Fireflies and Ferris Wheels. \u003cem\u003eMonastery Parallel, Art Museum Kloster Unser Lieben Frauen, 1996-97.\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e \u003c\/p\u003e \u003c\/blockquote\u003e Sam Gilliam worked in many mediums, including sculpture, painting, and printmaking. He is best known for his \u003cem\u003eDrape\u003c\/em\u003e paintings, which have been exhibited globally for decades. Gilliam’s Abstract Expressionist prints explore mark-making, texture, and form. His work is influenced by his experiences with the civil rights movement, his African American heritage, and his relationship with the Color Field school of artists.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e","brand":"Sam Gilliam","offers":[{"title":"Default Title","offer_id":46279837712534,"sku":"ART-000517","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Gilliam_Forest.jpg?v=1614017347"},{"product_id":"untitled-camille-billops","title":"Mammy's Little Coal Black Rose","description":"\u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMammy's Little Coal Black Rose\u003c\/em\u003eis a print of a minstrel series consisting of eight drawings. These drawings will be used in my film \u003cem\u003eThe KKK Boutique Ain't Just Rednecks\u003c\/em\u003e.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives Records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e\n\u003cp\u003eThis print is referenced in the film \u003cem\u003eThe KKK Boutique Ain’t Just Rednecks\u003c\/em\u003e produced by Camille Billops and her husband, James Hatch, in 1994. The film addresses stereotypes, racism, and the violent history of the United States. \u003cem\u003eKKK\u003c\/em\u003e is an acronym for \u003cem\u003eKu Klux Klan\u003c\/em\u003e, a military white supremacist organization that commits violent and racist acts against people of color.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e\u003cbr\u003eCamille Billops' aesthetic choices and creative repertoire are bold and disruptive interpretations of contemporary issues. Straddling between abstraction, surrealism, and documentary, Billops’ creative output challenges convention through the sheer act of production. Billops is a clairvoyant muse who brings us one and all into a reality seen only through her irrepressible eyes.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—Excerpted from http:\/\/billops-hatch.library.emory.edu\/camille-billops-artist, accessed 6-4-2021\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Camille Billops","offers":[{"title":"Default Title","offer_id":46279842726038,"sku":"ART-000070","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Billops_Untld3.jpg?v=1606779144"},{"product_id":"migrating-to-the-surface","title":"Migrating to the Surface","description":"\u003cblockquote\u003e\u003c\/blockquote\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003e\u003cem\u003eMigrating to the Surface\u003c\/em\u003e, 2003\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 46\u003cbr\u003e21 1\/2 x 30 in\u003cbr\u003eCollaborative Printer: Marion Beaumont\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eLa Vaughn Belle lives and works in the Virgin Islands, a place that has changed colonial hands seven times, most recently passing from Denmark to the United States in 1917. That history, of a land and its people repeatedly claimed, renamed, and reordered by outside forces, runs through everything she makes. Her practice spans drawing, painting, video, performance, and installation, but the medium is never the point. What she is building, in every form she works in, is a space to examine how colonial and neocolonial narratives shape identity, memory, and the stories people are allowed to tell about themselves.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003e\u003cem\u003eMigrating to the Surface\u003c\/em\u003e holds two versions of the same scene in tension. Across the top of the print, a photographic image of the ocean, realistic and spliced, shows a pair of feet floating at the surface of the water. Ruler markings bisect the middle of the composition, introducing the language of measurement, of bodies accounted for and quantified. Below, Belle redraws the scene in her own hand, and four stamped figures drift through those rendered waters. The doubling is deliberate. Photography and drawing, document and interpretation, the recorded and the imagined pressed against each other until the boundary between them becomes the subject. What does it mean to rise to the surface? What has been submerged, and for how long, and by whose accounting?\u003c\/p\u003e\n\u003cp\u003e\u003csub\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/sub\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"LaVaughn Belle","offers":[{"title":"Default Title","offer_id":46279843020950,"sku":"ART-000334","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Belle_MigtSurfc3.jpg?v=1606779143"},{"product_id":"portrait-of-a-young-woman","title":"Portrait of a Young Woman","description":"\u003cp\u003e\u003ci\u003ePortrait\/Young Woman\u003c\/i\u003e, 1998\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 100\u003cbr\u003e22 x 30 in\u003cbr\u003eCollaborating Printer: Bob Franklin\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eAt the center of this print is a young woman photographed in another era, her gaze steady and composed, her presence weighted with a history that was never fully recorded. Tomie Arai built this work from archival photographs, family stories, and oral histories, part of a larger series dedicated to recovering the human experience within the broader narrative of the Asian diaspora in the Americas.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eThe composition layers the photographic portrait against screens, scrolls, and motifs drawn from traditional Asian art, visual references that hold the past and present in the same frame, the foreign and the familiar occupying the same surface. Nothing here is ornamental. Each element is a thread in a larger argument about whose stories get preserved, and what it takes to bring them back into view.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eArai learned printmaking not in university studios but in community workshops, spaces like Bob Blackburn's Printmaking Workshop and the Lower East Side Printshop, where artists worked alongside one another in a spirit of shared purpose. Her residency at Brandywine deepened that tradition. 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The print’s central image is a black-and-white carte de visite by the German-Brazilian photographer Alberto Henschel around 1869 while in Pernambuco, Brazil. Often intimate portraits, carte de visites were a popular type of photograph during the nineteenth century comprised of small photographs mounted on cardstock and exchanged among friends and family.\u003c\/p\u003e\n\u003cp\u003eProminent photographer, Alberto Henschel, established studios in several Brazilian cities during the mid-nineteenth century, known for his portraits of both elite citizens and enslaved people. The image depicts a Black woman, likely enslaved, wearing European-style clothing and earrings, highlighting the complex social dynamics of fashion and status in 19th-century Brazil. Little is known of her fate beyond her believed transportation from Brazil to Louisiana in the American South where many of her cards were traded. The image was captured during a period when slavery was still legal in Brazil, which was not abolished until 1888.\u003c\/p\u003e\n\u003cp\u003eThe second image is of an engraving titled Flagellation of a Female Samboe Slave, produced by the artist William Blake. It was created for the 1796 book Narrative, of a Five Years’ Expedition, against the revolted Negroes of Surinam by John Gabriel Stedman. The scene depicts a woman of African and European descent, known as a “Sambo” at the time, tied to a tree and subjected to violence. The image became a significant piece of visual propaganda for the British abolitionist movement and is currently held in multiple British Museums. These are rare images of enslaved people depicted in explicit terms regarding abuse. This was uncommon for travel narratives. Ballard intentionally subverts these archival findings in her work by transforming this violent image into something that reads innocently, almost like a stamp utilizing haint blue. This color is traditionally used in Louisiana, where her father’s family is from, to paint porch doorways and ward\u003cbr\u003eoff evil spirits. This pigment is a common motif throughout Ballard’s work acting as a subtle yet protective gesture for the figures she consoles in her compositions. These signals diverge in the gallery as an ancestral call home. Ballard also utilizes poppies to invoke her mother, who loved flowers and passed away in 2019. Since then, floral motifs have become Ballard’s way of keeping her mother present in the work.\u003c\/p\u003e","brand":"Lavett Ballard","offers":[{"title":"Default Title","offer_id":46420381434006,"sku":null,"price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/LavettBallard.jpg?v=1781203554"},{"product_id":"birth-of-the-blues","title":"Birth of the Blues","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eBirth of the Blues\u003c\/em\u003e, 2025\u003cbr\u003eWoodcut\u003cbr\u003eEdition of 15\u003cbr\u003e50 x 70 in.\u003cbr\u003eCollaborative Printer: Alexis Nutini\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBirth of the Blues \u003c\/em\u003ereturns to one of the most charged images in Willie Cole's practice of the last known ship to bring enslaved Africans to the United States, the Clotilda. Cole had acquired a high-resolution image through the Getty and began working with it first as a sculpture, then as a print. The sculpture was part of a 2022 exhibition at Alexander and Bonin Gallery in New York. This riveting showcase, built entirely around 75 guitars donated by Yamaha, fused with shackled mannequins standing in beds of rice, was an homage to Cole's Gullah Geechee heritage and a meditation on the entanglement of oppression and creativity at the root of American music. \u003c\/p\u003e\n\u003cp\u003eCole noticed that the yokes placed around the necks of the imprisoned were the same basic shape as a guitar. The connection was immediate. The instrument that became the language of the blues—of resistance and longing, resembles the very instrument of bondage that it opposes.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWorking with master printer Alexis Nutini for PrintLab, Cole desired translating the image into a large-scale woodcut. As the oldest print medium in western tradition long associated with books and political messaging, the process could carry the weight of such a heavy and difficult subject. And, because Cole’s vision exceeded what a single sheet could accommodate, the work was ultimately printed in 20 individual panels. This solution resonated with Cole’s lifelong relationship to puzzles, always drawn to the idea of taking parts and assembling them into a whole.\u003c\/p\u003e","brand":"Willie Cole","offers":[{"title":"Default Title","offer_id":46420384972950,"sku":null,"price":80000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/Birth_of_the_Blues_Woodcut_-_Willie_Cole_Full_assembly.jpg?v=1781204978"},{"product_id":"the-little-rootkeeper","title":"The Little Rootkeeper","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Little Rootkeeper\u003c\/em\u003e, 2026\u003cbr\u003ePhotolithograph with hand-applied ink on paper\u003cbr\u003eEdition of 30\u003cbr\u003e31 1\/2 x 24 1\/2 in.\u003cbr\u003eCollaborative Printer: Justine Ditto\u003c\/p\u003e\n\u003cp\u003ePart of her ongoing \u003cem\u003eSongkeepers \u003c\/em\u003eseries, Martin created \u003cem\u003eThe Little Rootkeeper\u003c\/em\u003e. The little girl, Sap, modeled closely after Martin's cousin is a keeper of roots, attuned to the spiritual realm. Martin, a printmaker in her own practice, brought the photolithographic process that she had been exploring into new territory. building up image in depth in the collaborative space of the residency. \u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eSongkeepers\u003c\/em\u003e series follows women who are direct decedents of the Flying Africans, figures from African diasporic mythology, who rather than continue to endure bondage, took flight. In Martin's telling, these women no longer fly, instead transforming into trees and becoming protectors of the earth and human memory.\u003c\/p\u003e","brand":"Delita Martin","offers":[{"title":"Default Title","offer_id":46423834034326,"sku":null,"price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/DelitaMatin.jpg?v=1781652718"},{"product_id":"dife-nan-zo-mwen","title":"Dife nan zo mwen","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eDife nan zo mwen\u003c\/em\u003e, 2026\u003cbr\u003eWoodcut\u003cbr\u003eEdition of 30\u003cbr\u003e23 3\/4 x 18 in.\u003cbr\u003eCollaborative Printer: Alexis Nutini\u003c\/p\u003e\n\u003cp\u003eThinking about Louisiana as a surrogate homeland where Haiti's presence is acknowledged, and the connective tissue of ancestry is visible and tangible. William left Haiti as a young child, but keeps stories, photographs and family narratives alive through his work. While in Louisiana, William began studying the cypress trees in the bayou, characters in themselves telling their own stories. The figures in the work are covered in eyes, occupying a hybrid space brought into view by carving the wood of the birch tree in variations of colors. The work consists of fifteen colors and nine layers, the difference being made up through blend rolls. The rays signify a fiery portal into the consciousness of the material figures.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Didier William","offers":[{"title":"Default Title","offer_id":46423874666646,"sku":null,"price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/P131-22.jpg?v=1781714593"},{"product_id":"3-or-4-shades-of-the-blues","title":"3 or 4 Shades of the Blues","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e3 or 4 Shades of the Blues\u003c\/em\u003e, 2025\u003cbr\u003eWoodcut\u003cbr\u003eEdition of 30\u003cbr\u003e18 x 30 in.\u003cbr\u003eCollaborative Printer: Alexis Nutini\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e3 or 4 Shades of the\u003c\/em\u003e Blues is an excerpt from the larger assembly \u003cem\u003eBirth of the Blues\u003c\/em\u003e also produced during Cole's PrintLab residency. The prints from \u003cem\u003eBirth of the Blues\u003c\/em\u003e returns to one of the most charged images in Willie Cole's practice of the last known ship to bring enslaved Africans to the United States, the Clotilda. Cole had acquired a high-resolution image through the Getty and began working with it first as a sculpture, then as a print. The sculpture was part of a 2022 exhibition at Alexander and Bonin Gallery in New York. This riveting showcase, built entirely around 75 guitars donated by Yamaha, fused with shackled mannequins standing in beds of rice, was an homage to Cole's Gullah Geechee heritage and a meditation on the entanglement of oppression and creativity at the root of American music. \u003c\/p\u003e\n\u003cp\u003eCole noticed that the yokes placed around the necks of the imprisoned were the same basic shape as a guitar. The connection was immediate. The instrument that became the language of the blues—of resistance and longing, resembles the very instrument of bondage that it opposes.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWorking with master printer Alexis Nutini for PrintLab, Cole desired translating the image into a large-scale woodcut. As the oldest print medium in western tradition long associated with books and political messaging, the process could carry the weight of such a heavy and difficult subject. And, because Cole’s vision exceeded what a single sheet could accommodate, the work was ultimately printed in 20 individual panels. This solution resonated with Cole’s lifelong relationship to puzzles, always drawn to the idea of taking parts and assembling them into a whole.\u003c\/p\u003e","brand":"Willie Cole","offers":[{"title":"Default Title","offer_id":46423877058710,"sku":null,"price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/BirthoftheBlues_Woodcut_-WillieCole_excerpt.jpg?v=1781655667"},{"product_id":"birth-of-the-blues-1","title":"Birth of the Blues","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eBirth of the Blues\u003c\/em\u003e, 2025\u003cbr\u003eWoodcut\u003cbr\u003eEdition of 10\u003cbr\u003e14 x 14 in.\u003cbr\u003eCollaborative Printer: Alexis Nutini\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBirth of the Blues \u003c\/em\u003e(14 x 14) returns to one of the most charged images in Willie Cole's practice of the last known ship to bring enslaved Africans to the United States, the Clotilda. Cole had acquired a high-resolution image through the Getty and began working with it first as a sculpture, then as a print. The sculpture was part of a 2022 exhibition at Alexander and Bonin Gallery in New York. This riveting showcase, built entirely around 75 guitars donated by Yamaha, fused with shackled mannequins standing in beds of rice, was an homage to Cole's Gullah Geechee heritage and a meditation on the entanglement of oppression and creativity at the root of American music. \u003c\/p\u003e\n\u003cp\u003eCole noticed that the yokes placed around the necks of the imprisoned were the same basic shape as a guitar. The connection was immediate. The instrument that became the language of the blues—of resistance and longing, resembles the very instrument of bondage that it opposes.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWorking with master printer Alexis Nutini for PrintLab, Cole desired translating the image into a large-scale woodcut. As the oldest print medium in western tradition long associated with books and political messaging, the process could carry the weight of such a heavy and difficult subject. And, because Cole’s vision exceeded what a single sheet could accommodate, the work was ultimately printed in 20 individual panels. This solution resonated with Cole’s lifelong relationship to puzzles, always drawn to the idea of taking parts and assembling them into a whole.\u003c\/p\u003e","brand":"Willie Cole","offers":[{"title":"Default Title","offer_id":46423878664342,"sku":null,"price":10000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/BirthoftheBlues_Woodcut_-WillieCole_Key.jpg?v=1781656120"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/collections\/images.png?v=1790013322","url":"https:\/\/brandywine.art\/collections\/the-armory-show-2026.oembed","provider":"Brandywine.Art","version":"1.0","type":"link"}