{"title":"We: The People","description":"\u003cp\u003e\u003cem\u003eJune 18, 2026 - October 26, 2026 \u003c\/em\u003e|\u003cem\u003e \u003c\/em\u003eCurator: Alicia DeLarge\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“We” The People\u003c\/em\u003e is organized as a visual timeline around historical moments and cultural arrivals rather than geography. The exhibition traces Indigenous histories and pre-1776 land stewardship; nineteenth-century Black Philadelphia and self-determined communities; industrialization and European immigration in the 1800s; the Great Migration era and the movement of Black communities northward between 1916 and 1970; African Diaspora connections and cultural exchange; Puerto Rican, Caribbean, and Latin American arrivals from the mid-twentieth century onward; Asian diasporas, entrepreneurship, and cultural exchange; and BWA’s own role as a center for international artistic exchange. Its structure reflects a central premise: Philadelphia was not built by one community or one moment, but through centuries of movement, exchange, and collective contribution that continue to shape the city today.\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":900.0,"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":"ancestral-cartography","title":"Ancestral Cartography","description":"\u003cp class=\"p1\"\u003e\u003cem\u003eAncestral Cartography,\u003c\/em\u003e 2023\u003cbr\u003eWoodcut CNC\u003cbr\u003eEdition of 40\u003cbr\u003e30 ⅜ x21 ⅝ in\u003cbr\u003eCollaborating Printer: Alexis Nutini\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003e\u003cem\u003eAncestral Cartography\u003c\/em\u003e begins with a question: what happens when you map a city through the language of the body? Alexandre Mwilambwe brings together two distinct visual systems — urban cartography and nzoloko scarification, a traditional form of body marking rooted in his African heritage — and layers them onto a single surface. Streets and symbols, grids and scars, anonymous figures and inherited signs converge into something that reads as neither map nor portrait, but both at once.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eMwilambwe made this work during his residency at Brandywine Workshop and Archives in Philadelphia, collaborating with master printer Alexis Nutini. The city itself became part of the source material, its visual texture folded into a composition already charged with the marks of ancestral identity. The CNC woodcut process, precise and mechanical, carries the weight of imagery that is anything but — scarification is intimate, earned, and permanent in a way that no map of streets can be.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eThe work asks us to consider what we choose to record, what gets etched into skin versus stone, and whose cartography has historically been treated as the definitive one.\u003c\/p\u003e","brand":"Alexandre Mwilambwe Kyungu","offers":[{"title":"Default Title","offer_id":44800038240406,"sku":"ART-002025SCH05-002","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/2025SCH06-025.jpg?v=1742591980"},{"product_id":"philly-drag-2023","title":"Postcard Philly","description":"\u003cp style=\"line-height: 115%;\" class=\"MsoNormal\"\u003e\u003cem\u003ePostcard Philly,\u003c\/em\u003e 2023\u003cbr\u003eSilkscreen\u003cbr\u003eEdition of 40\u003cbr\u003e22 1\/4 x 29 3\/4 in\u003cbr\u003eCollaborating Printers: Leslie Friedman, Gustavo Garcia, Rohan McDonald\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003e\u003cem\u003ePostcard Philly\u003c\/em\u003e is an archive in the form of an image. Namibian artist Vitjitua Ndjiharine drew from the collections of the Library of Congress to assemble this densely layered composition, gathering documents, letters, stamps, maps, and illustrations from disparate sources and bringing them into conversation on a single surface. The work was made during her residency at Brandywine Workshop and Archives as one of the inaugural El Anatsui Fellows. At the center of the composition stand two figures in Herero traditional attire, grounding the work in a living cultural identity even as the materials surrounding them speak to the bureaucratic and cartographic machinery of history.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eThe silkscreen process suits the work well. Its layering of ink mirrors the layering of meaning, each element pressed onto the surface the way history presses itself onto people, accumulating over time into something that is difficult to read all at once and impossible to look away from.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eThe result is a meditation on what it means to arrive somewhere, to carry a history that is not recorded in the archives around you, and to place yourself, deliberately and visibly, at the center of the frame.\u003c\/p\u003e","brand":"Vitjitua Ndjiharine","offers":[{"title":"Default Title","offer_id":45569686306966,"sku":null,"price":1450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/Vitjitua_Ndjiharine_Philly_Drag_2023.jpg?v=1756781200"},{"product_id":"duet-for-carmen-dizzy-left-panel-vandorn-hint","title":"Duet for Carmen \u0026 Dizzy (Left Panel)","description":"\u003cblockquote\u003e \u003cp\u003e\u003cstrong\u003eFrom the Artist\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eDuet for Carmen \u0026amp; Dizzy\u003c\/em\u003eis a [two part, or diptych] tribute\/homage to the late Carmen McRae and John Birks (Dizzy) Gillespie. The image grows out of a series of images which have developed over a 20-year period and continues to be built upon. The left half [this print] refers to Dizzy Gillespie, horn player.The rectangular form and various lines represent \"Dizzy\" and the circle with spiraling lines represent the source and emanations of his musical talent.\u003cbr\u003e\u003cbr\u003e The right half refers to Carmen McRae, vocalist. The open triangular shape represents Carmen singing. and the spiraling shape which meets the illuminated circle represents both the emanations and source of her talent. The spiraling pattern above the triangle speaks of the ecstasy experienced when one is in touch with, and living in, one's life's calling.\u003cbr\u003e\u003csub\u003e\u003cem\u003e—From Brandywine Workshop and Archives records\u003c\/em\u003e\u003c\/sub\u003e\u003c\/p\u003e \u003c\/blockquote\u003e","brand":"Vandorn Hint","offers":[{"title":"Default Title","offer_id":46279810056342,"sku":"ART-000663","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/65307_ca_object_representations_media_1434_original.jpg?v=1772839147"},{"product_id":"twilight-en-el-tropico","title":"Twilight En El Tropico","description":"\u003cp class=\"p1\"\u003e\u003cem\u003eTwilight En El Tropico, \u003c\/em\u003e2024\u003cbr\u003eWoodcut CNC\u003cbr\u003eEdition of 40\u003cbr\u003e44 ¼ x 30 ⅛ inches\u003cbr\u003eCollaborating Printer: Alexis Nutini\u003c\/p\u003e","brand":"Calo Rosa","offers":[{"title":"Default Title","offer_id":46279810613398,"sku":"ART-002025SCH06-026","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/2025SCH06-026.jpg?v=1742596930"},{"product_id":"zaka-love","title":"Zaka Love","description":"\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e2024\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e30x22in, silkscreen\/mixed media\u003c\/p\u003e","brand":"Vladimir Cybil Charlier","offers":[{"title":"Default Title","offer_id":46279810711702,"sku":"ART-002025SCH05-005","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/files\/2025SCH05-005b.jpg?v=1742594818"},{"product_id":"do-indian-artists-go-to-santa-fe-when-they-die","title":"Do Indian Artists Go To Santa Fe When They Die?","description":"\u003cp\u003e\u003cem\u003eDo Indian Artists Go to Santa Fe When They Die?\u003c\/em\u003e, 1988\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 90\u003cbr\u003e30 x 22 in\u003cbr\u003eCollaborating Printer: Bob Franklin\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eThe title alone stops you. Richard Ray Whitman, a Yuchi\/Creek artist and filmmaker, poses the question with full awareness of its edge — Santa Fe long functioning as shorthand for a certain institutionalized, romanticized idea of Native American art, the kind that gets collected, canonized, and kept safely in the past.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eThis print refuses that past. The upper half presents a black-and-white photograph of a group of Native people, vivid color exploding around them: a nuclear symbol, a bull skull, tribal nation names lettered across their figures. The lower register shifts to a map of the United States labeled \"Home Lands,\" flanked by spinning wheel forms in yellow and blue. The composition moves between documentary and symbol, between the photographic record and the living language of Indigenous visual culture.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eWhitman describes his practice as a layering of cultural, political, and aesthetic ideas in constant evolution, mirroring the identities of Native people themselves, which have never been fixed, despite the persistence of institutions that preferred them that way. This print is that argument made visible, insisting on complexity, contemporaneity, and the right to keep changing.\u003c\/p\u003e","brand":"Richard Ray Whitman","offers":[{"title":"Default Title","offer_id":46279820837014,"sku":"ART-000487","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Whitman_Indians1.jpg?v=1606779273"},{"product_id":"face-off","title":"Face-Off","description":"\u003cp\u003e\u003cem\u003eFace-Off\u003c\/em\u003e, 2000\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 50\u003cbr\u003e30 x 22 in\u003cbr\u003eCollaborating Printer: Bob Franklin\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eIn \u003cem\u003eFace-Off\u003c\/em\u003e, Gayle Tanaka turns her own face into both subject and argument. Across nine self-portraits, she presents the same face in shifting tonal variations — each hue enough, in life, to assign a person to an ethnic category and all the assumptions that travel with it. Laid side by side, the effect is quietly destabilizing. The face does not change. Only the ink does.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eTanaka grew up Japanese American in an otherwise white Chicago suburb, and she has spent her career mapping what it means to move through the world with a face that others read before you have the chance to speak. In this print, she makes that experience visible by making it literal. Skin becomes ink. Ink becomes a layer on paper. And the question she poses is a sharp one: how did something this superficial acquire such profound and often devastating social consequence?\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eThe nine faces function as masks, and like all masks, they simultaneously reveal and conceal. What they point toward, Tanaka insists, is what lives behind the surface — individual, particular, and irreducible to the color of its outermost layer.\u003c\/p\u003e","brand":"Gayle Tanaka","offers":[{"title":"Default Title","offer_id":46279822180502,"sku":"ART-000177","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Tanaka_FaceOff1.jpg?v=1606779259"},{"product_id":"my-spirit","title":"My Spirit","description":"\u003cp\u003e\u003cem\u003eMy Spirit,\u003c\/em\u003e 1997\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 80\u003cbr\u003e30 x 22 in\u003cbr\u003eCollaborative Printer: Bob Franklin\u003c\/p\u003e","brand":"Jose Sebourne","offers":[{"title":"Default Title","offer_id":46279823294614,"sku":"ART-000287","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Sebourne_MySpirit_1.jpg?v=1606779260"},{"product_id":"quest-we-who-believe-in-freedom-cannot-rest","title":"Quest: We Who Believe in Freedom Cannot Rest","description":"\u003cp\u003e\u003cem\u003eQuest: We Who Believe in Freedom Cannot Rest\u003c\/em\u003e, 1993\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 90\u003cbr\u003e30 x 22 in\u003cbr\u003eCollaborative Printer: Bob Franklin\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe print \u003c\/span\u003e\u003cem\u003eQuest: We Who Believe in Freedom Cannot Rest\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eillustrates a couple in a doorway of a structure that is either a house or a building. A photographic image of a neatly dressed Black couple contrasts sharply with the expressionist renderings of the walls and roof of the building from which they emerge. The walls and roof seem to symbolize the outlines of an iconic 19th-century image depicting the Middle Passage, slaves stored in the holds of ships bringing Africans to the Americas. The title alludes to the role of the institution on Black marriages early on and its disruption and denial through the institution of slavery. The visual narrative suggests the nature and history of slavery and the quest by slaves and their descendants born into slavery for freedom to choose who to love, marry, bear children with, and raise a family. It would seem to urge Black family descendants to never forget the various dimensions of the quest for basic human rights denied and the legacy of slavery's effect on the Black family.\u003c\/span\u003e\u003c\/p\u003e","brand":"Orisegun Bennett-Olomidun","offers":[{"title":"Default Title","offer_id":46279827194006,"sku":"ART-000437","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Olomidun_WeWho1.jpg?v=1606779234"},{"product_id":"crossings","title":"Crossings","description":"\u003cp\u003e\u003cem\u003eCrossings,\u003c\/em\u003e 1992\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 58\u003cbr\u003e30 x 22 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 Yong Soon Min's own body — her torso, arms crossed tightly over her chest in what reads as both self-possession and self-protection. Printed in deep purples and grays with sharp white lines, the image carries an almost electric charge, the negative rendering making the figure feel simultaneously present and exposed.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eArranged over the torso are three black-and-white photographic inserts that unfold like film stills. In the first, a hand hovers over the chest, about to make a mark. The second shows the word \"HEART\" being written onto the skin. In the third, the completed word — \"HEARTLAND\" — is revealed as another pair of hands holds Min's arms apart from her chest. Whether those hands are opening or restraining is left deliberately unresolved.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eA fourth image, centered and in full color, returns to the crossed-arm torso. Projected over it is a map — a seamless fusion of North America and the Korean peninsula — collapsing geography into a single new territory. 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Literary and scriptural reference run through Landau's practice across painting, printmaking, and illustration, and here the source is Psalm 34, its repeated Hebrew word shalom, peace, woven into the composition alongside the English phrase \"seek peace and pursue it.\" The verses that ground the work are unambiguous in their moral weight: depart from evil, do good, pursue peace not as a passive condition but as an active one. For Landau, text was never decorative. 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Working in egg tempera, acrylic, and oils, his work contains saturated colors, rigorous geometric patterns, numbers, letters, and readily identifiable symbolic motifs, like spirals. In \u003cem\u003eUntitled\u003c\/em\u003e, Gouverneur preserves and transforms the signs and symbols into his own visual language. His vocabulary included floral shapes, mandalas, spirals, grids, concentric circles, letters and numbers, as well as stylized Egyptian solar boat and other arcane images. Symmetry and asymmetry coexist, with neither predominating.\u003c\/span\u003e\u003c\/p\u003e","brand":"Simon Gouverneur","offers":[{"title":"Default Title","offer_id":46279837548694,"sku":"ART-000637","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Gouverneur_UntldBW1.jpg?v=1606779180"},{"product_id":"dreamers-dreaming","title":"Dreamers Dreaming","description":"\u003cp\u003e\u003cem\u003eDreamers Dreaming\u003c\/em\u003e, 1985\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 100\u003cbr\u003e23 x 30 in\u003cbr\u003eCollaborative Printer: Bob Franklin\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eJack Gerber's \u003cem\u003eDreamers Dreaming\u003c\/em\u003e places us inside the logic of a dream itself — where a single woman multiplies across the composition, appearing in three model-like poses in the upper register before settling into a larger, recumbent form at the bottom of the print, resting beneath flowers arranged in a decorated vase. A dog sits nearby, its head turned outward beyond the picture plane, as though keeping watch at the boundary between the interior world of the image and the one outside it.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eGerber builds this world through crosshatching, a technique he employs not for precision but for atmosphere, giving the figures an organic, impressionistic quality that keeps them from ever fully resolving into stillness. The palette does the rest. Vivid and restless, the color moves through the composition the way feeling moves through a body, generating warmth and unease in equal measure.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eThe title, \u003cem\u003eDreamers Dreaming\u003c\/em\u003e, appears inscribed in the upper right corner along the border of the print, rendered in Gerber's own hand and in his characteristically charged color. It reads less like a caption than a confession. His work has always concerned itself with the interior life, with love and memory and the kind of uncertainty that doesn't resolve so much as it deepens. This print is no exception.\u003c\/p\u003e","brand":"Jack Gerber","offers":[{"title":"Default Title","offer_id":46279838040214,"sku":"ART-000228","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Gerber_Dreamers1.jpg?v=1606779175"},{"product_id":"my-country-needs-me","title":"My Country Needs Me","description":"\u003cp\u003e\u003cem\u003eMy Country Needs Me\u003c\/em\u003e, 1996\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 80\u003cbr\u003e21 1\/4 x 30 in\u003cbr\u003eCollaborative Printer: Bob Franklin\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eAt the top of this print, a line of text reads: \u003cem\u003eMy country needs me, and if I were not here, I would have to be invented.\u003c\/em\u003e The words come from Hortense Spillers' landmark essay \"Mama's Baby, Papa's Maybe,\" a foundational text in African American feminist literary criticism on the origins and abuse of racial and gender-based language. Below them, a disjointed face — a composite of a Black boxer and an African mask — emerges from a background of horizontal stripes that unmistakably evokes the American flag.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eRodney Ewing built this work around a single, urgent question: who controls the image of the Black body in America? Media, history, fiction, and science have long supplied their own answers. With this print, Ewing refuses those answers and offers one of his own. The result is a work that is at once confrontational and deeply considered, asking the viewer to sit with the weight of what it means to be defined by forces outside yourself, and what it looks like to reclaim that definition.\u003c\/p\u003e","brand":"Rodney Ewing","offers":[{"title":"Default Title","offer_id":46279838826646,"sku":"ART-000505","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Ewing_CountryNeedsMe1.jpg?v=1606779170"},{"product_id":"weapon-3","title":"Weapon 3","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eWeapon 3\u003c\/em\u003e, 1988\u003cbr\u003eOffset Lithograph\u003cbr\u003eEdition of 40\u003cbr\u003e21 1\/2 x 30 in\u003cbr\u003eCollaborative Printer: Bob Franklin\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOne\u003cb\u003e \u003c\/b\u003eof the most difficult issues to assimilate, and one which really breaks the service of my work, is politics. Like so many of my friends, I experienced genuine anger, frustration and a sense of outrage to which I can find no effective articulation. The show covers the period of 1979 through '94. Dominated by a political agenda diametrically opposed to everything I cared about. Around me I see every institution under direct attack—the NHS, education, the Arts, Social Services, immigration, the law, the coal industry (and there are others). All under the hammer of a political orthodoxy that seems to understand only self-interest, short-termism, political expediency and market forces. \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMy own work does not engage with these issues directly despite my strong feelings but does not mean that they do not impinge upon the work in some subtle way. The\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWeapon Series\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emakes a direct reference to my views on whaling, especially by the Norwegians and the Japanese. At the same time, however, I acknowledge my work owes much to the extraordinary quality of space and silence that typifies traditional Japanese architecture. The vertical painted panels (screens) bisected by a wooden bar\/Harpoon could refer to an aspect of Japanese culture that I reject. A very positive experience that I fully expect to have an impact on my work has been an incredibly interesting trip to Rajasthan, although the process may take some time to emerge. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Richard Cox","offers":[{"title":"Default Title","offer_id":46279840956566,"sku":"ART-000481","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Cox_Weapon31.jpg?v=1606779156"},{"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":"segyp-kasket-suit-taup","title":"Segyp Kas'Ket Suit Taup","description":"\u003cp\u003eOffset Lithograph\u003c\/p\u003e\n\u003cp\u003e22 x 30 inches, 2005\u003c\/p\u003e","brand":"Rick Bartow","offers":[{"title":"Default Title","offer_id":46279843217558,"sku":"ART-000492","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/1997-Bartow-Rick-SegypKas_KetSuitTaup-OL-Web_Ready.jpg?v=1612892978"},{"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. For Arai, printmaking has always been inseparable from community, a medium that multiplies not just images but access, ensuring that the faces and histories she recovers do not disappear again.\u003c\/p\u003e","brand":"Tomie Arai","offers":[{"title":"Default Title","offer_id":46279843545238,"sku":"ART-000655","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/products\/Arai_Portrait3.jpg?v=1606779138"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0482\/6470\/8246\/collections\/Screenshot_2026-06-16_at_9.43.38_PM.png?v=1781660644","url":"https:\/\/brandywine.art\/collections\/we-the-people.oembed","provider":"Brandywine.Art","version":"1.0","type":"link"}