4 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/d78718ac78b38356d5c1049a7e527aed.JPG f844f3bfd5f1c508cf0aa9731c69ebf1 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource I Wish to Communicate With You Description An account of the resource Acrylic and dye on hand-woven canvas, found net floats, rope, and identification tag Creator An entity primarily responsible for making the resource Noel Kassewitz Date A point or period of time associated with an event in the lifecycle of the resource 2018 Identifier An unambiguous reference to the resource within a given context 2019.1.3 https://contemporaryartumd.artinterp.org/omeka/files/original/665621bee1dc85f34b216522f74d8938.jpg 9dbe2e24694a075210224c6779c7fae5 https://contemporaryartumd.artinterp.org/omeka/files/original/9d2f5da9ff59c57c88ea45632812da79.JPG f29d89402b922a169e3711e819801347 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Specially adhered pigment on synthetic sailcloth, expanding marine foam, industrial straps, plastic buckles, wooden oars Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rococo Remastered: Sunset on the Empire Creator An entity primarily responsible for making the resource Noel Kassewitz Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource Specially adhered pigment on synthetic sailcloth, expanding marine foam, industrial straps, plastic buckles, wooden oars Identifier An unambiguous reference to the resource within a given context 2019.1.2 https://contemporaryartumd.artinterp.org/omeka/files/original/a7294d13061e70a44fd696433e1e9d51.JPG d964774a0ec950051a62e20762bef5c2 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pentimenti: Strata #9 Description An account of the resource Sand-cast brass with pine tree needles Creator An entity primarily responsible for making the resource SHINJI TURNER-YAMAMOTO Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 19" x 17" x 2.5" Identifier An unambiguous reference to the resource within a given context 2019.1.1 https://contemporaryartumd.artinterp.org/omeka/files/original/145d9219c6c51707996e761cdcd4df89.pdf 2373f4422c2c5643f9555d7933abb91d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource CAPP Map Spring 2018 Description An account of the resource A map of the artworks in the CAPP Collections currently on view in STAMP. Creator An entity primarily responsible for making the resource Stamp Marketing Type The nature or genre of the resource Still Image https://contemporaryartumd.artinterp.org/omeka/files/original/f5ca42b22d89702dd49145d45f060f54.jpg 3abff04163d556e0c250a85a2983ea96 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Poster for New Arrivals 2017 Creator An entity primarily responsible for making the resource Stamp Marketing Type The nature or genre of the resource Still Image https://contemporaryartumd.artinterp.org/omeka/files/original/445d886d1a2d0da05fb55abf28764996.jpg 9f0497428b63cc0928308271cc56d9ec Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Archival inkjet print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lower the Pitch of Your Suffering Description An account of the resource Through large-scale, public, text-based installations such as the “How to Suffer Politely” series, as well as through publications and correlated public programming, Kameelah Janan Rasheed invokes pedagogical ideas of injustice, by presenting phrases that are absurdly insensitive as a way of addressing prejudiced thinking that is true to life. Both Lower the Pitch and Take it Like a Man function to great effect as public service announcements. Yet they also translate a commentary much weightier than traditional media advertising, bringing new attention to the nuances of language and emphasizing how many kinds of meaning can be conveyed with very few words. By impersonating an apathetic voice, these prints create a surprisingly playful confrontation with classism, among other "-isms," effectively deconstructing and dismissing mindsets grounded in the systematic shaming and silencing of specific hardships. Lower the Pitch and Take it Like a Man present callous remarks, as if they were spoken by an unfeeling person, as a way of amplifying the very real and often unseen harm that unjust sentiments can cause to an individual. In doing so, they validate the universality of physical, mental, and emotional pain. Text written by Grace DeWitt, Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Kameelah Janan Rasheed Date A point or period of time associated with an event in the lifecycle of the resource 2016 Rights Information about rights held in and over the resource Image courtesy of the artist Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.10 https://contemporaryartumd.artinterp.org/omeka/files/original/cebda42e20366b241c691da916ba9e29.jpg ceac9d09dce3b17afa0c072ff9da3095 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Archival inkjet print Physical Dimensions The actual physical size of the original image 36in x 24in (unframed) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Take It Like A Man But Don't Take It Up With "The Man" Description An account of the resource Part of the “How to Suffer Politely (and Other Etiquette)” series Through large-scale, public, text-based installations such as the “How to Suffer Politely” series, as well as through publications and correlated public programming, Kameelah Janan Rasheed invokes pedagogical ideas of injustice, by presenting phrases that are absurdly insensitive as a way of addressing prejudiced thinking that is true to life. Both Lower the Pitch and Take it Like a Man function to great effect as public service announcements. Yet they also translate a commentary much weightier than traditional media advertising, bringing new attention to the nuances of language and emphasizing how many kinds of meaning can be conveyed with very few words. By impersonating an apathetic voice, these prints create a surprisingly playful confrontation with classism, among other "-isms," effectively deconstructing and dismissing mindsets grounded in the systematic shaming and silencing of specific hardships. Lower the Pitch and Take it Like a Man present callous remarks, as if they were spoken by an unfeeling person, as a way of amplifying the very real and often unseen harm that unjust sentiments can cause to an individual. In doing so, they validate the universality of physical, mental, and emotional pain. Text written by Grace DeWitt, Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Kameelah Janan Rasheed Date A point or period of time associated with an event in the lifecycle of the resource 2016 Rights Information about rights held in and over the resource Image courtesy of the artist Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.11 https://contemporaryartumd.artinterp.org/omeka/files/original/db830a59a315f701fe4ce31b177e478e.jpg 9af9250d87a883f38fbd3ce5c2aed545 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data C-prints, shot with Fuji 5 x 4.5 on Kodak 120 Vivid Color Film Physical Dimensions The actual physical size of the original image 13in x 16in (framed) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Invisible Angels Description An account of the resource Part of the “Invisible Angels” series K. Yoland devises creative projects that shine a spotlight on individuals and groups who are disenfranchised by perpetuated systems of power. In Yoland’s “Invisible Angels” series, the artist explores a ‘built-to-fail’ public housing facility in London before its demolition to make way for luxury housing. To complete these artworks, which have previously materialized as performance, text, installation, video, and photography, Yoland often attempts to integrate herself into the various communities she sets out to represent. To create "Invisible Angels," the artist collaborated with young, Black residents of this London neighborhood and constructed garments for them to wear out of “domestic temporary materials,” as Yoland describes them: bin liners, tin foil, cling film, newspapers, and shopping bags. Through poses from fashion photography and enigmatic facial expressions, the subjects of “Invisible Angels” exhibit a certain air of ease, confidence, and dignity amidst an environment that may be emotionally and physically distressing. These individuals are not presented as victims of cut-throat social and economic competition, which perpetually punishes those in marginalized socioeconomic brackets. Instead, in a neighborhood permeated by gentrification, Yoland captures a soft expression of human agency. Text written by Grace DeWitt and Damon King Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource K. Yoland Date A point or period of time associated with an event in the lifecycle of the resource 2009 Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.14 Rights Information about rights held in and over the resource Image courtesy of the artist https://contemporaryartumd.artinterp.org/omeka/files/original/413b3ca23f00fe2c6c31b55a44756a69.jpg 138d212eafb3af5571b4c1fdeb9e1a9c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data C-prints, shot with Fuji 5 x 4.5 on Kodak 120 Vivid Color Film Physical Dimensions The actual physical size of the original image 16in x 13in (framed) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Invisible Angels Description An account of the resource Part of the “Invisible Angels” series K. Yoland devises creative projects that shine a spotlight on individuals and groups who are disenfranchised by perpetuated systems of power. In Yoland’s “Invisible Angels” series, the artist explores a ‘built-to-fail’ public housing facility in London before its demolition to make way for luxury housing. To complete these artworks, which have previously materialized as performance, text, installation, video, and photography, Yoland often attempts to integrate herself into the various communities she sets out to represent. To create "Invisible Angels," the artist collaborated with young, Black residents of this London neighborhood and constructed garments for them to wear out of “domestic temporary materials,” as Yoland describes them: bin liners, tin foil, cling film, newspapers, and shopping bags. Through poses from fashion photography and enigmatic facial expressions, the subjects of “Invisible Angels” exhibit a certain air of ease, confidence, and dignity amidst an environment that may be emotionally and physically distressing. These individuals are not presented as victims of cut-throat social and economic competition, which perpetually punishes those in marginalized socioeconomic brackets. Instead, in a neighborhood permeated by gentrification, Yoland captures a soft expression of human agency. Text written by Grace DeWitt and Damon King Student Committee Selection 2016–2017 Date A point or period of time associated with an event in the lifecycle of the resource 2009 Rights Information about rights held in and over the resource Image courtesy of the artist Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.13 https://contemporaryartumd.artinterp.org/omeka/files/original/5bff26c1ae5044539c7e1ca38ed76224.jpg 49569f57d6135d4c5f67197b166f09f9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oak Physical Dimensions The actual physical size of the original image 16in x 16in x 2in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 5, 1893 – Savannah, Georgia Description An account of the resource Part of the “Soundless” series "NOVEMBER 5, 1893 - SAVANNAH, GEORGIA Love Sermon: On November 5, 1893, a prominent Baptist preacher gave a sermon condemning lynching, rape, and mob violence against African Americans in the South. In his sermon, Rev. Emmanuel K. Love of the First African Baptist Church in Savannah, Georgia advocated equality for all people, black and white. Fifteen hundred people attended the evening church service to hear the sermon given by Love. Love noted “the well-known fact that like begets like,” and warned that the outrageous acts of lynching would not stop any time soon. His plea was that “The sensible Negroes and conservative whites should unite and frown down these outrages. This can best be done by conservative talk, fair reasoning, confidence and patriotic cooperation.”" Paul Rucker’s ongoing “Soundless Series” features panel of wood hand-carved by the artist to resemble cello bodies. The cello, an instrument the artist himself plays, has often been imagined as a metaphor for the human voice because of its range and intonation. Here, the strings which would give the cello voice and life are deliberately absent, resulting in an unplayable instrument with no existence beyond a visual object. Each work in the series is named with a date to mark a specific racially-motivated death or related event in American history. Unlike the other works in the “Soundless Series” that memorialize particular deaths, November 5th, 1893 references an event organized against violence. In this country, there is much of our history that we wish to make right, and Rucker teaches us that this history must be revisited before it can be transformed. November 5th, 1893 offers hope in this moment, in the context of a frightening and conflicted world, where racism appears to reinvent its own materialization each day. Text written by Rachael Carruthers, Grace DeWitt, and Nick Duque Creator An entity primarily responsible for making the resource Paul Rucker Date A point or period of time associated with an event in the lifecycle of the resource 2015 Rights Information about rights held in and over the resource Image courtesy of the artist Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.12