4 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/fc29ce3a5b4dacac4d6e985bc45f8196.jpg e2098352fc79f50d22656f14c59cae82 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 Screenprint and gold leaf on paper Physical Dimensions The actual physical size of the original image Image: 30 x 22 inches; Framed: 39.5 x 31.25 inches 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 Game Changing (Ace) Description An account of the resource From the series "Game Changing" Derrick Adams’s Game Changing transforms familiar “face cards” from a standard deck of playing cards into images of black royalty. They remix and interrogate the symbolic codes underlying coats of arms and other medieval heraldry devices that inform card design. Adams drew inspiration from the modern American artist Romare Bearden (1911–1988), whose epic collages layer geometric forms and jewel-toned hues to explore African American life and history. Adams constructed his “playing cards” in segments of brilliant color. He screenprinted four layers of acrylic ink to their surfaces—black, blue, red, and yellow—and then, while the yellow ink was still wet, applied 23.5 carat gold leaf. As the ink dried the gilding abraded slightly, giving texture and individuality to each print. The result is a set of precious objects, each with a presence surprisingly unlike the mass-produced item it recalls. Publisher An entity responsible for making the resource available Lower East Side Printshop 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 Lower East Side Printshop Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.1 Creator An entity primarily responsible for making the resource Derrick Adams https://contemporaryartumd.artinterp.org/omeka/files/original/306b4cc0f670ae85cf0c13bcf8d62adb.jpg 13eb67c9a3083aa49d244f0428131510 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 Digital print Physical Dimensions The actual physical size of the original image Image: 25 x 20 inches; Framed: 27.5 x 22.5 inches 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 Enakai Cutting Their Hair Description An account of the resource From the series "The Outliers" “The Outliers” series began when photographer Elle Pérez visited a “Faerie” sanctuary in rural Tennessee for seekers of radical queer community. Pérez was inspired there by people freely embracing identities between and beyond the male/female gender binary. “I found reading the stories and seeing the faces of others who were like me to be extremely important in my own self-identification and maturing process,” the artist has said. Later that year, Pérez set out across the United States to meet and document young people who identify as genderqueer. While making their portraits, Pérez took time to connect with subjects and learn their personal histories. Printing the results in sumptuous color, Pérez emphasizes the particularized beauty ofeach person and of the objects and environments through which they self-define. Date A point or period of time associated with an event in the lifecycle of the resource 2011 Rights Information about rights held in and over the resource Image courtesy of the artist Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.10 Creator An entity primarily responsible for making the resource Elle Perez https://contemporaryartumd.artinterp.org/omeka/files/original/98a04c2ec7207186409a2371cbe27d41.jpg d862faf1ac54e9e4b5fd7af22eab144d 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 Digital print Physical Dimensions The actual physical size of the original image Image: 9 x 13 inches; Framed: 10.5 x 14.5 inches 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 Pronoun Workshop Description An account of the resource From the series "The Outliers" “The Outliers” series began when photographer Elle Pérez visited a “Faerie” sanctuary in rural Tennessee for seekers of radical queer community. Pérez was inspired there by people freely embracing identities between and beyond the male/female gender binary. “I found reading the stories and seeing the faces of others who were like me to be extremely important in my own self-identification and maturing process,” the artist has said. Later that year, Pérez set out across the United States to meet and document young people who identify as genderqueer. While making their portraits, Pérez took time to connect with subjects and learn their personal histories. Printing the results in sumptuous color, Pérez emphasizes the particularized beauty ofeach person and of the objects and environments through which they self-define. Date A point or period of time associated with an event in the lifecycle of the resource 2011 Rights Information about rights held in and over the resource Image courtesy of the artist Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.11 Creator An entity primarily responsible for making the resource Elle Perez https://contemporaryartumd.artinterp.org/omeka/files/original/1c567017cb59ec57443ffa28f8934360.jpg fac1a25a42ed53fdcc5d27d4ecc77b88 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 Digital print Physical Dimensions The actual physical size of the original image Image: 25 x 20 inches; Framed: 27.5 x 22.5 inches 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 Reilly's Breast Description An account of the resource From the series "The Outliers" “The Outliers” series began when photographer Elle Pérez visited a “Faerie” sanctuary in rural Tennessee for seekers of radical queer community. Pérez was inspired there by people freely embracing identities between and beyond the male/female gender binary. “I found reading the stories and seeing the faces of others who were like me to be extremely important in my own self-identification and maturing process,” the artist has said. Later that year, Pérez set out across the United States to meet and document young people who identify as genderqueer. While making their portraits, Pérez took time to connect with subjects and learn their personal histories. Printing the results in sumptuous color, Pérez emphasizes the particularized beauty ofeach person and of the objects and environments through which they self-define. Date A point or period of time associated with an event in the lifecycle of the resource 2011 Rights Information about rights held in and over the resource Image courtesy of the artist Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.12 Creator An entity primarily responsible for making the resource Elle Perez https://contemporaryartumd.artinterp.org/omeka/files/original/c458cbf9dc0b5a4627c8d895592a5755.jpg a8efc467e4adf6c14828ce529c3d05ae 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 Collage, found objects, and oil Physical Dimensions The actual physical size of the original image 42 x 74 x 12 inches 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 Oath of the Imperialists Date A point or period of time associated with an event in the lifecycle of the resource 2013 Rights Information about rights held in and over the resource Image courtesy of the artist Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.13 Description An account of the resource Ellington Robinson, who earned his MFA in painting and mixed media at the University of Maryland in 2008, repurposes once-functional objects to explore ongoing histories of global imperialism. His work makes palpable connections between contemporary politics and events such as the Berlin Conference (1884–1885) and Sykes–Picot Agreement (1916) at which European powers partitioned the continent of Africa and territories of the Ottoman Empire for colonial exploitation. Here Robinson has painted and collaged a heavy tabletop. Knives plunged into its surface seem to stake a claim in an imagined geography. Expanded on its runners but missing its central leaf, the structure is held together by a single gauge, as if to suggest the precariousness of human conquest. Creator An entity primarily responsible for making the resource Ellington Robinson https://contemporaryartumd.artinterp.org/omeka/files/original/dbb190233db9cdea701d52c770e67dd3.jpg 61940d7111ce08a0a7857c309816869f 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 Screenprint and gold leaf on paper Physical Dimensions The actual physical size of the original image Image: 30 x 22 inches; Framed: 39.5 x 31.25 inches 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 Game Changing (King) Description An account of the resource From the series "Game Changing" Derrick Adams’s Game Changing transforms familiar “face cards” from a standard deck of playing cards into images of black royalty. They remix and interrogate the symbolic codes underlying coats of arms and other medieval heraldry devices that inform card design. Adams drew inspiration from the modern American artist Romare Bearden (1911–1988), whose epic collages layer geometric forms and jewel-toned hues to explore African American life and history. Adams constructed his “playing cards” in segments of brilliant color. He screenprinted four layers of acrylic ink to their surfaces—black, blue, red, and yellow—and then, while the yellow ink was still wet, applied 23.5 carat gold leaf. As the ink dried the gilding abraded slightly, giving texture and individuality to each print. The result is a set of precious objects, each with a presence surprisingly unlike the mass-produced item it recalls. Publisher An entity responsible for making the resource available Lower East Side Printshop 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 Lower East Side Printshop Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.2 Creator An entity primarily responsible for making the resource Derrick Adams https://contemporaryartumd.artinterp.org/omeka/files/original/dc5abf4525c6c429d875144b86399d7a.jpg 07e354ae75d896d3c233d8666d38d176 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 Screenprint and gold leaf on paper Physical Dimensions The actual physical size of the original image Image: 30 x 22 inches; Framed: 39.5 x 31.25 inches 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 Game Changing (Queen) Description An account of the resource From the series "Game Changing" Derrick Adams’s Game Changing transforms familiar “face cards” from a standard deck of playing cards into images of black royalty. They remix and interrogate the symbolic codes underlying coats of arms and other medieval heraldry devices that inform card design. Adams drew inspiration from the modern American artist Romare Bearden (1911–1988), whose epic collages layer geometric forms and jewel-toned hues to explore African American life and history. Adams constructed his “playing cards” in segments of brilliant color. He screenprinted four layers of acrylic ink to their surfaces—black, blue, red, and yellow—and then, while the yellow ink was still wet, applied 23.5 carat gold leaf. As the ink dried the gilding abraded slightly, giving texture and individuality to each print. The result is a set of precious objects, each with a presence surprisingly unlike the mass-produced item it recalls. Publisher An entity responsible for making the resource available Lower East Side Printshop 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 Lower East Side Printshop Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.3 Creator An entity primarily responsible for making the resource Derrick Adams https://contemporaryartumd.artinterp.org/omeka/files/original/0f87052950a78cafa90c8faedfd22b75.jpg 1973c602c2eea4d8ad97696942120f6e 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 Screenprint and gold leaf on paper Physical Dimensions The actual physical size of the original image Image: 30 x 22 inches; Framed: 39.5 x 31.25 inches 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 Game Changing (Jack) Description An account of the resource From the series "Game Changing" Derrick Adams’s Game Changing transforms familiar “face cards” from a standard deck of playing cards into images of black royalty. They remix and interrogate the symbolic codes underlying coats of arms and other medieval heraldry devices that inform card design. Adams drew inspiration from the modern American artist Romare Bearden (1911–1988), whose epic collages layer geometric forms and jewel-toned hues to explore African American life and history. Adams constructed his “playing cards” in segments of brilliant color. He screenprinted four layers of acrylic ink to their surfaces—black, blue, red, and yellow—and then, while the yellow ink was still wet, applied 23.5 carat gold leaf. As the ink dried the gilding abraded slightly, giving texture and individuality to each print. The result is a set of precious objects, each with a presence surprisingly unlike the mass-produced item it recalls. Publisher An entity responsible for making the resource available Lower East Side Printshop 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 Lower East Side Printshop Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.4 Creator An entity primarily responsible for making the resource Derrick Adams https://contemporaryartumd.artinterp.org/omeka/files/original/fd19371127afce674cdeb2df816231d1.jpg 9d4dcf233cac9d7ac545bff67eadc107 https://contemporaryartumd.artinterp.org/omeka/files/original/9d1e33e05345cec0bce0846292a2fab7.jpg 08f83053d2954ccc100bd4530a4bab21 https://contemporaryartumd.artinterp.org/omeka/files/original/1d55d3c2bee31e00823e7433b8724703.jpg 104681a838c3c51adb444de20b7072b2 https://contemporaryartumd.artinterp.org/omeka/files/original/86bcb893494429ae5eb6b11daf502a37.jpg a567b61b49d63fe58146a402181f719b 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 Cold cast resin, enamel paint, shrink wrap, and crude oil Physical Dimensions The actual physical size of the original image 13 x 6.25 x 7 inches 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 Perseus Beheading Medusa Description An account of the resource From the series "Lovely Pink" For this series, Wafaa Bilal reproduced a dozen of the most recognizable sculptures in Western art history—here you see replicas of Michelangelo’s David (1501–1504) and Benvenuto Cellini’s Perseus with the Head of Medusa (c. 1554)—on a scale not much larger than tourist souvenirs. Bilal made his figures of resin and coated them with shrink wrap and slick enamel, all products of the petroleum industry. The work responds to recent destruction by ISIS of ancient Assyrian sites, including Palmyra in Syria and Nimrud in Bilal’s home country of Iraq, raising critical questions about human impulses to destroy and to preserve cultural heritage and competing values that inform these decisions. 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 Driscoll Babcock Galleries Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.6 Creator An entity primarily responsible for making the resource Wafaa Bilal https://contemporaryartumd.artinterp.org/omeka/files/original/17bd2cdcd614c831900d084452b9155a.jpg 0bababc911fec0c5a753e3cb47103f3d https://contemporaryartumd.artinterp.org/omeka/files/original/b37ff0fa241e2e4cb970e4037edda053.jpg 8b884415dae5e3a645295523b29cfb56 https://contemporaryartumd.artinterp.org/omeka/files/original/6d379fa89b47df270ab94d30f958c68f.jpg 3aa28f10ff1420350c893f7d8bedecbd https://contemporaryartumd.artinterp.org/omeka/files/original/228f36d8823f479c597f70ea33d6050b.jpg b2cfba1a4e146e80f9d328432c13975b 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 Cold cast resin and enamel paint Physical Dimensions The actual physical size of the original image 9 x 2.75 x 2.75 inches 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 Pink David Description An account of the resource From the series "Lovely Pink" For this series, Wafaa Bilal reproduced a dozen of the most recognizable sculptures in Western art history—here you see replicas of Michelangelo’s David (1501–1504) and Benvenuto Cellini’s Perseus with the Head of Medusa (c. 1554)—on a scale not much larger than tourist souvenirs. Bilal made his figures of resin and coated them with shrink wrap and slick enamel, all products of the petroleum industry. The work responds to recent destruction by ISIS of ancient Assyrian sites, including Palmyra in Syria and Nimrud in Bilal’s home country of Iraq, raising critical questions about human impulses to destroy and to preserve cultural heritage and competing values that inform these decisions. 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 Driscoll Babcock Galleries Relation A related resource 2014-2015 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2015.1.7 Creator An entity primarily responsible for making the resource Wafaa Bilal