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                  <text>SAVC 243 African American Art</text>
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                <text>The American Collection #6: The Flag is Bleeding #2</text>
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                <text>1997 </text>
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                <text>Acrylic on Canvas, Painted and pierced canvas on border</text>
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                <text>78” x 80” </text>
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                <text>Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.</text>
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                <text>Faith Ringgold</text>
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                <text>Image and original data provided by Larry Qualls</text>
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                <text>This is the other flag I selected to high light. Due to the beautiful design and rendition of the flags. </text>
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              <text>50.5 in x 34.5 in x 5.375 in</text>
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                <text>The American Sixties</text>
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                <text>Newton, James</text>
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                <text>Clark Atlanta University Art Museum</text>
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                <text>1969</text>
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                <text>All images in this collection either are protected by copyright or are the property of the Clark Atlanta University Art Museum, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact cauArtMuseum@gmail.com with specific object file name.</text>
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                <text>The Barn (Agriculture Department)&#13;
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                <text>undated</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>All images in this collection either are protected by copyright or are the property of the Robert W. Woodruff Library, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific object file name.</text>
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                <text>African American universities and colleges; African American universities and colleges--Georgia--Atlanta; College buildings--Georgia--Atlanta; College campuses--Georgia--Atlanta</text>
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                <text>Atlanta University Center Robert W. Woodruff Library</text>
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                  <text>The Alchemist’s Notebook: &#13;
The Satire, Remixes, and Haunts of Black Kirby &#13;
&#13;
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                  <text>Suspend your disbelief with me for a moment.&#13;
&#13;
Imagine the alchemists at work in their lair. Watch as they use a set of rusty tools to handle raw, crude materials and melt them down to more malleable forms. As they carefully mix the isolated substances together, listen as they whisper a forgotten tongue from a dusty leather-bound notebook. When the ritual is over and the notebook has been cast aside into the shadows, you witness the substance start to stir. As it twists and turns in the immense heat, you smell the stench of a hot fusion that breathes life into a new creation, indeed a new element, that has never existed before. &#13;
&#13;
This new element is the art of Black Kirby, and this exhibition provides a peek into their notebook of esoteric spells. &#13;
&#13;
Black Kirby—the pseudonym assumed by the acclaimed visual artists and professors John Jennings and Stacey Robinson—are Alchemists. They take raw materials from black history, hip hop, and comic book mythology and remix them to create new universes, never-before seen technologies, and biting satires about the world we live in today. Each of the Black Kirby images serves as a funky rare artifact from an alternate universe, fully formed, and autonomous from its earthly origins. &#13;
&#13;
However, sourced from the Archives Research Center collections, this exhibition investigates these origins by patching together the real-world historical influences eluded to in Black Kirby’s pieces. While the list of the full ingredients in Black Kirby’s cauldron remains a tightly guarded secret, a glimpse in the alchemist’s notebook will help illustrate the historical narratives and traditions in conversation with their work. &#13;
&#13;
&#13;
&#13;
&#13;
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                  <text>Items in this collection are the property of the Robert W. Woodruff Library, and/or the copyright holder as appropriate. To order a reproduction or to inquire about permission to publish, please contact archives@auctr.edu with specific identification number (file name).</text>
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                <text>The Beat</text>
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                <text>2012-2018</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s).</text>
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                <text>works of art</text>
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                <text>Atlanta University Center Robert W. Woodruff Library</text>
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                    <text>Cover of The Brotherhood of Sleeping Car Porters</text>
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                <text>Brotherhood of Sleeping Car Porters; Sleeping cars (Railroads). United States; Sleeping cars (Railroads); United States</text>
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                <text>Dr. B. R. Brazeal published The Brotherhood of Sleeping Car Porters, a continuation of his dissertation which remains a standard reference in American economic history, labor history, and race relations.</text>
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                <text>Brazeal, Brailsford R.</text>
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