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                  <text>High Museum of Art Civil Rights Photography Collection</text>
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                  <text>&lt;em&gt;Ways of Seeing: Art History, Curating and Museums&lt;/em&gt; examines selected examples of African American and Western art. Via an online immersive course, students learn the role of curators, are introduced to museums, and engage with the High Museum of Art, art and archival collections in the Atlanta University Center and other significant collections. Diversity of the museum and its staff as well as its changing audiences is explored. Students prepare to be art historians and/or curators by completing exhibition projects drawn from the High Museum of Art’s collection. The course is taught through a hybrid of synchronous and asynchronous delivery.&lt;br /&gt;&lt;br /&gt;Artworks in this collection are selected from the&amp;nbsp;High Museum of Art's Civil Rights Photography Collection.&amp;nbsp;With over three hundred works, the High Museum holds one of the country’s most significant collections of photographs documenting the civil rights movement. These images were made by committed artists, activists, and journalists who risked injury, arrest, and even death to document this critical moment of change in our nation. The collection includes documentation of the Montgomery Bus Boycott, the life of Dr. Martin Luther King, Jr., and the activities of the Student Non-Violent Coordinating Committee, along with deep holdings by Gordon Parks, Ernest Withers, Danny Lyon, Bruce Davidson, Leonard Freed, and Charles Moore.</text>
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                  <text>All of the content of this Website — including information, data, text, graphics, logos, button icons, images, pictures, audio clips, and software (the “Content”) — is protected by United States copyright laws. The Content of http://www.high.org is copyrighted as a collective work under the United States copyright laws. Except as granted in the limited license below, any other use of this Content, including modification, transmission, presentation, distribution, or republication, is prohibited without the prior written consent of the High Museum of Art, a division of the Robert W. Woodruff Arts Center, Inc., Atlanta, Georgia (the “Museum”). The copyright of the Content and other proprietary rights are held by the Museum or other entities and individuals.</text>
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            <description>A name given to the resource</description>
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                <text>I Am a Man/Union Justice Now, Martin Luther King Memorial March for Union Justice and to End Racsism, Memphis, Tennessee</text>
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                <text>Builder Levy, American, born 1942</text>
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                <text>1968</text>
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                <text>All of the content of this Website — including information, data, text, graphics, logos, button icons, images, pictures, audio clips, and software (the “Content”) — is protected by United States copyright laws. The Content of http://www.high.org is copyrighted as a collective work under the United States copyright laws. Except as granted in the limited license below, any other use of this Content, including modification, transmission, presentation, distribution, or republication, is prohibited without the prior written consent of the High Museum of Art, a division of the Robert W. Woodruff Arts Center, Inc., Atlanta, Georgia (the “Museum”). The copyright of the Content and other proprietary rights are held by the Museum or other entities and individuals.</text>
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                <text>Gelatin silver print</text>
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                <text>I Know My Robe's Goin to Fit Me Well. I Tried It On, At the Gates of Hell (from Slave Song Series)</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>Atlanta University Center Robert W. Woodruff Library</text>
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              <description>Information about rights held in and over the resource</description>
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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>I Know Why the Caged Bird Sings Cover</text>
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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>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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            <description>A related resource from which the described resource is derived</description>
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                <text>Angelou, Maya </text>
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            <description>A name given to the resource</description>
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                <text>I'll Be Back</text>
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                <text>Thornton Dial Jr.</text>
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                <text>Wood, metal, barbed wire, string, fabric, industrial sealing compound, enamel, nails</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 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>African American women--Suffrage--History; Alabama; Arkansas; Atlanta (Ga.).; Bond, Julian, 1940-2015; Branton, Wiley Austin, 1923-1988; Brown, Ed; Civil rights--Georgia--Atlanta; Coleman, Clarence D.; Florida; Georgia; Jackson, Maynard Holbrook Jr., 1938-2003; Jones, Vivian Malone; Jordan, Vernon (Vernon Eulion), 1935-; Lewis, John, 1940 Feb. 21-; Louisiana; Marcus, Sherrill; Mississippi; North Carolina; South Carolina; Southern States; Suffrage; Suffrage--Southern States--History; Tennessee; Texas; Thompson, Geraldine; United States. Voting Rights Act of 1965; Virginia; Voter Education Project (Southern Regional Council)</text>
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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 of the Atlanta University Center, Inc., 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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            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="10569">
                <text>Political campaigns--United States; Young, Andrew, 1932-</text>
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            </elementTextContainer>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="10570">
                <text>en</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="10571">
                <text>Atlanta University Center Robert W. Woodruff Library</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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    </elementSetContainer>
  </item>
</itemContainer>
