{"id":{"repo_id":"vcu","oai_identifier":"oai:scholarscompass.vcu.edu:etd-1215"},"canonical_url":"https://search.dev.ndltd.org/etd/vcu/oai:scholarscompass.vcu.edu:etd-1215","repository":{"repo_id":"vcu","name":"Virginia Commonwealth University","base_url":"https://scholarscompass.vcu.edu/do/oai/"},"display":{"title":"Elizabeth Catlett's I Am the Negro Woman: Emerging from the Margins","abstract":"This art historiographical study focuses on African American artist Elizabeth Catlett’s linocut series I Am the Negro Woman, composed of fifteen images and executed in 1947 while Catlett was a visiting artist at the Taller de Graphica Popular in Mexico City. The series was exhibited shortly thereafter at the Barnett Aden Gallery in Washington, D.C., only to be largely marginalized by the art historical discourse of the following twenty-five years; however, during the Civil Rights Movement, a renewed interest in Catlett and her works began to develop. Later Feminist and Post-colonial art historians, seeking to widen the narrow mid-twentieth century canon, incrementally began to address these images in accordance with their respective interests, expanding the scholarship and increasing the exhibition of the series. The reputation of these images continues to grow, moving I Am the Negro Woman out of the margins of the art historical discourse into a more valued and recognized position.","abstract_html":"This art historiographical study focuses on African American artist Elizabeth Catlett’s linocut series I Am the Negro Woman, composed of fifteen images and executed in 1947 while Catlett was a visiting artist at the Taller de Graphica Popular in Mexico City. The series was exhibited shortly thereafter at the Barnett Aden Gallery in Washington, D.C., only to be largely marginalized by the art historical discourse of the following twenty-five years; however, during the Civil Rights Movement, a renewed interest in Catlett and her works began to develop. Later Feminist and Post-colonial art historians, seeking to widen the narrow mid-twentieth century canon, incrementally began to address these images in accordance with their respective interests, expanding the scholarship and increasing the exhibition of the series. The reputation of these images continues to grow, moving I Am the Negro Woman out of the margins of the art historical discourse into a more valued and recognized position.","abstract_has_math":false,"creators":["Gottwald, Margaret"],"institution":null,"degree_name":"Master of Arts","degree_level":"Thesis","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":["Eric Garberson"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-04-29T07:00:00Z","date_published":"2011-04-29T07:00:00Z","updated_at":"2026-07-24T05:53:41Z","subjects":["Catlett","historiography","linocut","Black artist","I Am the Negro Woman","Arts and Humanities"],"languages":[],"rights":["© The Author"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarscompass.vcu.edu/etd/216"],"render_values":[{"text":"https://scholarscompass.vcu.edu/etd/216","href":"https://scholarscompass.vcu.edu/etd/216","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.25772/B6VP-HN38","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Eric Garberson"]},{"key":"dc:creator","label":"Author","values":["Gottwald, Margaret"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2016-05-13T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Catlett","historiography","linocut","Black artist","I Am the Negro Woman","Arts and Humanities"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["© The Author"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.25772/B6VP-HN38","https://scholarscompass.vcu.edu/etd/216"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This art historiographical study focuses on African American artist Elizabeth Catlett’s linocut series I Am the Negro Woman, composed of fifteen images and executed in 1947 while Catlett was a visiting artist at the Taller de Graphica Popular in Mexico City. The series was exhibited shortly thereafter at the Barnett Aden Gallery in Washington, D.C., only to be largely marginalized by the art historical discourse of the following twenty-five years; however, during the Civil Rights Movement, a renewed interest in Catlett and her works began to develop. Later Feminist and Post-colonial art historians, seeking to widen the narrow mid-twentieth century canon, incrementally began to address these images in accordance with their respective interests, expanding the scholarship and increasing the exhibition of the series. The reputation of these images continues to grow, moving I Am the Negro Woman out of the margins of the art historical discourse into a more valued and recognized position."]},{"key":"dc:title","label":"Title","values":["Elizabeth Catlett's I Am the Negro Woman: Emerging from the Margins"]}]}],"canonical_facts":{"dc:contributor":["Eric Garberson"],"dc:creator":["Gottwald, Margaret"],"dc:date.available":["2016-05-13T07:00:00Z"],"dc:description.abstract":["This art historiographical study focuses on African American artist Elizabeth Catlett’s linocut series I Am the Negro Woman, composed of fifteen images and executed in 1947 while Catlett was a visiting artist at the Taller de Graphica Popular in Mexico City. The series was exhibited shortly thereafter at the Barnett Aden Gallery in Washington, D.C., only to be largely marginalized by the art historical discourse of the following twenty-five years; however, during the Civil Rights Movement, a renewed interest in Catlett and her works began to develop. Later Feminist and Post-colonial art historians, seeking to widen the narrow mid-twentieth century canon, incrementally began to address these images in accordance with their respective interests, expanding the scholarship and increasing the exhibition of the series. The reputation of these images continues to grow, moving I Am the Negro Woman out of the margins of the art historical discourse into a more valued and recognized position."],"dc:identifier":["https://doi.org/10.25772/B6VP-HN38","https://scholarscompass.vcu.edu/etd/216"],"dc:rights":["© The Author"],"dc:subject":["Catlett","historiography","linocut","Black artist","I Am the Negro Woman","Arts and Humanities"],"dc:title":["Elizabeth Catlett's I Am the Negro Woman: Emerging from the Margins"],"thesis:degree_discipline":["Art History"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Arts"]},"updated_at":"2026-07-24T05:53:41Z"}