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Barbara Ellmann

White Privilege in Museums. Still the show featuring Jacob Lawrence’s Migration Series in MoMA’s One Way Ticket. 16 Although the Negro was used to lynching, he found this an opportune time for him to leave where one had occurred. 22Another of the social causes of the migrants’ leaving was that at times they did not feel safe, or it was not the best thing to be found on the streets late at night. They were arrested on the slightest provocation. 58 In the North the Negro had better educational facilities.

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White Privilege in Museums. Still the show featuring Jacob Lawrence’s Migration Series in MoMA’s One Way Ticket. 16 Although the Negro was used to lynching, he found this an opportune time for him to leave where one had occurred. 22Another of the social causes of the migrants’ leaving was that at times they did not feel safe, or it was not the best thing to be found on the streets late at night. They were arrested on the slightest provocation. 58 In the North the Negro had better educational facilities.
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Barbara Ellmann | barbaraellmann.wordpress.com Reviews

https://barbaraellmann.wordpress.com

White Privilege in Museums. Still the show featuring Jacob Lawrence’s Migration Series in MoMA’s One Way Ticket. 16 Although the Negro was used to lynching, he found this an opportune time for him to leave where one had occurred. 22Another of the social causes of the migrants’ leaving was that at times they did not feel safe, or it was not the best thing to be found on the streets late at night. They were arrested on the slightest provocation. 58 In the North the Negro had better educational facilities.

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June | 2013 | Barbara Ellmann

https://barbaraellmann.wordpress.com/2013/06

Monthly Archives: June 2013. The exhibition at the Brooklyn Museum of Art, Gravity and Grace, featuring the work of El Anatsui, is dominated by his monumental tapestry like sculptures made from bottle cap tops and the metal rings wrapped around liquor bottles. I look at this work as the perfect confluence of material, process, concept, and contextual references. Who drank all this? And then making associations to the material I think when inebriated you might feel freer than usual- emancipated! Enter you...

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July | 2013 | Barbara Ellmann

https://barbaraellmann.wordpress.com/2013/07

Monthly Archives: July 2013. Summer of Carroll Cloar. Wedding Party, 1971. Story Told By My Mother, 1995. My Father Was as Big As a Tree, 1955. Alien Child, 1955. Getting the Car Ready, 1972. The Baptizing of Charlie Mae, 1978. Memphis Brooks Museum of Art June 8- Sept 15, 2013. Mid- South Community College June 14- July 19, 2013. White Privilege in Museums. Let’s talk about it part 2. Let’s Talk About It- part 1. Kalamazoo-zoo- zoo, I am crazy for you-you-you. Follow Barbara Ellmann's Blog.

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February | 2014 | Barbara Ellmann

https://barbaraellmann.wordpress.com/2014/02

Monthly Archives: February 2014. Repetitive Actions, at Home and on the Road. Finding connections between unrelated things, seeing patterns in the world, are some of the pleasures of these GAME BOARDS. A large installation of my drawings is featured in AN OPEN BOOK. See the catalog online. For details on the Kalamazoo show: see the RCVA website. For inquiries on the exhibition email anopenbooktour@gmail.com. See the wonderful Window on the Work. White Privilege in Museums. Let’s talk about it part 2.

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October | 2014 | Barbara Ellmann

https://barbaraellmann.wordpress.com/2014/10

Monthly Archives: October 2014. Let’s Talk About It- part 1. I have been thinking about the past few months of major works in the city that confront race, racial stereotypes, oppression, and shame, and I have had the opportunity to teach to and discuss these artworks with students, colleagues, and my own family at the dinner table. Going back to early June, I stood in line to get into Kara Walker’s. Are people not thinking about what is being said here? Does the meaning escape them? It feels like only a ...

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July | 2014 | Barbara Ellmann

https://barbaraellmann.wordpress.com/2014/07

Monthly Archives: July 2014. Kalamazoo-zoo- zoo, I am crazy for you-you-you. How can you take shapes viewed in the landscape and abstract them into sculptural elements? Working from photographs of landscape, shapes were selected and strategies were brainstormed to change them through adding and subtracting, stretching, and fragmenting techniques. Everyone was working on constructing their black oak tag shapes into free standing sculptural forms using SLOT, FOLD, and TAB. A new Roxy Paine. Small groups sp...

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contact | Barbara Ellmann

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GAME BOARDS, 80 Washington Square East, NYC, NY, 2002. Blog: http:/ barbaraellmann.wordpress.com. Facebook: https:/ www.facebook.com/barabaraellmann.artist. Current project website: http:/ anopenbookworkbybarbaraellmann.com. Leave a Reply Cancel reply. Enter your comment here. Fill in your details below or click an icon to log in:. Address never made public). You are commenting using your WordPress.com account. ( Log Out. You are commenting using your Twitter account. ( Log Out. Blog at WordPress.com.

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Leave a Reply Cancel reply. Enter your comment here. Fill in your details below or click an icon to log in:. Address never made public). You are commenting using your WordPress.com account. ( Log Out. You are commenting using your Twitter account. ( Log Out. You are commenting using your Facebook account. ( Log Out. You are commenting using your Google account. ( Log Out. Notify me of new comments via email. Blog at WordPress.com.

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Barbara Ellmann

White Privilege in Museums. Still the show featuring Jacob Lawrence’s Migration Series in MoMA’s One Way Ticket. 16 Although the Negro was used to lynching, he found this an opportune time for him to leave where one had occurred. 22Another of the social causes of the migrants’ leaving was that at times they did not feel safe, or it was not the best thing to be found on the streets late at night. They were arrested on the slightest provocation. 58 In the North the Negro had better educational facilities.

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