- Identification and Creation
- Physical Descriptions
- Photogravure, watercolor, colored pencil, varnish, pomade, plasticine, blue fur, gold leaf and crystals
- Sheet: 62.2 x 90.2 cm (24 1/2 x 35 1/2 in.)
Frame: 90 x 119.5 x 4.5 cm (35 7/16 x 47 1/16 x 1 3/4 in.)
- Inscriptions and Marks
- Signed: verso in graphite pencil: Ellen Gallagher 2005-06
- inscription: verso in graphite pencil: 19/25 Ellen Gallagher 2005-06
- [Two Palms Press, Inc., New York, New York], sold; to Harvard University Art Museums, August 2006.
- State, Edition, Standard Reference Number
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Fogg Museum, Margaret Fisher Fund
- Accession Year
- Object Number
- Modern and Contemporary Art
- Ellen Galagher's Abu Simbel print pushes the definition of printmaking to its outer limits. In 2000, she was asked to do an intervention at the Freud Museum in London and got interested in the photogravure of Abu Simbel, an ancient Egyptian site, hanging in his library. She determined to make a copy of the original photogravure and manipulate it with her race, history, and identity driven iconography. The "reprinted" photogravure has gold leaf, crystals, plasticine, and blue fur collaged to its surface, as well as some washes of watercolor. She describes it as "a tricked-out, multi-directional flow from Freud to ancient Egypt to Sun Ra to George Clinton."
Featured prominently in the upper left is a space ship shooting fireballs at the Egyptian monument that makes reference to the blaxploitation film, Space is the Place, in which Sun Ra has been sent to earth to rescue downtrodden African Americans and take them back to his astral utopia. He finds opposition from the Overseer, a black man who rides around in a huge Cadillac, oppressing other blacks. In Gallagher's print, the black pharaohnic figures sit atop Cadillac grills, surrounded by the decapitated heads of other black men, the victims of their oppression. In Sun Ra's movie, the Overseer is always has a woman on each arm and here the pharaohs are accompanied by two nurses, one of Gallagher's favorite characters. The nurse is an allusion to Eunice Rivers, the nurse who although caring and sympathetic, followed the orders of the doctors who conducted the Tuskegee syphilis experiments. She has become an exemplar of black complicity in the black subjugation. The same self-subjugation is exemplified by the three small figures on the right-a white man, an African American, and a black African-who Gallagher described to David Lasry, the publisher of the print, as "Harlem real estate developers."
- Publication History
Stephan Wolohojian, ed., Harvard Art Museum/ Handbook, Harvard Art Museum (Cambridge, MA, 2008), p. 256, ill.
Harvard University Art Museums, Harvard University Art Museums Annual Report 2006-7 (Cambridge, MA, 2008), p. 27, ill.
- Exhibition History
Contemporary Art from the Harvard University Art Museums Collections, Harvard University Art Museums, Fogg Art Museum, Cambridge, 06/23/2007 - 01/31/2008
Around Antique: Prints, Drawings, and Photographs (Teaching Gallery) S421, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 05/14/2010 - 09/04/2010
32Q: 3740 Egyptian, Harvard Art Museums, Cambridge, 05/12/2015 - 11/17/2015
- Subjects and Contexts
This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Modern and Contemporary Art at firstname.lastname@example.org