[Elizabeth Catlett: a retrospective] Page: 3 of 16
[16] p. : ill. (some col.) ; 17 cm.View a full description of this book.
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I t is no secret to those who know me that
Elizabeth Catlett is my idol. There are
many artists whose work I greatly respect,
but what I feel for Elizabeth and her work
goes well beyond simple respect. The
best way to describe my feelings regard-
ing Elizabeth Catlett is to share my
thoughts as I uncrated her work.
I have been fortunate to see quite a bit of
Elizabeth's work in my developing years
as an artist, some of it in person, the bulk
of it in books. As I unpacked the work, I
reflected on why I connected so com-
pletely with it. Catlett's imagery and the
particular perspective that she reflects is
the thing that first attracted me to her
work. I was and am fascinated by her
ability to, with a simple figure, capture so
much emotion and depth of understand-
ing about the plight of the oppressed.
Best known in America for her sculptures,
Catlett has elevated the human figure to
new heights of beauty. Because so muchof her work deals specifically with the
female figure, her personal interpretations
become that much more significant. She
speaks with visual authority about
women in general and women of color
particularly.
L ike all great artists, Catlett's artistic
concerns are not limited to one medium.
She is probably as well known in her
adopted country of Mexico for her prints
as she is for her three dimensional work.
In looking at the prints, it is clear that
Catlett's facility for conveying emotion is
by no means limited to her understandingCOVER: PLAYING, Linocut, 1983
1
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Junior Black Academy of Arts and Letters. [Elizabeth Catlett: a retrospective], book, 1989/1990; (https://texashistory.unt.edu/ark:/67531/metadc1616137/m1/3/: accessed July 11, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting UNT Libraries Special Collections.