For more information on the exhibitions, including
sponsorship credits, visit Crossings,
Fictions of Emancipation: Carpeaux Recast,
Before Yesterday We
Could Fly: An Afrofuturist Period Room, and The African Origin
The Civic Practice Partnership is made possible by The William R. Kenan,
Jr. Charitable Trust.
Matthew Evan Taylor: Life
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Images: Tanekeya Word (American, born 1983). Starshine & Clay, 2019.
Linocut, gouache, acrylic ink, decorative paper collage, 11 × 15 in.
(27.9 × 38.1 cm). The Metropolitan Museum of Art, New York. John B.
Turner Fund, 2021 (2021.53.4) © Tanekeya Word | Emanuel Leutze
(American, Schwäbisch Gmünd 1816–1868 Washington, D.C.). Washington Crossing the Delaware,
1851. Oil on canvas. Gift of John Stewart Kennedy, 1897. The Metropolitan
Museum of Art, New York, 97.34 | Robert Colescott (American,
Washington Carver Crossing the Delaware: Page from an American History
Textbook, 1975. Acrylic on canvas. Lucas Museum of Narrative
Art, Los Angeles, 2021.45.1 © The Robert H. Colescott Separate
Property Trust / Artists Rights Society (ARS), New York | Jean-Baptiste
Carpeaux (French, 1827–1875). Why Born Enslaved! (detail),
modeled 1868, carved 1873. Marble, H. 22 7/8 in. (58.1 cm), W. 16 in.
(40.6 cm), D. 12 1/2 in. (31.8 cm). The Metropolitan Museum of Art, New
York, Purchase, Lila Acheson Wallace, Wrightsman Fellows, and Iris and B.
Gerald Cantor Foundation Gifts, 2019 (2019.220) | Roberto Lugo, Queen Abolition,
2021. Digital illustration. | The
Royal Acquaintances Memi and Sabu, ca. 2575–2465 B.C.
Egyptian. The Metropolitan Museum of Art, New York. Rogers Fund, 1948
(48.111); Seated Couple,
18th–early 19th century. Dogon artist: Mali. The Metropolitan Museum of
Art, New York. Gift of Lester Wunderman, 1977 (1977.394.15)