Renseignements généraux

Nº de série

S/O

Nº de partie

1

Nombre total de parties

1

Ou

S/O

Brevets

S/O

Description générale

PAPER, CARDBOARD SUPPORTS, METAL FRAME & GLASS

Dimensions

Remarque : Cette information reflète la taille générale pour l’entreposage et ne représente pas nécessairement les véritables dimensions de l’objet.

Longueur

28,5 cm

Largeur

22,0 cm

Hauteur

S/O

Épaisseur

S/O

Poids

S/O

Diamètre

S/O

Volume

S/O

Lexique

Groupe

Transports terrestres non motorisés

Catégorie

Vélos et cyclisme

Sous-catégorie

S/O

Fabricant

Ou

Currier Ives

Pays

United States of America

État/province

New York

Ville

New York

Contexte

Pays

Inconnu

État/province

Inconnu

Période

Inconnu

Canada

Currier and Ives was a New York City printmaking business that operated between 1835 and 1907. The company designed and sold inexpensive, hand painted lithographic works based on current events and dominant views of popular culture. Many prints conveyed critical, negative, or at least cautionary messages, in obvious and subtle ways, again reflecting the concerns or fears of their audience. This was especially true of Currier and Ives's images of African Americans. The Darktown Comics consisted of 100 to 200 racist prints that were created by a few company artists between the 1870s and 1890s. These prints were among the bestselling of the company’s 7000+ lithographs. Through these and other works, Currier and Ives inadvertently created “a pictorial record” of values in the United States over the late 19th century. (ref.1)

Fonction

A print from Currier and Ives Darktown Comics. This comic depicts racist stereotypes that are harmful and offensive. Ingenium preserves such works in order to provide historical context and to enable the study of racism in relation to science, technology, and society.

Technique

This drawing was made by artists associated with the firm, primarily John Cameron (1828-1906) and Thomas Worth (1834-1917). Currier and Ives included various types of technologies in their Darktown prints which served as objects through which the artists could comment on the relationships between various groups and technology, as well as reaffirm offensive tropes and reinforce racist and sexist stereotypes. In this particular work, the bicycle’s popped and deflating tires suggest to the viewer that this technology does not work for, as it was not intended for, African American women. As Bryan Le Beau notes in his work “black women are more often the brunt of Currier and Ives’s Darktown prints dealing with pretensions to fashion, but men are occasional victims as well” (ref.1). This can be seen in this print through the dress, gloves, and shoes as well as through the text below the image.

Notes sur la région

Inconnu

Détails

Marques

BELOW PICTURE ON PRINT `THE CRAZE HAS REACHED COONVILLE,/ HERE I comes upon my wheel,/ And don't care how you laugh,/ For I'se de belle of Darkeytown,/ And never mind such chaff./ De coons all say dat I'se a "bute,"/ And s'long as dem I mash,/ I needn't pay no `tentian/ To de jollyin of white trash.'

Manque

S/O

Fini

LIGHT TAN PAPER, COLOUR PICTURE

Décoration

PICTURE OF A LARGE BLACK WOMAN ON A SAFETY BICYCLE