Elizabeth Catlett: “A Black Revolutionary Artist and All That It Implies”

“I have been, and am currently, and always hope to be a Black revolutionary artist, and all that it implies.”

—Elizabeth Catlett, May 1970, in a speech delivered from Mexico to attendees at the Conference on the Functional Aspects of Black Art in Chicago, after Catlett was denied a US visa

A deft sculptor and printmaker, ardent feminist, and lifelong social activist, Elizabeth Catlett (1915–2012) was a defining artist of the 20th century. Across nearly 100 years—from Jim Crow segregation through the Cold War and into Barack Obama’s first term as president—Catlett remained steadfast in her commitment to both her art and her political beliefs. 

Born in Washington, DC, and growing up during the Great Depression, she witnessed class inequality, racial violence, and US imperialism firsthand, all while pursuing an artistic education grounded in modernism. In 1946 Catlett settled permanently in Mexico, where she worked for the rest of her life, amplifying the experiences of Black and Mexican women.

No matter where she lived, Catlett was a tireless advocate for change, using her soaring artworks and on-the-ground activism to challenge social injustices. Inspired by sources ranging from African sculpture to works by American sculptor Barbara Hepworth and German printmaker Käthe Kollwitz to Mexican graphic art, Catlett’s prints and sculptures are characterized by bold lines and voluptuous forms. While she privileged craftsmanship and technique in her practice, she was also intent that her work be understood by all and was very deliberate in choosing the medium that would best suit her desired message.

Bringing together over 100 works from across Catlett’s awe-inspiring career, this long-overdue retrospective showcases the significant role this revolutionary artist and radical activist played in her time and the influence she still has today. Her powerful work continues to speak directly to all those united in the fight against poverty, racism, and imperialism.

Elizabeth Catlett: “A Black Revolutionary Artist and All That It Implies” is organized by Dalila Scruggs, Augusta Savage Curator of African American Art, Smithsonian American Art Museum; Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum; and Mary Lee Corlett, associate curator of modern prints and drawings (retired), National Gallery of Art; with Rashieda Witter, curatorial assistant, National Gallery of Art, and Carla Forbes, curatorial assistant, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.

The exhibition is organized by the Brooklyn Museum and the National Gallery of Art, Washington, in collaboration with the  Art Institute of Chicago.

Catalogue

The accompanying catalogue offers a revelatory look at the artist and her nearly century-long life, highlighting overlooked works alongside iconic masterpieces. Essays address a range of topics, including Catlett’s early development as an artist-activist, the impact of political exile on her work, her pedagogical legacy, her achievement as a social realist printmaker, her work with the arts community of Chicago’s South Side, and the diverse influences that shaped her practice. Learn more.

Sponsors

Elizabeth Catlett: “A Black Revolutionary Artist and All That It Implies” is made possible by the Terra Foundation for American Art and the Henry Luce Foundation.

Major support for the Chicago presentation is provided by the Walter and Karla Goldschmidt Foundation, Elisabeth and William Landes, and Dr. Peggy A. Montes.

Members of the Luminary Trust provide annual leadership support for the museum’s operations, including exhibition development, conservation and collection care, and educational programming. The Luminary Trust includes an anonymous donor, Karen Gray-Krehbiel and John Krehbiel, Jr., Kenneth C. Griffin, the Harris Family Foundation in memory of Bette and Neison Harris, Josef and Margot Lakonishok, Liz and Eric Lefkofsky, Ann and Samuel M. Mencoff, Sylvia Neil and Dan Fischel, Cari and Michael J. Sacks, and the Earl and Brenda Shapiro Foundation.