George Washington Carver Crossing the Delaware: Page from an American History Textbook

paintings

199.4 x 249.6 cm (78.5 x 98.25 in)

acrylic on canvas

The artistCollection of John Berggruen, San Francisco (acquired from the above in 1975)John Berggruen Gallery, San FranciscoPrivate Collection, St. Louis (acquired from the above in 1976)Thence by descent to the present owner

San Francisco, John Berggruen Gallery, Robert Colescott: Paintings, July - August 1975

New York, Whitney Museum of American Art; Raleigh, The North Carolina Museum of Art; Los Angeles, University of California, Frederick S. Wight Art Gallery; and Portland Art Museum, Art About Art, July 1978 - April 1979, p. 138, illustrated

Seattle, University of Washington, Henry Art Gallery, Confrontations, September - November 1984

San Jose Museum of Art; Cincinnati, Contemporary Arts Center; The Baltimore Museum of Art; Portland Art Museum; Akron Art Museum; Norman, University of Oklahoma, Museum of Art; Houston, Contemporary Arts Museum; New York, The New Museum; and Seattle Art Museum, Robert Colescott: A Retrospective, 1975-1986, April 1987 - July 1989, pp. 4 and 30 (text), and p. 11, fig. 15, illustrated in color

New York, Whitney Museum of American Art, Black Male: Representations of Masculinity in Contemporary American Art, November 1994 - March 1995, pp. 43 and 211 (text), and p. 78, illustrated in color; illustrated in color on the front of the exhibition brochure illustrated in color on the front of the exhibition brochure

Stamford, Connecticut, Whitney Museum of American Art at Champion, Consensus & Conflict: The Flag in American Art, July - September 1996

New York, Museums at Stony Brook; Chadds Ford, Pennsylvania, Brandywine River Museum of Art; and Lexington, Massachusetts, The Museum of Our National Heritage, George Washington: American Symbol, February 1999 - February 2000, p. 147, fig. 76, illustrated

Albany, University Art Museum, Mr. President, January - April 2007, pp. 28-29, illustrated in color

Savannah, Telfair Museum of Art, Robert Colescott: Troubled Goods, February - May 2009, pp. 6 and 37 (text), and p. 35, illustrated

Seattle Art Museum, Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas, February - May 2018, n.p., frontispiece, illustrated in color (detail), pp. 14 and 40 (text), p. 28, no. 2, illustrated in color, and illustrated in color on the cover

Cincinnati, Contemporary Art Center, Art and Race Matters: The Career of Robert Colescott, September 2019 - January 2020, p. 36, fig. 22, illustrated in color, and p. 238 (text)

New York, Jewish Museum, We Fight to Build a Free World, October 2020 - February 2021, pp. 17, 18 and 19, illustrated in color (installed in present exhibition)

Alfred Frankenstein, "An Outrageous Ethnic Satire," San Francisco Chronicle, 10 July 1975, p. 41 (text)Lowery Stokes Sims, "Bob Colescott Ain't Just Misbehavin'," Artforum, March 1984, illustrated in color on the cover, and p. 56 (text)Robert Colescott, "Cultivating a Subversive Palette," in: Mark O'Brien and Craig Little, Eds., Reimaging America: The Arts of Social Change, Philadelphia 1990, p. 300 (text)Exh. Cat., Washington, D.C., National Museum of Women in the Arts, Carrie Mae Weems, 1993, p. 14 (text)Irving Sandler, Art of the Postmodern Era, Boulder 1996, p. 10, illustrated, and p. 90 (text)Sandra Adell, Ed., Dictionary of 20th Century Culture: African American Culture, Detroit 1996, p, 102 (text)Steven H. Jaffe, Who Were the Founding Fathers: Two Hundred Years of American History, New York 1996, p. 201 (text)Sharon Fitzgerald, "Robert Colescott Rocks the Boat." American Visions 12, No. 3, June - July 1997, pp. 14-16 (text)Ishmael Reed, Flight to Canada, New York 1998, illustrated in color on the coverExh. Cat., New York, Katonah Museum of Art, Re/Righting History: Counternarratives by Contemporary African American Artists, 1999, p. 11, fig. 4, illustrated, and p. 35 (text)Susan Gubar, Racechanges: White Skin, Black Face in American Culture, Oxford 2000, p. 46 (text)Jean Robertson, Painting as a Language: Material, Technique, Form, Content, Fort Worth 2000, p. 222 (text)Glenda Rossana Carpio, Critical Memory in the Fictions of Slavery, Berkeley 2002, p. iii, illustratedErika Doss, Twentieth Century American Art, Oxford 2002, p. 195, no. 107, illustrated in colorEllen Wiley Todd, "Two Georges and Us: Multiple Perspectives on the Image," American Art, Vol. 17, No. 2, Summer 2003, p. 13 (text)Constance Rourke, American Humor: A Study of the National Character, New York 2004 (reprint of 1931 edition), illustrated in color on the cover (detail)Michael Lobel, "Black to Front," Artforum, October 2004, p. 266, illustrated in color, and pp. 267, 269 and 310 (text)David Hackett Fisher, Washington's Crossing, New York 2005, p. 455, illustratedJody B. Cutler. "Art Revolution: Politics and Pop in the Robert Colescott Painting 'George Washington Carver Crossing the Delaware'," Americana: The Journal of American Culture 1900 - Present, Vol. 8, Iss. 2, Fall 2009, illustrated in color (online)Huey Copeland, "Truth to Power," Artforum, October 2009, p. 59 (text), and p. 60, illustrated in colorChristopher Looby, American Literature's Aesthetic Dimensions, New York 2012, p. 58 (text)Robert Sullivan, My American Revolution, New York 2012, p. 34 (text)Trumbull, Morgann, ed. Berggruen Gallery: 50 Years, 1970-2020, San Francisco 2020, p. 374, illustrated in colorRichard J. Powell, Going There: Black Visual Satire, New Haven 2020, pp. 15 and 158 (text), and p. 18, fig. 14, illustrated in color