In the late 1930s, the sculptor Sargent Johnson began making lithographs at the Federal Art Project's San Francisco print workshop. Among the works that he created was a highly abstract image of a woman moving through the urban space of a city, her face obscured by a net veil. Titled Dorothy C., the piece would seem to be a portrait of a specific woman that the artist knew. But who was this Dorothy and why did Johnson choose to commemorate her in this oblique way? This presentation examines issues of race and romance in the work of this under appreciated Harlem Renaissance- era artist.
Presented with the Terra Foundation for American Art
Art Institute of Chicago, Fullerton Auditorium