  About the Artwork
  
  
  Romare Bearden developed his unique approach to collage during the 1960s when, from 1963 to 1966, he was a member of Spiral. This association of like-minded African American artists based in New York wanted to work together to support the Civil Rights movement while preserving their individual artistic identities. Bearden, up to then known primarily as a painter, suggested that they undertake a communal collage of clippings from such magazines as Ebony, Life, and Look. Ultimately, Bearden worked on the project alone; intrigued by the potential of collage, he made it his primary medium. The lively ensemble in Stamping Ground presents a glimpse of authentic life in a black neighborhood. The street belongs to everyone: whether man or woman, young or old. Bearden’s photomontage is set on flat planes of color distressed by his use of an abrasion tool to give the surface depth and texture. A master collagist, Bearden caught the richness of contemporary African American life.
From Bulletin of the Detroit Institute of Arts 89 (2015)
  
  
  Title
  Stamping Ground
  
  
  Artwork Date
  1971
  
  Artist
  Romare Bearden
  
  
  
  Life Dates
  1911 - 1988
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  American
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
  ----------
  
  
  Medium
  Paper collage with graphite on board
  
  
  Dimensions
  Unframed: 10 1/2 × 12 3/4 inches (26.7 × 32.4 cm)
  Framed: 8 3/4 × 11 inches (22.2 × 27.9 cm)
  
  
  Classification
  Prints
  
  
  Department
  African American Art
  
  
  Credit
  Museum Purchase, Dr. and Mrs. George Kamperman Fund, Catherine Kresge Dewey Acquisition Fund, and Friends of African and African-American Art
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  2005.23
  
  
  Copyright
  © Artists Rights Society (ARS), New York
