id:			375083
accession number:	2020.97
share license status:	Copyrighted
url:			https://clevelandart.org/art/2020.97
updated:		2022-07-16 09:00:30.611000

Bare Arms: The Practice #2, 2019. Darius Steward (American, b. 1984). Drypoint on aluminum on Twinrocker All Purpose paper; plate: 29.8 x 29.8 cm (11 3/4 x 11 3/4 in.); sheet: 35.6 x 35.6 cm (14 x 14 in.). The Cleveland Museum of Art, Gift of Thomas French in honor of Robert Getscher, PhD 2020.97

title:				The Practice #2
title in original language:	
series:				Bare Arms
series in original language:	
creation date:			2019
creation date earliest:		2019
creation date latest:		2019
current location:		
creditline:			Gift of Thomas French in honor of Robert Getscher, PhD
copyright:			

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culture:	America, 21st century
technique:	drypoint on aluminum on Twinrocker All Purpose paper
department:	Prints
collection:	PR - Drypoint
type:		Print
find spot:	
catalogue raisonne: 

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CREATORS

* Darius Steward (American, b. 1984)  - artist

* Thomas French Fine Art  - publisher

* Rebekah A. Wilhelm  - printer

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measurements: Plate: 29.8 x 29.8 cm (11 3/4 x 11 3/4 in.); Sheet: 35.6 x 35.6 cm (14 x 14 in.)
state of the work:	
edition of the work: 	1 of 4 AP

support materials:


inscriptions:

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CURRENT EXHIBITIONS

	title:		Currents and Constellations: Black Art in Focus
	opening date:   2022-02-20T05:00:00
	<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).

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LEGACY EXHIBITIONS

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PROVENANCE

	Darius Steward [1984-] (the artist), Cleveland, OH
	date: 2019
	footnotes: 	
	citations: 	


	Thomas French Fine Art LLC, Fairlawn, OH
	date: 2019
	footnotes: 	
	citations: 	


	The Cleveland Museum of Art, Cleveland, OH
	date: March 2, 2020
	footnotes: 	
	citations: 	


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fun fact: 
This print portrays the artist’s children.

digital description: 
<em>Bare Arms (The Practice #2)</em>, one of a pair of drypoints by Darius Steward in the CMA’s collection, forms part of the artist’s ongoing exploration of his childhood in East Cleveland in juxtaposition to that of his own children, whom the work represents. He writes: “My portrayal of my children now borders on appropriation of many personal moments and memories. I recognize what they are experiencing and make connections between what I experienced some 30 years ago versus what I missed out on in East Cleveland. I have greater aspirations for a better life for my children and all people.” In <em>Bare Arms (The Practice</em> <em>#1)</em> Steward’s skilled draftsmanship and unusual, cropped composition conveys physical struggle in the guise of play.

wall description: 

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RELATED WORKS

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CITATIONS

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IMAGES