Dindga McCannon (American, born 1947). <em>Morning After</em>, 1973. Color linocut with oil-based ink, block: 13 1/2 × 19 1/2 in. (34.3 × 49.5 cm). Brooklyn Museum, Gift of R.M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.30. © artist or artist's estate (Photo: Brooklyn Museum, CUR.2012.80.30.jpg)

Dindga McCannon (American, born 1947). Morning After, 1973. Color linocut with oil-based ink, block: 13 1/2 × 19 1/2 in. (34.3 × 49.5 cm). Brooklyn Museum, Gift of R.M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.30. © artist or artist's estate (Photo: Brooklyn Museum, CUR.2012.80.30.jpg)

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What does this mean?

Like any work of art, this is open to interpretation. I see the nudity of two lovers as speaking to the changes that were happening in the 1970s, during the Sexual Revolution.

McCannon was part of a group of women that gathered together to create a supportive community. They addressed really practical concerns, such as watching one another's children so that individual artists could produce work.

Hi, I'm a student from PSC and I would like to know more about this work!

Hi! McCannon was part of a group of women that gathered together to create a supportive artistic community. In addition to making art, they addressed really practical concerns, such as watching one another's children so that individual artists could produce work.

Like any work of art, this is open to interpretation. We could view the nudity of the two lovers as relevant to the social changes that were happening in the 1970s, during the Sexual Revolution. Take a look at the different textures she is evoking through her technique...the hair, skin, and background all have different looks.

Thanks!!

In this section of the show, you'll see a lot of art that depicts the bodies of black Americans and gets us to think about identity and relationships.

Morning After

Dindga McCannon

Contemporary Art

ARTIST Dindga McCannon, American, born 1947

MEDIUM Color linocut with oil-based ink

DATES 1973

DIMENSIONS block: 13 1/2 × 19 1/2 in. (34.3 × 49.5 cm) frame: 22 7/8 × 28 7/8 × 1 3/4 in. (58.1 × 73.3 × 4.4 cm) sheet: 16 1/2 × 24 in. (41.9 × 61 cm) (show scale)

SIGNATURE Signed in pencil

INSCRIPTIONS Dated and titled in pencil

COLLECTIONS Contemporary Art

ACCESSION NUMBER 2012.80.30

CREDIT LINE Gift of R.M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund

EXHIBITIONS

We Wanted a Revolution: Black Radical Women, 1965–85

MUSEUM LOCATION This item is not on view

CAPTION Dindga McCannon (American, born 1947). Morning After, 1973. Color linocut with oil-based ink, block: 13 1/2 × 19 1/2 in. (34.3 × 49.5 cm). Brooklyn Museum, Gift of R.M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.30. © artist or artist's estate (Photo: Brooklyn Museum, CUR.2012.80.30.jpg)

EDITION Edition of 50, printed by the artist

IMAGE overall, CUR.2012.80.30.jpg. Brooklyn Museum photograph, 2012

"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.

The Brooklyn Museum holds a non-exclusive license to reproduce images of this work of art from the rights holder named here. The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act. For further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and Copyright Watch. For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org. If you wish to contact the rights holder for this work, please email copyright@brooklynmuseum.org and we will assist if we can.

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Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome any additional information you might have.

Download our app and ask your own questions during your visit. Here are some that others have asked.

What does this mean?

Like any work of art, this is open to interpretation. I see the nudity of two lovers as speaking to the changes that were happening in the 1970s, during the Sexual Revolution.

Hi, I'm a student from PSC and I would like to know more about this work!

Thanks!!

In this section of the show, you'll see a lot of art that depicts the bodies of black Americans and gets us to think about identity and relationships.

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Morning After

Dindga McCannon

Contemporary Art

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Morning After

Dindga McCannon

Contemporary Art

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