# data[].attributes.headline
"American born Mexican sculptor & printmaker Elizabeth Catlett [1915-2012] 

# data[].attributes.subject
"American born Mexican sculptor & printmaker Elizabeth Catlett [1915-2012] 

# data[].attributes.body
press, then press open in new window to veiw

# data[].attributes.headline
Spouse: Charles Wilbert White             (m. 1941)

# data[].attributes.subject
Spouse: Charles Wilbert White             (m. 1941)

# data[].attributes.headline
 died on Monday at her home in Cuernavaca, Mexico, where she had lived since the late 1940s. She was 96.

# data[].attributes.subject
 died on Monday at her home in Cuernavaca, Mexico, where she had lived since the late 1940s. She was 96.

# data[].attributes.attachment_link.title
U.S. Department of State - Art in Embassies

# data[].attributes.attachment_link.description
Art in Embassies (AIE), a program within the U.S. Department of State, creates vital cross-cultural dialogue and mutual understanding through the visual arts and dynamic artist exchanges.

# data[].attributes.headline
Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda"  

# data[].attributes.subject
Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda"  

# data[].attributes.attachment_link.readable_text
There's a different attitude toward art in Mexico. As an artist you're greatly admired rather than looked at as something strange.
(Elizbeth Catlett Mora, 1992)

A "different attitude", not only to art and artists, but to human dignity and worth is what led Elizabeth Catlett to Mexico. Despite her talent and formidable education, Catlett - as the grand-daughter of slaves - had few options in the "material world" of the late 1920s and early 30s. Teaching art in a segregated high school was unrewarding, both artistically and financially. The pay for "colored teachers" was so low, in fact, that it was a step up when Catlett was hired by the federal government's emergency employment program, the Works Progress Administration. Through her work with the WPA, she met the Mexican artist and anthropologist Miguel Covarrubias, who introduced her to the works of Diego Rivera.

Although, like most African-American intellectuals, she saw racial and social injustice as part and parcel of economic inequality, the Mexican artist showed Catlett a means to be politically relevant while actively making art.

Although she continued to work in the United States (and married another U.S. artist in 1940), she was more and more drawn to Mexico, where the artist and the citizen were never considered separate beings, and where her "race" might be seen as justifying a political attitude towards her homeland, but not seen as a social impediment.

Divorced from her American husband, she married Francisco Mora (and "Mexicanizing" her own name by adopting his apellido paterno as her apellido materno), a fellow member of the left-wing populist art collective, Taller de Grafica Popular. From 1949 onward, Catlett's art memorialized not only the African-American and feminist experience, but that of the Mexican worker and campesino as well.

Catlett's artistic strength, in light of her never-secret political views made her a suspicious person to the government of the United States. Her support for the 1958 Mexican railway workers strike (which, under pressure from the United States, the Mexican government considered a "Communist" provocation and put down with violence), the artist was denied a passport, making her, in effect, a political exile in Mexico. She became a citizen of the Republic, and an honored one, in 1962.

Although, in the 1970s, she was again allowed to travel and work in the United States, she had no intentions of returning to her birth country permanently. Like the British born Leonora Carrington, Catlett in her old age found herself "greatly admired" by the very establishment she'd rejected, who saw her, not as a natural resource that flourished in Mexico, but something wonderful and strange.

# data[].attributes.attachment_link.title
Elizabeth Catlett Mora (15 de abril de 1915 - 2 de abril de 2012) D.E.P.

# data[].attributes.attachment_link.description
There's a different attitude toward art in Mexico. As an artist you're greatly admired rather than looked at as something strange. (Elizbeth Catlett Mora, 1992) A "different attitude", not only to art and artists, but to human dignity and worth is what led Elizabeth Catlett to Mexico.

# data[].attributes.headline
Elizabeth Catlett was an African-American graphic artist and sculptor best known for her depictions of the African-American experience in the 20th century, which often had the female experience as their focus.

# data[].attributes.subject
Elizabeth Catlett was an African-American graphic artist and sculptor best known for her depictions of the African-American experience in the 20th century, which often had the female experience as their focus.

# data[].attributes.body
takes a minute for the music to start

# data[].attributes.attachment_link.entities[].name
Surprise Eggs Girl Toys Slime Baff Dreamworks

# data[].attributes.attachment_link.title
TROLLS - "Sound Of Silence" - Movie Song CLIP (Animation - 2016)

# data[].attributes.attachment_link.description
The brand new animated comedy from Dreamworks Studios! ★ The Best ANIMATED Films are HERE ► http://bit.ly/Animated-Films ★Subscribe HERE and NOW ► http://bit.ly/TRAiLERS DreamWorks' TROLLS is a hair-raising comedy filled with unbelievable adventure and incredible music. Known for their crazy, colourful, and magical hair, Trolls are the happiest, most joyous creatures ever to burst into song.