{"object":[{"sourceId":{"label":"Source ID","value":"2373"},"altNumsArchivespace":{"label":"ArchiveSpace","value":["P2.1997.1","2013.24.3"]},"copyright":{"label":"Copyright","value":"The American Folk Art Museum believes this work to be in the public domain."},"creditline":{"label":"Credit Line","value":"Gift of Ralph Esmerian"},"endDate":{"label":"End Date","value":"1845"},"sortNumber":{"label":"Sort Number","value":"2013     1    3"},"invno":{"label":"Accession number","value":"2013.1.3"},"description":{"label":"Description","value":"Opaque watercolor with graphite underdrawing and pen and brown ink inscriptions on medium weight wove paper. Inscription on recto is nearly identical to that on another drawing by the same hand with the same title, owned by Hancock Shaker Village. Each is a distinctly individual work. The ink inscriptions on the verso are in the same hand in brown ink, not quite as carefully scribed as those on the recto: There is a small number 60 written in the lower right corner verso. The drawing appears to have been carefully planned in pencil, then drawn in opaque paint and inscribed in ink. The symmetry of the stylized trees is nearly perfect except for some irregularly slanted leaves long the trunk.  Cohoon used thick, opaque colors which are granular in texture and have an irregular surface gloss, suggesting a modified watercolor, gouache or tempera medium. During drying, the media has quilted the paper very strongly (this aspect is very noticeable on the reverse), and in dryiung has cleaved quilted dramatically from the paper. The density and quality of the line in the branches suggests that the maker may have been less confident in this medium or lacked appropriate brushes. The palette used includes black and brown media for trunk and branches, two diffeent greens (a lighter, more transparent one applied beneath the darker opaque green leaves) and orange fringe applied to each leaf. A bright blue ultramarine line runs around the outside of the sheet, 1/4\" wide, 1/8\" from the edge. The blue line, though not present on Cohoon's \"Tree of Light\" from Hancock Shaker Village), is present on another Cohoon watercolor called \"A Bower of Mulberry Trees, 1854\". The greens and blues especially tested somewhat soluble in water."},"medium":{"label":"Medium","value":"Ink, pencil, and gouache on paper"},"geographyPlaceregion":{"label":"Place/Region","value":"Hancock"},"media":{"label":"Media","value":[{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/4727/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"4727"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/3662/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"3662"}]},"title":{"label":"Title","value":"The Tree of Light or Blazing Tree"},"geographyCity":{"value":"Hancock"},"textEntriesWebsitedisplaytext":{"value":["Opaque watercolor with graphite underdrawing and pen and brown ink inscriptions on medium weight wove paper. Inscription on recto is nearly identical to that on another drawing by the same hand with the same title, owned by Hancock Shaker Village. Each is a distinctly individual work.  The ink inscriptions on the verso are in the same hand in brown ink, not quite as  carefully scribed as those on the recto: There is a small number 60 written in the lower right corner verso. The drawing appears to have been carefully planned in pencil, then drawn in opaque paint and inscribed in ink. The symmetry of the stylized trees is nearly perfect except for some irregularly slanted leaves long the trunk.  Cohoon used thick, opaque colors which are granular in texture and have an irregular surface gloss, suggesting a modified watercolor, gouache or tempera medium. During drying, the media has quilted the paper very strongly (this aspect is very noticeable on the reverse), and in dryiung has cleaved quilted dramatically from the paper. The density and quality of the line in the branches suggests that the maker may have been less confident in this medium or lacked appropriate brushes. The palette used includes black and brown media for trunk and branches, two diffeent greens (a lighter, more transparent one applied beneath the darker opaque green leaves) and orange fringe applied to each leaf. A bright blue ultramarine line runs around the outside of the sheet, 1/4\" wide, 1/8\" from the edge. The blue line, though not present on Cohoon's \"Tree of Light\" from Hancock Shaker Village), is present on another Cohoon watercolor called \"A Bower of Mulberry Trees, 1854\". The greens and blues especially tested somewhat soluble in water.","Shaker","DRAWING","America was founded on an alternative model of government that permitted greater freedom of expression than had been possible in most of Europe. Utopian, perfectionist, and separatist experiments that were within but not of the main body were largely tolerated, if not welcomed. Vestiges of the transcendent nature of genius are retained in visionary images that were revealed to Shaker \u201cinstruments\u201d by deceased Shaker leaders or sacred figures during a period of religious revival in Shaker history known as the Era of Manifestations or Mother\u2019s Work.This is one of two nearly identical gift drawings of the tree of light\u2014or life\u2014by Hannah Cohoon, who was a twenty-nine year-old mother of two children when she joined the Shaker community in Hancock, Massachusetts, in 1817. The motif would have been well known to Cohoon, as it was prominent in American quiltmaking, needlework, and watercolors beginning in the eighteenth century. The tree of life was also a source of inspirational imagery for the original Shakers who emigrated from England in 1774 under the charismatic leadership of Mother Ann Lee. Cohoon\u2019s vision was delivered by an angel whom she saw \u201cas distinctly as [she] ever saw a natural tree.\u201d This spirit guide moved Cohoon to record a glorious and moral representation that was received by her as a gift and would serve as a gift to inspire others. And in a practical aside, so typical of the dual nature of Americans in every walk of life, Cohoon also cautions on the back of this drawing that the recipient not touch the paint as it might flake off in her hands.Stacy C. Hollander, \u201cGift Drawing: The Tree of Light or Blazing Tree,\u201d exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","Recto: The Tree of Light or Blazing Tree/ The bright silver coulered light streaking from the edges of each green leaf resembles so/ Many torches. N.B.B I saw the whole tree as the angel held it before me as distinctly as I ever/ saw a natural tree. I felt very cautious about taking hold of the tree lest the blaze should/ touch my hand. Seen and received by Hannah Cohoon in the City of Peace Oct. 9th/ 10th h. A.M. 1845 drawn and painted by the same hand. Verso: NB Be cautious and not lay warm hands/ on the paint as it is easy to cleave to the/ hand and take off little pieces of paint;/ sister/ Be so kind as to accept of this little/ token of my love and remeemberance/ Hannah Cohoon/ 60 Many communal societies have been established in the United States, but none survived as long or had as great an impact as the Shakers, or members of the United Society of Believers in Christ\u2019s Second Appearing. The first Shakers left England for America in 1774, under the charismatic leadership of Mother Ann Lee (1736\u2013 1784), whose adherents accepted her as Holy Mother Wisdom, the female aspect of the duality of God accepted by their faith. In this celibate society, each brother and sister enjoyed an unusual parity in authority, though daily activities might be assigned along typical gender lines. By the middle of the nineteenth century, nineteen principal Shaker communities had been founded from New England to Indiana, with more than five thousand members. Each community was a self-sufficient village, structured into smaller church families that replaced familial bonds from the outside world, and administrated work, worship, and daily life. Receptiveness to vision and prophecy was fundamental to Shaker belief. The decision to escape persecution for their ecstatic practices in England and set forth to America was inspired in part by the vision received by James Whittaker (1751\u20131787), one of Mother Ann\u2019s disciples, and later her successor. Whittaker related: \"I saw a vision of America, and I saw a large tree, and every leaf thereof shone with such brightness, as made it appear like a burning torch, representing the Church of Christ, which will yet be established in this land.\" Gift drawings postdate the period of Mother Ann\u2019s leadership. They also were manifested at a time of growing doubt, as the first generation of leaders had died and the new generations had lost touch with the source of belief and inspiration. Beginning in 1837, an intense religious revival swept through the Shaker villages. Over a period of twenty or more years known as the Era of Manifestations, or Mother\u2019s Work, visionary phenomena were received and recognized as \"gifts\" by the Shaker leadership and included messages, songs, dances, and drawings, sent by deceased Shaker elders, celestial beings, historical figures, and others. A little more than two hundred gift drawings survive, all but a few the work of women at the Shaker villages in New Lebanon, New York, and Hancock, Massachusetts. This is one of two nearly identical gift drawings of the Tree of Light by Hannah Cohoon, who was a twenty-nine-year-old mother of two young children when she joined the Shaker community in Hancock, Massachusetts, known as the City of Peace, in 1817. Cohoon was visited by an angel on the 9th of October, 1845, at ten in the morning. It is not known when she manifested this gift in paint on paper, but the number \"60\" on the reverse may indicate her age when she drew the Blazing Tree. She also indicates that it was intended as a gift for another, unidentified sister. Her physical experience of the vision is implicit in her fear that the blaze would burn her hands if she touched it. Cohoon\u2019s statement of prophetic and artistic authorship, unique among the Shaker instruments or visionists, indicates that she carefully drew the image in pencil before boldly painting it in heavily pigmented water-based colors suspended in gum Arabic, materials that would have been available for various domestic uses within the community. Based upon a 1992 conservation study that included A Bower of Mulberry Trees, drawn and painted by Cohoon, the border is painted in ultramarine and the dark green leaves are a combination of chrome yellow and Prussian blue with areas of a lighter shade of arsenic-based green. The leaves tremble with animated red lines vibrating around the edges. The composition gives an impression of symmetry and indeed the disposition of the leaves is largely bilateral, but the limbs branching off the main trunk are random as they would be in nature. In 1817, when Hannah Cohoon entered the City of Peace, the prevalent motif for needlework and quilt making would have been such a tree of life emerging from a hillock; her vision appeared in an iconography that she well understood. The imagery also recalls the biblical story of Moses and the Burning Bush, revealed by an angel of God who instructs Moses to lead the Israelites out of Egypt and away from oppression. This narrative would have resonated during this period of disaffection within the Shaker body. The spirit guide moved Cohoon to record a glorious vision, the strong trunk representing the core of their faith, each branch and distinct shining leaf the flourishing of their word. I am grateful to Emily Sylvia, librarian and archivist, Hancock Shaker Village, for sharing this study.Stacy C. Hollander, \"Gift Drawing: The Tree of Light or Blazing Tree, 1845\" exhibition copy for American Perspectives: Stories from the American Folk Art Museum Collection. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2020. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","Gift drawings generally offer messages of consolation, encouragement, or exhortation from deceased Shaker leaders or figures from sacred history, and they may bestow spiritual presents such as crowns or baskets of fruit on their intended recipients. Many of the examples from Hancock\u2014in contrast to those from New Lebanon\u2014are dominated by floral or arboreal imagery, as is this watercolor painting by Hannah Cohoon. Until this work was discovered in 1996, it had long been thought that only four drawings by Cohoon had survived. All but one of these depict trees.This drawing is nearly identical to another work by Hannah Cohoon. Both depict a blazing tree that the artist described as having seen in a vision, held before her by an angel, \u201cas distinctly as [she] ever saw a natural tree.\u201d According to the inscription at the bottom of the work, this vision occurred on October 9, 1845. Sometime thereafter, Cohoon prepared the two drawings.Unlike the automatic writing or spirit drawing of nineteenth-century Spiritualism, Shaker instruments rarely claimed to create while possessed or in a trance state, although some examples of spontaneous spirit writing do exist in the context of the Shaker revival period. It was the more usual order of events for the drawing\u2014or the message or song, for that matter\u2014to follow the vision. Gift drawings, which were believed to be records of visionary experiences, were conscious acts. Cohoon carefully planned her Blazing Tree in pencil before she added thick, opaque watercolors.Hannah Cohoon entered the Hancock Shaker community in 1817, when she was twenty-nine years of age, accompanied by two small children. Her drawings reflect the visual culture outside the Shaker communities\u2014popular prints, quilt motifs, needlework samplers. An inscription on the back of the drawing indicates that it was intended by Cohoon as a gift for an unidentified Shaker sister."]},"collections":{"label":"Collections","value":"Works on Paper"},"geography":{"label":"Geography","value":"Hancock"},"id":{"label":"Id","value":"153813"},"geographyState":{"value":"Massachusetts"},"markings":{"label":"Markings","value":""},"geographyCountry":{"value":"United States"},"onview":{"label":"On View","value":"0"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"448","content":"Hannah Cohoon"}},"classifications":{"label":"Classification(s)","value":"Drawings"},"textEntries":{"label":"Text Entries","value":["Opaque watercolor with graphite underdrawing and pen and brown ink inscriptions on medium weight wove paper. Inscription on recto is nearly identical to that on another drawing by the same hand with the same title, owned by Hancock Shaker Village. Each is a distinctly individual work.  The ink inscriptions on the verso are in the same hand in brown ink, not quite as  carefully scribed as those on the recto: There is a small number 60 written in the lower right corner verso. The drawing appears to have been carefully planned in pencil, then drawn in opaque paint and inscribed in ink. The symmetry of the stylized trees is nearly perfect except for some irregularly slanted leaves long the trunk.  Cohoon used thick, opaque colors which are granular in texture and have an irregular surface gloss, suggesting a modified watercolor, gouache or tempera medium. During drying, the media has quilted the paper very strongly (this aspect is very noticeable on the reverse), and in dryiung has cleaved quilted dramatically from the paper. The density and quality of the line in the branches suggests that the maker may have been less confident in this medium or lacked appropriate brushes. The palette used includes black and brown media for trunk and branches, two diffeent greens (a lighter, more transparent one applied beneath the darker opaque green leaves) and orange fringe applied to each leaf. A bright blue ultramarine line runs around the outside of the sheet, 1/4\" wide, 1/8\" from the edge. The blue line, though not present on Cohoon's \"Tree of Light\" from Hancock Shaker Village), is present on another Cohoon watercolor called \"A Bower of Mulberry Trees, 1854\". The greens and blues especially tested somewhat soluble in water.","Shaker","DRAWING","America was founded on an alternative model of government that permitted greater freedom of expression than had been possible in most of Europe. Utopian, perfectionist, and separatist experiments that were within but not of the main body were largely tolerated, if not welcomed. Vestiges of the transcendent nature of genius are retained in visionary images that were revealed to Shaker \u201cinstruments\u201d by deceased Shaker leaders or sacred figures during a period of religious revival in Shaker history known as the Era of Manifestations or Mother\u2019s Work.This is one of two nearly identical gift drawings of the tree of light\u2014or life\u2014by Hannah Cohoon, who was a twenty-nine year-old mother of two children when she joined the Shaker community in Hancock, Massachusetts, in 1817. The motif would have been well known to Cohoon, as it was prominent in American quiltmaking, needlework, and watercolors beginning in the eighteenth century. The tree of life was also a source of inspirational imagery for the original Shakers who emigrated from England in 1774 under the charismatic leadership of Mother Ann Lee. Cohoon\u2019s vision was delivered by an angel whom she saw \u201cas distinctly as [she] ever saw a natural tree.\u201d This spirit guide moved Cohoon to record a glorious and moral representation that was received by her as a gift and would serve as a gift to inspire others. And in a practical aside, so typical of the dual nature of Americans in every walk of life, Cohoon also cautions on the back of this drawing that the recipient not touch the paint as it might flake off in her hands.Stacy C. Hollander, \u201cGift Drawing: The Tree of Light or Blazing Tree,\u201d exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","Recto: The Tree of Light or Blazing Tree/ The bright silver coulered light streaking from the edges of each green leaf resembles so/ Many torches. N.B.B I saw the whole tree as the angel held it before me as distinctly as I ever/ saw a natural tree. I felt very cautious about taking hold of the tree lest the blaze should/ touch my hand. Seen and received by Hannah Cohoon in the City of Peace Oct. 9th/ 10th h. A.M. 1845 drawn and painted by the same hand. Verso: NB Be cautious and not lay warm hands/ on the paint as it is easy to cleave to the/ hand and take off little pieces of paint;/ sister/ Be so kind as to accept of this little/ token of my love and remeemberance/ Hannah Cohoon/ 60 Many communal societies have been established in the United States, but none survived as long or had as great an impact as the Shakers, or members of the United Society of Believers in Christ\u2019s Second Appearing. The first Shakers left England for America in 1774, under the charismatic leadership of Mother Ann Lee (1736\u2013 1784), whose adherents accepted her as Holy Mother Wisdom, the female aspect of the duality of God accepted by their faith. In this celibate society, each brother and sister enjoyed an unusual parity in authority, though daily activities might be assigned along typical gender lines. By the middle of the nineteenth century, nineteen principal Shaker communities had been founded from New England to Indiana, with more than five thousand members. Each community was a self-sufficient village, structured into smaller church families that replaced familial bonds from the outside world, and administrated work, worship, and daily life. Receptiveness to vision and prophecy was fundamental to Shaker belief. The decision to escape persecution for their ecstatic practices in England and set forth to America was inspired in part by the vision received by James Whittaker (1751\u20131787), one of Mother Ann\u2019s disciples, and later her successor. Whittaker related: \"I saw a vision of America, and I saw a large tree, and every leaf thereof shone with such brightness, as made it appear like a burning torch, representing the Church of Christ, which will yet be established in this land.\" Gift drawings postdate the period of Mother Ann\u2019s leadership. They also were manifested at a time of growing doubt, as the first generation of leaders had died and the new generations had lost touch with the source of belief and inspiration. Beginning in 1837, an intense religious revival swept through the Shaker villages. Over a period of twenty or more years known as the Era of Manifestations, or Mother\u2019s Work, visionary phenomena were received and recognized as \"gifts\" by the Shaker leadership and included messages, songs, dances, and drawings, sent by deceased Shaker elders, celestial beings, historical figures, and others. A little more than two hundred gift drawings survive, all but a few the work of women at the Shaker villages in New Lebanon, New York, and Hancock, Massachusetts. This is one of two nearly identical gift drawings of the Tree of Light by Hannah Cohoon, who was a twenty-nine-year-old mother of two young children when she joined the Shaker community in Hancock, Massachusetts, known as the City of Peace, in 1817. Cohoon was visited by an angel on the 9th of October, 1845, at ten in the morning. It is not known when she manifested this gift in paint on paper, but the number \"60\" on the reverse may indicate her age when she drew the Blazing Tree. She also indicates that it was intended as a gift for another, unidentified sister. Her physical experience of the vision is implicit in her fear that the blaze would burn her hands if she touched it. Cohoon\u2019s statement of prophetic and artistic authorship, unique among the Shaker instruments or visionists, indicates that she carefully drew the image in pencil before boldly painting it in heavily pigmented water-based colors suspended in gum Arabic, materials that would have been available for various domestic uses within the community. Based upon a 1992 conservation study that included A Bower of Mulberry Trees, drawn and painted by Cohoon, the border is painted in ultramarine and the dark green leaves are a combination of chrome yellow and Prussian blue with areas of a lighter shade of arsenic-based green. The leaves tremble with animated red lines vibrating around the edges. The composition gives an impression of symmetry and indeed the disposition of the leaves is largely bilateral, but the limbs branching off the main trunk are random as they would be in nature. In 1817, when Hannah Cohoon entered the City of Peace, the prevalent motif for needlework and quilt making would have been such a tree of life emerging from a hillock; her vision appeared in an iconography that she well understood. The imagery also recalls the biblical story of Moses and the Burning Bush, revealed by an angel of God who instructs Moses to lead the Israelites out of Egypt and away from oppression. This narrative would have resonated during this period of disaffection within the Shaker body. The spirit guide moved Cohoon to record a glorious vision, the strong trunk representing the core of their faith, each branch and distinct shining leaf the flourishing of their word. I am grateful to Emily Sylvia, librarian and archivist, Hancock Shaker Village, for sharing this study.Stacy C. Hollander, \"Gift Drawing: The Tree of Light or Blazing Tree, 1845\" exhibition copy for American Perspectives: Stories from the American Folk Art Museum Collection. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2020. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","Gift drawings generally offer messages of consolation, encouragement, or exhortation from deceased Shaker leaders or figures from sacred history, and they may bestow spiritual presents such as crowns or baskets of fruit on their intended recipients. Many of the examples from Hancock\u2014in contrast to those from New Lebanon\u2014are dominated by floral or arboreal imagery, as is this watercolor painting by Hannah Cohoon. Until this work was discovered in 1996, it had long been thought that only four drawings by Cohoon had survived. All but one of these depict trees.This drawing is nearly identical to another work by Hannah Cohoon. Both depict a blazing tree that the artist described as having seen in a vision, held before her by an angel, \u201cas distinctly as [she] ever saw a natural tree.\u201d According to the inscription at the bottom of the work, this vision occurred on October 9, 1845. Sometime thereafter, Cohoon prepared the two drawings.Unlike the automatic writing or spirit drawing of nineteenth-century Spiritualism, Shaker instruments rarely claimed to create while possessed or in a trance state, although some examples of spontaneous spirit writing do exist in the context of the Shaker revival period. It was the more usual order of events for the drawing\u2014or the message or song, for that matter\u2014to follow the vision. Gift drawings, which were believed to be records of visionary experiences, were conscious acts. Cohoon carefully planned her Blazing Tree in pencil before she added thick, opaque watercolors.Hannah Cohoon entered the Hancock Shaker community in 1817, when she was twenty-nine years of age, accompanied by two small children. Her drawings reflect the visual culture outside the Shaker communities\u2014popular prints, quilt motifs, needlework samplers. An inscription on the back of the drawing indicates that it was intended by Cohoon as a gift for an unidentified Shaker sister."]},"beginDate":{"label":"Begin Date","value":"1845"},"inscribed":{"label":"Inscribed","value":"Handwritten in ink, recto: 'The Tree of Light or Blazing Tree / The Bright silver coulered light streaming from the edges of each green leaf resembles so / many torches. N.B I saw the whole tree as the angel held it before me as distinctly as I ever / saw a natural tree. I felt very cautious about taking hold of the tree lest the blaze should / touch my hand. Seen and received  by Hannah Cohoon in the City of Peace Sab Oct 9th / 10th h. A.M. 1845 drawn and painted by the same hand.'Handwritten in ink, verso: 'NB Be cautious and not lay warm hands on the paint as it is easy to cleave to the hand and take off a little pieces paint Si.'"},"culture":{"label":"Culture","value":"Shaker"},"displayDate":{"label":"Date","value":"1845"},"exhibitions":{"label":"Exhibitions","value":[{"exhibitionDisplayDate":"Wednesday, November 17, 1999 - Sunday, November 21, 1999","exhibitionEndISODate":"2000-05-14","exhibitionID":"96","exhibitionISOBeginDate":"1999-11-17","exhibitionBeginDate":"1999","exhibitionTitle":"Millennial Dreams","exhibitionEndDate":"2000"},{"exhibitionDisplayDate":"Friday, January 21, 2022 - Monday, September 5, 2022","exhibitionEndISODate":"2022-09-05","exhibitionID":"251","exhibitionISOBeginDate":"2022-01-21","exhibitionBeginDate":"2022","exhibitionTitle":"MULTITUDES","exhibitionEndDate":"2022"},{"exhibitionDisplayDate":"Tuesday, February 11, 2020 - Sunday, January 3, 2021","exhibitionEndISODate":"2021-01-03","exhibitionID":"239","exhibitionISOBeginDate":"2020-02-11","exhibitionBeginDate":"2020","exhibitionTitle":"American Perspectives","exhibitionEndDate":"2021"},{"exhibitionDisplayDate":"Tuesday, May 13, 2014 - Sunday, August 17, 2014","exhibitionEndISODate":"2014-08-17","exhibitionID":"171","exhibitionISOBeginDate":"2014-05-13","exhibitionBeginDate":"2014","exhibitionTitle":"Self-Taught Genius","exhibitionEndDate":"2014"},{"exhibitionDisplayDate":"Thursday, July 11, 2002 - Sunday, January 5, 2003","exhibitionEndISODate":"2003-01-26","exhibitionID":"73","exhibitionISOBeginDate":"2002-07-11","exhibitionBeginDate":"2002","exhibitionTitle":"American Anthem","exhibitionEndDate":"2003"},{"exhibitionDisplayDate":"Tuesday, December 11, 2001 - Sunday, June 2, 2002","exhibitionEndISODate":"2002-06-02","exhibitionID":"207","exhibitionISOBeginDate":"2001-12-11","exhibitionBeginDate":"2001","exhibitionTitle":"American Radiance","exhibitionEndDate":"2002"},{"exhibitionDisplayDate":"Wednesday, September 27, 2017 - Thursday, February 8, 2018","exhibitionEndISODate":"2018-02-08","exhibitionID":"214","exhibitionISOBeginDate":"2017-09-27","exhibitionBeginDate":"2017","exhibitionTitle":"Highlights from Self-Taught Genius","exhibitionEndDate":"2018"}]},"altNums":{"label":"Alternative Numbers","value":["P2.1997.1","2013.24.3"]},"dimensions":{"label":"Dimensions","value":"Sheet: 16 x 20 7/8 \" (40.6 x 53 cm)Frame: 24 1/8 x 28 3/8 x 1 3/8 \" (61.3 x 72.1 x 3.5 cm)"}}]}