#blackart — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #blackart, aggregated by home.social.
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You're in luck! Join us Wednesdays in June for the Website Workshop! 🌐 Each week, we'll cover a different aspect of website creation: planning, design, and creation -- all using #opensource #FOSS software like #Penpot and #Publii.
Learn more and register at https://www.candide.media/website-workshop
#workshop #portfolio #BIPOCartists #BIPOCart #IndigenousArtists #IndigenousArt #BlackArt #BlackArtists
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You're in luck! Join us Wednesdays in June for the Website Workshop! 🌐 Each week, we'll cover a different aspect of website creation: planning, design, and creation -- all using #opensource #FOSS software like #Penpot and #Publii.
Learn more and register at https://www.candide.media/website-workshop
#workshop #portfolio #BIPOCartists #BIPOCart #IndigenousArtists #IndigenousArt #BlackArt #BlackArtists
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My nesting partner and I went to the Peoria Riverfront Museum recently. Overall it was what you would expect: a lot of US white culture and history put up on a pedestal. However, there was one gallery that caught our attention.
These pictures I took from the Bronzeville to Harlem gallery. I'm not up for creating alt text currently. Due to the limitation of mastodon, I can only upload four pictures here. If you want to see the rest, see the full post at https://movim.queer-spark.org/blog/maskedwitch/a6b54321-490a-4874-a6bf-82415abcffcc
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My nesting partner and I went to the Peoria Riverfront Museum recently. Overall it was what you would expect: a lot of US white culture and history put up on a pedestal. However, there was one gallery that caught our attention.
These pictures I took from the Bronzeville to Harlem gallery. I'm not up for creating alt text currently. Due to the limitation of mastodon, I can only upload four pictures here. If you want to see the rest, see the full post at https://movim.queer-spark.org/blog/maskedwitch/a6b54321-490a-4874-a6bf-82415abcffcc
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My nesting partner and I went to the Peoria Riverfront Museum recently. Overall it was what you would expect: a lot of US white culture and history put up on a pedestal. However, there was one gallery that caught our attention.
These pictures I took from the Bronzeville to Harlem gallery. I'm not up for creating alt text currently. Due to the limitation of mastodon, I can only upload four pictures here. If you want to see the rest, see the full post at https://movim.queer-spark.org/blog/maskedwitch/a6b54321-490a-4874-a6bf-82415abcffcc
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My nesting partner and I went to the Peoria Riverfront Museum recently. Overall it was what you would expect: a lot of US white culture and history put up on a pedestal. However, there was one gallery that caught our attention.
These pictures I took from the Bronzeville to Harlem gallery. I'm not up for creating alt text currently. Due to the limitation of mastodon, I can only upload four pictures here. If you want to see the rest, see the full post at https://movim.queer-spark.org/blog/maskedwitch/a6b54321-490a-4874-a6bf-82415abcffcc
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My nesting partner and I went to the Peoria Riverfront Museum recently. Overall it was what you would expect: a lot of US white culture and history put up on a pedestal. However, there was one gallery that caught our attention.
These pictures I took from the Bronzeville to Harlem gallery. I'm not up for creating alt text currently. Due to the limitation of mastodon, I can only upload four pictures here. If you want to see the rest, see the full post at https://movim.queer-spark.org/blog/maskedwitch/a6b54321-490a-4874-a6bf-82415abcffcc
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By African-American artist Charles Ethan Porter (1847-1923), Pink and Red Roses in Clear Vase, ca. 1880, watercolor, 13 5/8 × 10 in. (34.6 × 25.4 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas. #art #blackart #blackartists #painting #oilpainting #blackhistory
From the museum: “Charles Ethan Porter has often been left out of the history books, but his contributions to American art deserve recognition. A contemporary of sculptor Edmonia Lewis, Porter is considered the first known professional Black artist to focus on still lifes. His works, featuring delicate floral arrangements and fruit, built on earlier American still life traditions with incredible detail and realism.
After taking drawing lessons as a child and studying painting in high school, Porter was accepted to the National Academy of Design in 1869. He is believed to be the first Black student to attend the premier art school. Aware of the racial barriers in the art world, Porter remained determined to showcase the skill and talent of Black artists.”
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By African-American artist Charles Ethan Porter (1847-1923), Pink and Red Roses in Clear Vase, ca. 1880, watercolor, 13 5/8 × 10 in. (34.6 × 25.4 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas. #art #blackart #blackartists #painting #oilpainting #blackhistory
From the museum: “Charles Ethan Porter has often been left out of the history books, but his contributions to American art deserve recognition. A contemporary of sculptor Edmonia Lewis, Porter is considered the first known professional Black artist to focus on still lifes. His works, featuring delicate floral arrangements and fruit, built on earlier American still life traditions with incredible detail and realism.
After taking drawing lessons as a child and studying painting in high school, Porter was accepted to the National Academy of Design in 1869. He is believed to be the first Black student to attend the premier art school. Aware of the racial barriers in the art world, Porter remained determined to showcase the skill and talent of Black artists.”
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By African-American artist Charles Ethan Porter (1847-1923), Pink and Red Roses in Clear Vase, ca. 1880, watercolor, 13 5/8 × 10 in. (34.6 × 25.4 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas. #art #blackart #blackartists #painting #oilpainting #blackhistory
From the museum: “Charles Ethan Porter has often been left out of the history books, but his contributions to American art deserve recognition. A contemporary of sculptor Edmonia Lewis, Porter is considered the first known professional Black artist to focus on still lifes. His works, featuring delicate floral arrangements and fruit, built on earlier American still life traditions with incredible detail and realism.
After taking drawing lessons as a child and studying painting in high school, Porter was accepted to the National Academy of Design in 1869. He is believed to be the first Black student to attend the premier art school. Aware of the racial barriers in the art world, Porter remained determined to showcase the skill and talent of Black artists.”
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By African-American artist Charles Ethan Porter (1847-1923), Pink and Red Roses in Clear Vase, ca. 1880, watercolor, 13 5/8 × 10 in. (34.6 × 25.4 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas. #art #blackart #blackartists #painting #oilpainting #blackhistory
From the museum: “Charles Ethan Porter has often been left out of the history books, but his contributions to American art deserve recognition. A contemporary of sculptor Edmonia Lewis, Porter is considered the first known professional Black artist to focus on still lifes. His works, featuring delicate floral arrangements and fruit, built on earlier American still life traditions with incredible detail and realism.
After taking drawing lessons as a child and studying painting in high school, Porter was accepted to the National Academy of Design in 1869. He is believed to be the first Black student to attend the premier art school. Aware of the racial barriers in the art world, Porter remained determined to showcase the skill and talent of Black artists.”
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By African-American artist Charles Ethan Porter (1847-1923), Pink and Red Roses in Clear Vase, ca. 1880, watercolor, 13 5/8 × 10 in. (34.6 × 25.4 cm), Crystal Bridges Museum of American Art, Bentonville, Arkansas. #art #blackart #blackartists #painting #oilpainting #blackhistory
From the museum: “Charles Ethan Porter has often been left out of the history books, but his contributions to American art deserve recognition. A contemporary of sculptor Edmonia Lewis, Porter is considered the first known professional Black artist to focus on still lifes. His works, featuring delicate floral arrangements and fruit, built on earlier American still life traditions with incredible detail and realism.
After taking drawing lessons as a child and studying painting in high school, Porter was accepted to the National Academy of Design in 1869. He is believed to be the first Black student to attend the premier art school. Aware of the racial barriers in the art world, Porter remained determined to showcase the skill and talent of Black artists.”
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By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists
From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”
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By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists
From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”
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By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists
From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”
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By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists
From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”
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By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists
From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”
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By Kehinde Wiley (born 1977), “Shantavia Beale II,” 2012, oil on canvas, 60x48 inches, private collection. #blackart #blackartist #blackartists #oilpainting #painting
From the Saint Louis Art Museum: “Kehinde Wiley’s vibrant paintings actively engage with the traditions of European art. In his work, Wiley replaces historical depictions of white figures with images of contemporary African Americans, Africans, and people of the African diaspora. His work is widely recognized for calling attention to significant absences and erasures in Western art history, exposing the lack of representation of black individuals in figurative painting.”
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By Kehinde Wiley (born 1977), “Shantavia Beale II,” 2012, oil on canvas, 60x48 inches, private collection. #blackart #blackartist #blackartists #oilpainting #painting
From the Saint Louis Art Museum: “Kehinde Wiley’s vibrant paintings actively engage with the traditions of European art. In his work, Wiley replaces historical depictions of white figures with images of contemporary African Americans, Africans, and people of the African diaspora. His work is widely recognized for calling attention to significant absences and erasures in Western art history, exposing the lack of representation of black individuals in figurative painting.”
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By Kehinde Wiley (born 1977), “Shantavia Beale II,” 2012, oil on canvas, 60x48 inches, private collection. #blackart #blackartist #blackartists #oilpainting #painting
From the Saint Louis Art Museum: “Kehinde Wiley’s vibrant paintings actively engage with the traditions of European art. In his work, Wiley replaces historical depictions of white figures with images of contemporary African Americans, Africans, and people of the African diaspora. His work is widely recognized for calling attention to significant absences and erasures in Western art history, exposing the lack of representation of black individuals in figurative painting.”
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By Kehinde Wiley (born 1977), “Shantavia Beale II,” 2012, oil on canvas, 60x48 inches, private collection. #blackart #blackartist #blackartists #oilpainting #painting
From the Saint Louis Art Museum: “Kehinde Wiley’s vibrant paintings actively engage with the traditions of European art. In his work, Wiley replaces historical depictions of white figures with images of contemporary African Americans, Africans, and people of the African diaspora. His work is widely recognized for calling attention to significant absences and erasures in Western art history, exposing the lack of representation of black individuals in figurative painting.”
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By Kehinde Wiley (born 1977), “Shantavia Beale II,” 2012, oil on canvas, 60x48 inches, private collection. #blackart #blackartist #blackartists #oilpainting #painting
From the Saint Louis Art Museum: “Kehinde Wiley’s vibrant paintings actively engage with the traditions of European art. In his work, Wiley replaces historical depictions of white figures with images of contemporary African Americans, Africans, and people of the African diaspora. His work is widely recognized for calling attention to significant absences and erasures in Western art history, exposing the lack of representation of black individuals in figurative painting.”
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I'm equally left and right-brained so this article was such a pleasant read for me. Eglash, wrote the book African Fractals and I was so excited to see that he'd also written about artist John Biggers.
"A Geometric Bridge across the Middle Passage: Mathematics in the Art of John Biggers" by Ron Eglash
https://www.researchgate.net/profile/Ron-Eglash/publication/299000294_A_geometric_bridge_across_the_middle_Passage_Mathematics_in_the_art_of_John_Biggers/links/59ffd7fca6fdcca1f29eeace/A-geometric-bridge-across-the-middle-Passage-Mathematics-in-the-art-of-John-Biggers.pdf
#BlackArt #JohnBiggers #RonEglash #geometry #FineArt #painting -
I'm equally left and right-brained so this article was such a pleasant read for me. Eglash, wrote the book African Fractals and I was so excited to see that he'd also written about artist John Biggers.
"A Geometric Bridge across the Middle Passage: Mathematics in the Art of John Biggers" by Ron Eglash
https://www.researchgate.net/profile/Ron-Eglash/publication/299000294_A_geometric_bridge_across_the_middle_Passage_Mathematics_in_the_art_of_John_Biggers/links/59ffd7fca6fdcca1f29eeace/A-geometric-bridge-across-the-middle-Passage-Mathematics-in-the-art-of-John-Biggers.pdf
#BlackArt #JohnBiggers #RonEglash #geometry #FineArt #painting -
I'm equally left and right-brained so this article was such a pleasant read for me. Eglash, wrote the book African Fractals and I was so excited to see that he'd also written about artist John Biggers.
"A Geometric Bridge across the Middle Passage: Mathematics in the Art of John Biggers" by Ron Eglash
https://www.researchgate.net/profile/Ron-Eglash/publication/299000294_A_geometric_bridge_across_the_middle_Passage_Mathematics_in_the_art_of_John_Biggers/links/59ffd7fca6fdcca1f29eeace/A-geometric-bridge-across-the-middle-Passage-Mathematics-in-the-art-of-John-Biggers.pdf
#BlackArt #JohnBiggers #RonEglash #geometry #FineArt #painting -
I'm equally left and right-brained so this article was such a pleasant read for me. Eglash, wrote the book African Fractals and I was so excited to see that he'd also written about artist John Biggers.
"A Geometric Bridge across the Middle Passage: Mathematics in the Art of John Biggers" by Ron Eglash
https://www.researchgate.net/profile/Ron-Eglash/publication/299000294_A_geometric_bridge_across_the_middle_Passage_Mathematics_in_the_art_of_John_Biggers/links/59ffd7fca6fdcca1f29eeace/A-geometric-bridge-across-the-middle-Passage-Mathematics-in-the-art-of-John-Biggers.pdf
#BlackArt #JohnBiggers #RonEglash #geometry #FineArt #painting -
I'm equally left and right-brained so this article was such a pleasant read for me. Eglash, wrote the book African Fractals and I was so excited to see that he'd also written about artist John Biggers.
"A Geometric Bridge across the Middle Passage: Mathematics in the Art of John Biggers" by Ron Eglash
https://www.researchgate.net/profile/Ron-Eglash/publication/299000294_A_geometric_bridge_across_the_middle_Passage_Mathematics_in_the_art_of_John_Biggers/links/59ffd7fca6fdcca1f29eeace/A-geometric-bridge-across-the-middle-Passage-Mathematics-in-the-art-of-John-Biggers.pdf
#BlackArt #JohnBiggers #RonEglash #geometry #FineArt #painting -
Your art history post for today: by African-American artist Charles Ethan Porter (1847–1923), Floral Still Life, ca. 1880-1890, oil on canvas, 16 1/8 × 20 3/8 × 13/16 inches (41 × 51.8 × 2 cm), Detroit Institute of Arts. #ArtHistory #blackart #blackartists #blackartist #BlackHistory
Information on the artist from the National Gallery of Art: ‘In 1881 Porter decided to travel abroad to continue his development as an artist…
Less than two years into his time in France, Porter’s money ran out. He wrote to Mark Twain, asking him for help. His letters to the writer are the only known first-person accounts from Porter. On April 4, 1883, he wrote:
Now I am aware that there are a goodly number of my Hartford friends and others who are anxious to see how the colored artist will make out, but this is not the motive which impresses me. There is something of more importance. The colored people—my people—as a race I am interested in, and my success will only add to others who have already shown wherein they are capable the same as other men.
Conscious of his place in an art world dominated by white men, Porter was eager to show what he, and other Black artists, could do.’
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Your art history post for today: by African-American artist Charles Ethan Porter (1847–1923), Floral Still Life, ca. 1880-1890, oil on canvas, 16 1/8 × 20 3/8 × 13/16 inches (41 × 51.8 × 2 cm), Detroit Institute of Arts. #ArtHistory #blackart #blackartists #blackartist #BlackHistory
Information on the artist from the National Gallery of Art: ‘In 1881 Porter decided to travel abroad to continue his development as an artist…
Less than two years into his time in France, Porter’s money ran out. He wrote to Mark Twain, asking him for help. His letters to the writer are the only known first-person accounts from Porter. On April 4, 1883, he wrote:
Now I am aware that there are a goodly number of my Hartford friends and others who are anxious to see how the colored artist will make out, but this is not the motive which impresses me. There is something of more importance. The colored people—my people—as a race I am interested in, and my success will only add to others who have already shown wherein they are capable the same as other men.
Conscious of his place in an art world dominated by white men, Porter was eager to show what he, and other Black artists, could do.’
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Your art history post for today: by African-American artist Charles Ethan Porter (1847–1923), Floral Still Life, ca. 1880-1890, oil on canvas, 16 1/8 × 20 3/8 × 13/16 inches (41 × 51.8 × 2 cm), Detroit Institute of Arts. #ArtHistory #blackart #blackartists #blackartist #BlackHistory
Information on the artist from the National Gallery of Art: ‘In 1881 Porter decided to travel abroad to continue his development as an artist…
Less than two years into his time in France, Porter’s money ran out. He wrote to Mark Twain, asking him for help. His letters to the writer are the only known first-person accounts from Porter. On April 4, 1883, he wrote:
Now I am aware that there are a goodly number of my Hartford friends and others who are anxious to see how the colored artist will make out, but this is not the motive which impresses me. There is something of more importance. The colored people—my people—as a race I am interested in, and my success will only add to others who have already shown wherein they are capable the same as other men.
Conscious of his place in an art world dominated by white men, Porter was eager to show what he, and other Black artists, could do.’
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Your art history post for today: by African-American artist Charles Ethan Porter (1847–1923), Floral Still Life, ca. 1880-1890, oil on canvas, 16 1/8 × 20 3/8 × 13/16 inches (41 × 51.8 × 2 cm), Detroit Institute of Arts. #ArtHistory #blackart #blackartists #blackartist #BlackHistory
Information on the artist from the National Gallery of Art: ‘In 1881 Porter decided to travel abroad to continue his development as an artist…
Less than two years into his time in France, Porter’s money ran out. He wrote to Mark Twain, asking him for help. His letters to the writer are the only known first-person accounts from Porter. On April 4, 1883, he wrote:
Now I am aware that there are a goodly number of my Hartford friends and others who are anxious to see how the colored artist will make out, but this is not the motive which impresses me. There is something of more importance. The colored people—my people—as a race I am interested in, and my success will only add to others who have already shown wherein they are capable the same as other men.
Conscious of his place in an art world dominated by white men, Porter was eager to show what he, and other Black artists, could do.’
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Your art history post for today: by African-American artist Charles Ethan Porter (1847–1923), Floral Still Life, ca. 1880-1890, oil on canvas, 16 1/8 × 20 3/8 × 13/16 inches (41 × 51.8 × 2 cm), Detroit Institute of Arts. #ArtHistory #blackart #blackartists #blackartist #BlackHistory
Information on the artist from the National Gallery of Art: ‘In 1881 Porter decided to travel abroad to continue his development as an artist…
Less than two years into his time in France, Porter’s money ran out. He wrote to Mark Twain, asking him for help. His letters to the writer are the only known first-person accounts from Porter. On April 4, 1883, he wrote:
Now I am aware that there are a goodly number of my Hartford friends and others who are anxious to see how the colored artist will make out, but this is not the motive which impresses me. There is something of more importance. The colored people—my people—as a race I am interested in, and my success will only add to others who have already shown wherein they are capable the same as other men.
Conscious of his place in an art world dominated by white men, Porter was eager to show what he, and other Black artists, could do.’
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I've been working on this #documentary about one of my mentors, David MacDonald since 2022. He was a professor at Syracuse University for over forty years and is a beloved figure in the #ceramics world. This project has been an immense undertaking. My hope is to finish shooting by spring 2027 and to complete post-production by 2028.
At this point, I think we could benefit from the addition of a producer. Suggestions and boosts welcome.
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went to a concert with some amazing #BlackArt #TransFem #hiphop & #rap
featuring #TeZATalks #AmberRyann & #DAMAG3
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By African American artist Allan Rohan Crite (1910-2007), “The First Sunday after Easter.” It appears to be pen, ink, & brush, with watercolor. Crite may be the first American artist to present Jesus, Mary and the Apostles as black. #blackart #blackartist #easter #arthistory #art
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By African American artist Allan Rohan Crite (1910-2007), “The First Sunday after Easter.” It appears to be pen, ink, & brush, with watercolor. Crite may be the first American artist to present Jesus, Mary and the Apostles as black. #blackart #blackartist #easter #arthistory #art
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By African American artist Allan Rohan Crite (1910-2007), “The First Sunday after Easter.” It appears to be pen, ink, & brush, with watercolor. Crite may be the first American artist to present Jesus, Mary and the Apostles as black. #blackart #blackartist #easter #arthistory #art
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By African American artist Allan Rohan Crite (1910-2007), “The First Sunday after Easter.” It appears to be pen, ink, & brush, with watercolor. Crite may be the first American artist to present Jesus, Mary and the Apostles as black. #blackart #blackartist #easter #arthistory #art
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By African American artist Allan Rohan Crite (1910-2007), “The First Sunday after Easter.” It appears to be pen, ink, & brush, with watercolor. Crite may be the first American artist to present Jesus, Mary and the Apostles as black. #blackart #blackartist #easter #arthistory #art
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By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art -
By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art -
By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art -
By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art -
By African American/Mexican artist Elizabeth Catlett (1915-2012), Barbed Wire (Separation), 1954, linoleum cut on wove paper. As a print, it is held in more than one collection. #WomensHistoryMonth
#blackartist #blackart #womanartist #womenartists #art -
Namwali Serpell On Understanding Toni Morrison The Author, Not The Icon
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Namwali Serpell On Understanding Toni Morrison The Author, Not The Icon
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Namwali Serpell On Understanding Toni Morrison The Author, Not The Icon
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Namwali Serpell On Understanding Toni Morrison The Author, Not The Icon
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Namwali Serpell On Understanding Toni Morrison The Author, Not The Icon
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https://www.europesays.com/news/?p=5890 Autumn Durald Arkapaw is first woman to win Oscar for cinematography #arkapaw #AutumnDuraldArkapaw #BlackArt #BlueMusic #cinematography #film #FirstWoman #Headlines #lot #Louisiana #Mississippi #News #nomination #oscar #sinner #Sunday #TopStories #work