#blackart — Public Fediverse posts

By Trinidadian-American actor/dancer/musician/director/choreographer/artist Geoffrey Holder (1930-2014), portrait of his wife, actress/choreographer/dancer Carmen de Lavallade, 1976, oil on canvas, 61 × 40 ½ inches (framed). #arthistory #blackhistory #blackartists #blackart #blackartist #painting #oilpainting

From James Fuentes Gallery: “The artist’s oeuvre demonstrates a deep interest in representing the totality of black life, registered here in compositions that move from the quiet intimacy of bedrooms and parlors to the lively energy encountered in city streets and nightclubs. Anchored in portraiture, at times Holder’s images are also steeped in religious iconography and a bold reverence for nature—consummately rendered in such a way that they appear at once contemporary, historical, and thus timeless…

Holder’s attunement to beauty imbued much of his portraiture with a mysterious quality—likely amplified by the fact that most of his figures were painted from imagination rather than life. Holder engaged the body as if it were a paintbrush or pen; his choreography resembled movements like brushstrokes and, in turn, his paintings reflected an intimate physical sensibility. For Holder, painting provided fertile terrain for his astonishing experimentations in style, representation, and expression. To this day, Holder’s work remains as contemporary as when it was made.”

By Otis Kwame Kye Quaicoe (born in Accra, Ghana; now lives & works in Portland, Oregon), “Akwete," 2021, oil on canvas, 40 × 30 inches (101.6x76.2 cm), Rubell Museum, Miami, ©️ Otis Kwame Kye Quaicoe. #art #blackart #blackartist #blackartists

More info on the artist in ALT.

By African American artist Romare Bearden (1911−1988), Guitar Magic, 1986, collage & watercolor on board, The Mint Museum, Charlotte, NC. © 2025 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society. #art #blackart #blackartist #blackartists #collage

From the Bearden Foundation: ‘Bearden takes us backstage to the glamour, grit, and grace of Black performance. Bearden understood that jazz wasn’t just sound. It was a repository of memory—a form of Black historical consciousness. The improvisational nature of jazz mirrored the adaptability required of Black Americans, who had to continuously remake identity and community in the face of change and displacement. Much of Bearden’s art functions the same way. His collages are full of migrating trains, front porches, street corners, and jukeboxes—images loaded with the weight of history. In these works, jazz becomes a stand-in for cultural endurance. He once said, “The artist has to be something like a whale, swimming with his mouth wide open, absorbing everything until he has what he really needs.” Bearden devoured both visual and musical traditions, then recombined them in ways that felt utterly new.’

An article about the art presented at the new Obama Presidential Center. Quote: “When the Obama Presidential Center (OPC) opens on June 19, the 19.3-acre campus, located in Chicago’s Jackson Park, will feature an arts program on a scale to rival many contemporary art institutions.” #blackart #blackartists #art #obama

https://www.artbasel.com/stories/obama-presidential-center-art-institutions-us

By African-American artist Laura Wheeler Waring (1877-1948), After Sunday Service, ca. 1940, oil on Canvas, 30 x 14 1/2 inches (76.2 x 36.8 cm), collection of the Petrucci Family Foundation. #arthistory #art #blackartists #blackart #womanartist #womenartists

From The Art Story: “With Edmonia Lewis, Meta Vaux Warrick, and Augusta Savage, Waring is one of the foremost Black American female artists of the first half of the twentieth century. Taking her stylistic lead from the likes of Monet, Manet, Corot and Cézanne, Waring emerged, with Aaron Douglass and Beauford Delaney, as one of the most influential portrait painters associated with the Harlem Renaissance, the influential movement in African American literary, artistic, and cultural history that thrived between 1918 and the late 1930s. Challenging racial stereotypes, she built her reputation on portraits of prominent African Americans which she executed with consummate skill and imagination. Waring is equally respected for her life-long dedication to the advancement of Black culture and history through her role as director of arts education programs at America's oldest Black teaching institutions.”

Your art history post for today: by African-American artist Laura Wheeler Waring (1887-1948), Woman with Bouquet, ca. 1940, oil on canvas, Brooklyn Museum. #arthistory #blackartists #blackartist #blackart #womanartist #womenartists

From the museum: “With hand on hip and confident bearing, this woman is self-assured and elegant. She was probably from the Philadelphia area, where the artist Laura Wheeler Waring lived and worked. Like Waring’s other portraits of sophisticated or dignified working-class African Americans, this painting countered the many racial stereotypes that were prevalent at the time. Waring’s work, with its strong color palette and energetic brushwork, flourished during the Harlem Renaissance of the 1920s and 1930s, a period of great African American artistic and cultural production.”

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

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.”

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.”

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.’

By African-American artist Charles White (1918-1979), "Awaken from the Unknowing," 1961, compressed charcoal and brown and gray vine charcoal with scratching out, blending, and erasing, 81.9 x 145.4 x 4.4 cm (32 1/4 x 57 1/4 x 1 3/4 inches), the Blanton Museum of Art at The University of Texas at Austin. #arthistory #blackartists #BlackArt #BlackHistoryMonth More info in ALT.

Feed for artists who are Black, Indigenous, & People of Color. This feed searches A LOT of keywords to be comprehensive of who's included in this acronym. It also filters out AI images. 💜🖼️ or #bipocart to feature work. #indigenousart #blackart #asianart #asianamericanart #latinxart #arabart #noai

RE: https://bsky.app/profile/did:plc:4rro35bmzsvazmkpwmdhceza/feed/aaag2fpv4w2g6

Anubis! Egyptian God of funerary rites!

#Anubis #EgyptianGod #Egypt #Egyptian #AfterLife #Jackal #JudgeOfSouls #Dead #Mummification #Royal #Tombs #Pharaoh #Hound #Basenji #Greyhound #Doberman #Pincher #Dog #Dogs #Canine #CanineHead #EchoPenn #Art #Artist #Artists #Artshare #SmallArtist #FanArt #MastoArt #MastoArtist #BlackMastodon #BlackArt #DailyDrawing #Sketch #Sketching #SketchDaily #Sketchbook #SketchArtist #SketchDrawing #Draw #Drawing #Drawn #TraditionalArt #TraditionalArtist #HandDrawn

Practice drawing with a pen! ✍🏿

#Shark #Shiver #Sharks #mastoart #EchoPenn #Art #Artist #ArtShare #SmallArtist #FanArt #BlackMastodon #BlackArt #BlackArtist #PracticeDrawing #Sketch #SketchDrawing #SketchArt #SketchArtist #InkSketch #Sketchbook #ArtChallenge #ArtChallenge2025 #RoughSketch #ArtistSupport #DailySketch #BlackAnimation #BlackContent #QueerArtistofMastodon #QueerArtist #DailyDrawing #Draw #Drawing #Drawn #HandDrawn #HandDrawnArt #TraditionalArt #TraditionalDrawing

The Time is Always Now
Artists Reframe the Black Figure

An exhibition at The National Portrait Gallery, curated by Ekow Eshun, showcasing the work of contemporary artists (all works are post 2000) of the African diaspora - From the US and UK.

1) Father Stretch My Hands, Nathaniel Mary Quinn, 2021
2) Still you Bloom in the Land of No Gardens, Njidika Akunyili Crosby, 2021
3) Untitled, Kerry James Marshall, 2009

#thetimeisalwaysnow #nationalportraitgallery #artexhibition #art #artists #artworld #worldofart #blackartists #blackart #nathanielmaryquinn #njidikaakunyilicrosby #kerryjamesmarshall #ekoweshun #figurativeart #contemporaryart #kunst #peintre #contemporaryartists

https://archive.org/details/kw-ny

Kara Walker—No, Kara Walker—Yes, Kara Walker—? by Howardena Pindell; Najjar Abdul Musawwir; Camille Billops; Betty Blayton Taylor; Camille Ann Brewer; Kirsten Pai Buick; Gregory Coates; Bob Dillworth; Gloria Dulan-Wilson; Cay Fatina; Theodore A. Harris; Sonji Hunt; Rashidi Ismaili; F. Geoffrey Johnson; Ben Jones; Charlotte Ka; Karsten Kredel; Howard McCalebb; Dindga McCannon; Tad Mike; Helen Evans Ramsaran; Senghor Reid; Gilda Snowden; Ed Spriggs; Harry J. Weil; Clarence D. White; Shirley Woodson

Topics
#KaraWalker, #artcriticism, #critique, #art, #Blackart, #Blackartists, #Blackartcritics, #Blackartcriticism, #africanamerikanart, #afroamerikanart, #primitivism, #antiblackness, #minstrelry, #stereotyping, #arthistory, #artindustry, #artmarket

Introduction: Kara Walker—No/Yes/?
SECTION I: KARA WALKER—NO!
• I-XXIX
SECTION II: KARA WALKER—YES
• XXX-XXXI
SECTION III: KARA WALKER—?
• XXXII
XXIII. APPENDIX
About the Authors