#blackart — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #blackart, aggregated by home.social.
-
Your art history post for today: by African-American artist Charles White (1918–1979), “General Moses and Sojourner Truth,” 1954, wolff carbon pencil and white chalk over traces of graphite pencil, 27 7/8 in x 38 inches, Blanton Museum of Art, The University of Texas at Austin, ©The Charles White Archives. #arthistory #blackart #blackartist #BlackHistory #drawing
From the museum: ‘Charles White’s 1954 drawing General Moses and Sojourner Truth, represents two famed African American women who fought for equality in different ways. Harriet Tubman is presented in the guise of “General Moses,” grasping a staff like the one Moses used to part the Red Sea. The intellectual nature of Sojourner Truth’s writings and speeches in support of abolitionism and women’s rights is suggested through her upward gaze, in contrast to Tubman’s direct engagement with the viewer.’
-
Your art history post for today: by African-American artist Charles White (1918–1979), “General Moses and Sojourner Truth,” 1954, wolff carbon pencil and white chalk over traces of graphite pencil, 27 7/8 in x 38 inches, Blanton Museum of Art, The University of Texas at Austin, ©The Charles White Archives. #arthistory #blackart #blackartist #BlackHistory #drawing
From the museum: ‘Charles White’s 1954 drawing General Moses and Sojourner Truth, represents two famed African American women who fought for equality in different ways. Harriet Tubman is presented in the guise of “General Moses,” grasping a staff like the one Moses used to part the Red Sea. The intellectual nature of Sojourner Truth’s writings and speeches in support of abolitionism and women’s rights is suggested through her upward gaze, in contrast to Tubman’s direct engagement with the viewer.’
-
By Grace Lynne Haynes (b. 1992), "Sojourner Truth, Founding Mother," cover of The New Yorker, Aug. 3 & Aug. 10, 2020. #art #blackartist #blackart #womanartist #womenartists #BlackHistory
From the artist (found on the CNN website, dated, August 5, 2020: “My portrait of Truth is based off of existing black-and-white photos of her, but I interpreted them in a playful, modern way. She wears the shawl and cap she was often pictured in, but in vibrant colors and textiles of my own imagination. She sits at a table next to a lively plant rising upwards from a vase while hummingbirds flit around her. I often include hummingbirds in my paintings as a tribute to my grandmother, who grew up in the South and dealt with racism and sexism as a Black woman.”
-
By Grace Lynne Haynes (b. 1992), "Sojourner Truth, Founding Mother," cover of The New Yorker, Aug. 3 & Aug. 10, 2020. #art #blackartist #blackart #womanartist #womenartists #BlackHistory
From the artist (found on the CNN website, dated, August 5, 2020: “My portrait of Truth is based off of existing black-and-white photos of her, but I interpreted them in a playful, modern way. She wears the shawl and cap she was often pictured in, but in vibrant colors and textiles of my own imagination. She sits at a table next to a lively plant rising upwards from a vase while hummingbirds flit around her. I often include hummingbirds in my paintings as a tribute to my grandmother, who grew up in the South and dealt with racism and sexism as a Black woman.”
-
By Aaron Douglas (1899-1979), "Harriet Tubman," 1931, oil on canvas, 54 × 72" (137.1 X 182.9 cm), Bennett College, Greensboro, N.C. #arthistory #blackhistory #blackhistory #blackart #blackartist #art #painting #oilpainting
From the Camden Civil Rights Project: 'Douglas uses modernist imagery to depict the slave era heroine, Harriet Tubman, who was responsible for leading more than three hundred slaves to freedom by way of the Underground Railroad. Douglas wrote that he portrayed Tubman "as a heroic leader breaking the shackles of bondage and pressing on toward a new day." Behind her and stretching back symbolically to Africa are the black men and women who toiled and prayed through three hundred years of servitude. "The group of figures to the right... symbolizes the newly liberated people as laborers and heads of families. The last figure symbolizes the dreamer who looks out towards higher and nobler vistas, the modern city, for his race. He represents the preachers, teachers, artists, and musicians of the group. The beam of light that cuts through the center of the picture symbolizes divine inspiration.”’
-
By Aaron Douglas (1899-1979), "Harriet Tubman," 1931, oil on canvas, 54 × 72" (137.1 X 182.9 cm), Bennett College, Greensboro, N.C. #arthistory #blackhistory #blackhistory #blackart #blackartist #art #painting #oilpainting
From the Camden Civil Rights Project: 'Douglas uses modernist imagery to depict the slave era heroine, Harriet Tubman, who was responsible for leading more than three hundred slaves to freedom by way of the Underground Railroad. Douglas wrote that he portrayed Tubman "as a heroic leader breaking the shackles of bondage and pressing on toward a new day." Behind her and stretching back symbolically to Africa are the black men and women who toiled and prayed through three hundred years of servitude. "The group of figures to the right... symbolizes the newly liberated people as laborers and heads of families. The last figure symbolizes the dreamer who looks out towards higher and nobler vistas, the modern city, for his race. He represents the preachers, teachers, artists, and musicians of the group. The beam of light that cuts through the center of the picture symbolizes divine inspiration.”’
-
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 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.
-
A Black Prince Dreams of Africa, Cliff Joseph, 1968
Yesterday was Juneteenth. I'm glad we're celebrating it, we have a sick history and progress is important to celebrate. Still a lot of progress to be made for all to live free ❤️
#art #blackArt #africanAmericanArt #juneteenth #love #freedom #peace #humans
-
A Black Prince Dreams of Africa, Cliff Joseph, 1968
Yesterday was Juneteenth. I'm glad we're celebrating it, we have a sick history and progress is important to celebrate. Still a lot of progress to be made for all to live free ❤️
#art #blackArt #africanAmericanArt #juneteenth #love #freedom #peace #humans
-
“Painting was the miracle, the final act of defiance through which I exorcised the pain and reclaimed my sense of place, my moral compass, and my love for life.”
Ficre Ghebreyesus (b. 1962, Eritrea)
http://www.ficre-ghebreyesus.com/artist-statement -
“Painting was the miracle, the final act of defiance through which I exorcised the pain and reclaimed my sense of place, my moral compass, and my love for life.”
Ficre Ghebreyesus (b. 1962, Eritrea)
http://www.ficre-ghebreyesus.com/artist-statement -
After I left this exhibit, everything else looked gray by comparison.
Woody DeOthello (b. 1991, Miami)
“coming forth by day”
Peréz Art Museum Miami -
After I left this exhibit, everything else looked gray by comparison.
Woody DeOthello (b. 1991, Miami)
“coming forth by day”
Peréz Art Museum Miami -
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.’
-
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.’
-
CW: I make awesome collages too!
The collage "Soft not Docile" is up on the shop! :blobcatsurprised:
Inspired by this Langston Hughes poem:
W͟a͟r͟n͟i͟n͟g͟Negroes,
Sweet and docile,
Meek, humble and kind:
Beware the day
They change their mind!
Wind
In the cotton fields,
Gentle Breeze:
Beware the hour
It uproots trees!Get prints here: https://ko-fi.com/s/b8a69c94e0
Support Black artists on Fedi!
#BlackArt #FeedBlackArtists #Kofi #BlackArtistsOnFedi #BlackArtOnMastodon
#poetry #LangstonHughes #BlackPoets -
By Geoffrey Holder (1930-2014), “Carmen,” oil on masonite board, ca. 1960, 47 1/2 x 36 in. (120.7 x 91.4 cm.), photo: Swann Auction Galleries, April 2, 2026. #arthistory #blackart #blackartist #painting #oilpainting
From the auction listing: “Geoffrey Holder was born in Trinidad in 1930 and moved to New York City in 1952 after being invited to teach choreography at the Katherine Dunham School of Dance. By 1954, he had his first successful one-man show in New York at the Barone Gallery and won a Guggenheim Fellowship in Fine Arts in 1956. Despite his talent as a painter, Holder is best known as an actor and dancer. He was a principal dancer with the Metropolitan Opera Ballet from 1955-56. He also had many roles as an actor and was featured in such movies as Doctor Dolittle (1967), Live and Let Die (1973), and 7 Up commercials. He was also a costume designer for Prodigal Prince (1967), The Wizard of Oz (1975), and Firebird (1982). His artwork has been exhibited at the Studio Museum in Harlem, the Corcoran Gallery of Art in Washington, DC, the Museum of the City of New York, the Nasher Museum of Art at Duke University, and the Barbados Museum.”
-
By Geoffrey Holder (1930-2014), “Carmen,” oil on masonite board, ca. 1960, 47 1/2 x 36 in. (120.7 x 91.4 cm.), photo: Swann Auction Galleries, April 2, 2026. #arthistory #blackart #blackartist #painting #oilpainting
From the auction listing: “Geoffrey Holder was born in Trinidad in 1930 and moved to New York City in 1952 after being invited to teach choreography at the Katherine Dunham School of Dance. By 1954, he had his first successful one-man show in New York at the Barone Gallery and won a Guggenheim Fellowship in Fine Arts in 1956. Despite his talent as a painter, Holder is best known as an actor and dancer. He was a principal dancer with the Metropolitan Opera Ballet from 1955-56. He also had many roles as an actor and was featured in such movies as Doctor Dolittle (1967), Live and Let Die (1973), and 7 Up commercials. He was also a costume designer for Prodigal Prince (1967), The Wizard of Oz (1975), and Firebird (1982). His artwork has been exhibited at the Studio Museum in Harlem, the Corcoran Gallery of Art in Washington, DC, the Museum of the City of New York, the Nasher Museum of Art at Duke University, and the Barbados Museum.”
-
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
-
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
-
“In my world,” Bey says, “clay is the medium of the global majority.”
My buddy Sharif Bey left his position at Syracuse University and is moving back to his hometown of #Pittsburgh. He’s commemorating the transition with a show called “Homecoming” at Carnegie Museum.
https://carnegiemuseums.org/carnegie-magazine/summer-2026/a-return-home/
#art #BlackArt #ceramics #pottery -
“In my world,” Bey says, “clay is the medium of the global majority.”
My buddy Sharif Bey left his position at Syracuse University and is moving back to his hometown of #Pittsburgh. He’s commemorating the transition with a show called “Homecoming” at Carnegie Museum.
https://carnegiemuseums.org/carnegie-magazine/summer-2026/a-return-home/
#art #BlackArt #ceramics #pottery -
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.”
-
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.”
-
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
-
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
-
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
-
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 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 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.”
-
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.”
-
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.”
-
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.”
-
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.’
-
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.’
-
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.
-
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.
-
went to a concert with some amazing #BlackArt #TransFem #hiphop & #rap
featuring #TeZATalks #AmberRyann & #DAMAG3
-
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
-
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
-
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
