Richard J. Powell is John Spencer Bassett Professor of Art & Art History at Duke University, where he has taught since 1989. He studied at Morehouse College and Howard University before earning his doctorate in art history at Yale University. Along with teaching courses in American art, the arts of the African Diaspora, and contemporary visual studies, he has written extensively on topics ranging from primitivism to postmodernism, including such titles as Homecoming: The Art and Life of William H. Johnson (1991), Black Art: A Cultural History (1997 & 2002), and Cutting a Figure: Fashioning Black Portraiture (2008).
When I was younger I would stare at the ceiling imagining gravity dropping and floating upwards placing my feet onto the surface and walking around. It was a fun past time. I did the same daydreaming at LAX airport recently however this time I took a few photos.
"Art is strange-looking stuff and most people don’t understand art. Most people don’t understand my art, the art of the Negroes, because most people don’t understand me, don’t understand the Negroes at all. If everybody understand one another, wouldn’t nobody make art. Art is something to open your eyes. Art is for understanding." ~Thornton Dial 
In a recent blog post about Dr. Kellie Jones, I found this art work by Charles White one of the artist discussed in South of Pico. I absolutely love Eartha Kitt and had to know more about this artwork.
In South of Pico Kellie Jones explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.'s housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.'s urban renewal, and restrictions on black mobility.