Carrie in the Salon photo by Deborah Willis. The experience of black hair salons and what this scared space actually means. Understood as a non-negotiable experience used to uplift and protect our crowns. This is my take on the art work.
I'm just glad there is an "excitement" after all these years and that's truly the lesson and blessing.
Blending paint is probably one of my most rewarding therapeutic art techniques. I literally dive into a deep mindful state.
If you haven't tried printing your artwork on canvas I highly recommend it. Your customers will appreciate it and you can keep your art. Queen Bee Art
Dr. Finley’s works also published this year, My Soul Has Grown Deep: Black Art from the American South (Yale University Press, 2018), accompanies the exhibition History Refused to Die: Highlights from the Souls Grown Deep Foundation at the Metropolitan Museum of Art in New York through September 23, 2018.
I enjoyed this story so much that during college I almost got a tattoo of "poetic justice" in Arabic on my lower back. You know the kind and please don't ask me why? Why not? And Arabic? It was a phase and the written language so lovely. And I still don't have any tattoos but that's not what this is about!
Love is color by Dina Saadi
Speed Painting of Lipstick & My thoughts and experience with filming my work. Learning to let go, enjoy the process and PAINT....because that’s what it’s really about.
Art work by Osmond Watson, CityLife 1968
Packaging a 16 inch by 20 inch canvas sounds easy to say but with two small children, a husband and working overnights, what should have been a seemingly small task to complete turned into....something much more time consuming and I'm so glad I did some test shipping.
Last spring, the arts and crafts store Michaels had a sale on large level three canvases so purchased a few. I've never painted on such large canvases before so I was excited about the experience. For whatever reason in my mind, I didn't think there would be much of a difference working on a large surface. I don't know why I thought this.
A few weeks back I went through all my artworks and decided that some of these works could use some work. I don’t know about you but after a few years of holding onto these artworks I decided to revamp them or upcycle them. Basically I said these old canvases could use a makeover. I…
Here is one of the upcycled large canvases I added to our living room. Before the beach scene, the canvas was an abstract art piece. I was exploring colors and shapes. See the next images. I was completely filled with joy that I was able to create such a large art work. And I became…
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.
My Soul Has Grown Deep considers the art-historical significance of contemporary Black artists and quilters working throughout the southeastern United States and Alabama in particular. See sources for more Information.
"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.
In a recent blog post about Elizabeth Catlett's sculpture tilted "Glory" I wanted to know more about the art work. Who is the woman depicted? What is her significance to the arts and history? After researching I was amazed. The woman sculpted below is Glory Van Scott, actor, dancer, and educator. Read the excerpt of her story here.
I think I’ve fallen in love with this art piece. Excerpt from Nasher, Motley was 70 years old when he painted the oil on canvas, Hot Rhythm, in 1961. This painting explores one of Motley’s favorite subjects, the jazz age. The artist loved to walk the streets of Bronzeville, a once-thriving neighborhood in Chicago’s South…
Elizabeth Catlett's "Glory" inspires music. The sculptures of the late African-American artist and civil rights activist Elizabeth Catlett are the inspiration for a new jazz composition. Rufus Reid, a bass musician who's been playing jazz for half a century, uses Catlett's artwork to explore the intersection between music and the visual arts. In his new project, called "Quiet Pride," Reid tries to convey Catlett's sculptures in sound. 
Elizabeth Catlett, Singing Head, 1980, black Mexican marble, Smithsonian American Art Museum, 16 x 9 1/2 x 12 in. (40.7 x 24.2 x 30.5 cm.)
"Untitled" New Orleans Series by Gwendolyn Knight, 1941
Renee Cox continues to question society and the roles it gives to blacks and women with her elaborate scenarios and imaginative visuals that offend some and exhilarate others.
Senga Nengudi emerged as part of a group of avant-garde African-American artists active in Los Angeles and New York in the 1970s and 1980s.
Valerie Mercer's curatorial work shines a light on Detroit's black art history for the world to see and experience.
In a career spanning more than 70 years, Elizabeth Catlett has created sculptures that celebrate the heroic strength and endurance of African-American and Mexican working-class women. With simple, clear shapes she evokes both the physical and spiritual essence of her subjects. Her hardy laborers and nurturing mothers radiate both power and a timeless dignity and calm. Whether working in wood, stone, bronze, or clay, Catlett reveals an extraordinary technical virtuosity, a natural ability to meld her curving female forms with the grain, whorls, color, or luster of her chosen medium. The beauty of her subjects is matched by the beauty she reveals in her sculptural materials.**
“I always made sure that all those people who thought they weren’t part of the opportunity to participate in the arts could find a way to become part of that experience,” said Leslie King Hammond, PhD, graduate dean emerita and founding director of the Center for Race and Culture at MICA. Her words are realized with the creation of the Leslie King Hammond Graduate Award. *
Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum Houston, has become a powerful force in contemporary art.