...we had fun working together and that’s all that really matters. If you would like to encourage a little bit of creativity with your little one you can try this art project, Animal Handprints. Watch the video at https://youtu.be/FYequfwuL_E
Read more Lesson One – Animal Handprints for Kid’s – Part One
Blending paint is probably one of my most rewarding therapeutic art techniques. I literally dive into a deep mindful state.
Just last night I took a step towards my goal with ease and gratitude. It was an upgrade/ improvement to my Therapeutic Art practice. The step seemed small at the time and I didn’t realize how much of a large step it actually was until the following morning.
At the same time, Ethiopia's message was assimilationist in the way it was exhibited at a "melting pot" event, representing the emancipation of a people attempting to prove their value to a society that had long excluded blacks from full involvement as United States citizens.[2]
Read more “Making History: Meta Warrick Fuller’s Ethiopia,” by Renée Ater
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
My phone’s memory is full and these photos need to go somewhere. Here are pics from my Vegas Art Class trip last year. (...which sorta happened)
After I finished this exercise I sent it to him. But the I thought. Wait, what will happen if I do this again in a few months? It looks good to me now but in a few months it may not.
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).[1]
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. [1]
Read more “Glory” inspires Quiet Pride: The Elizabeth Catlett Project
"Untitled" New Orleans Series by Gwendolyn Knight, 1941
Read more “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.[2]
Harriet Powers used traditional techniques in her quilts to record local legends, Bible stories and astronomical events on her quilts. One of the panels on Powers quilts illustrate the “dark day” of May 19, 1780 (which is now known as dense smoke over North America caused by Canadian wildfires) and the November 13, 1833, as the “night of falling stars” that convinced many terrified Americans that Judgment Day had come, but was later identified as the Leonid meteor storm. Two of her quilts are on display at the National Museum of American History in Washington, DC; Bible Quilt of 1886 and Pictorial Quilt of 1898.[2]
Clementine Hunter is celebrated for her use of bold colors and shapes to narrate plantation life in 19th and 20th century Louisiana as an African American. Clementine Hunter is Louisiana’s most famous female artist, and she is one of the most important folk artists of all time.
Her work can be seen in the Smithsonian Institute, the New Orleans Museum of Art, the Museum of American Folk Art in New York, the High Museum of Atlanta, the Dallas Museum of Fine Arts, the New York Historical Association, the Oprah Winfrey Collection in Chicago and many other museums and private collections across the country.[1]
In 2011, Dr. Kellie Jones and the Hammer Museum in Los Angeles curated an exhibition that chronicled the historic art scene in Los Angeles between 1960-1980s. The exhibition Now Dig This! was presented as part of Pacific Standard Time, a collaboration of more than sixty cultural institutions across Southern California, coming together to tell the story of the birth of the Los Angeles art scene and how it became a new force in the art world. Read more here.
