I'm personally awful when it comes to measurements
Blending paint is probably one of my most rewarding therapeutic art techniques. I literally dive into a deep mindful state.
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.
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
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!
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)
At the time I didn't know who the artist was but my first thought was....now this makes sense. It was that moment of wow! This is an art piece I would love to see up close.
If you know alittle about me and ventured into my blog to see some of my post, this find is like really COOL!
It's so hard for me to just stop and rest. Even now I'm writing this blog, but you know what I mean, right? At least I hope so.
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.
I forgot to update you guys about this but that art package I sent to my grandmother arrived!
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.
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.
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).
I've never really adhered to any schedules or routines but it was apparent that if I wanted to make this work, I needed to discipline myself even if it was a minor change...AND then it happened...I realized I was....WORKING SMARTER!
I initially was attracted to her story because of the fact she didn't let her personal life overshadow her career. As a working woman with children it can be difficult to find that balance. Especially, as a working African American woman in the arts during a very difficult time period. She paved the way for artists of color, women and inspired many sculptors, painters and more. Augusta Savage was an artist, educator and activist, a true Renaissance woman.
The portrait below is my seventh of the same one, it's not complete but it does get a little better each time. My peer's critiques don't sting as much and my ability to focus while painting has increased. I'm practicing patience which is like pulling teeth, but I think this is my take away. I always want it right now but that's not how life works and with creating art and writing I'm slowly learning....patience. I don't know the ending of this journey but I am enjoying the ride and I'm enjoying sharing it with you.
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 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.
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. 
"Untitled" New Orleans Series by Gwendolyn Knight, 1941
A pioneer of second-wave feminist and postwar black nationalist aesthetics—whose lasting influence was secured by her iconic reclamation of the Aunt Jemima figure in works such as The Liberation of Aunt Jemima (1972)—Betye Saar began her career in design before transitioning to assemblage and installation. 
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.
Gwendolyn Knight Lawrence's first formal study of art came at Howard University, where she studied with the painter Lois Maillou Jones and with printmaker James Lesesne Wells. During the Harlem Renaissance, Knight became a daily participant in the workshop of sculptor Augusta Savage, director of the Savage Studio of Arts and Crafts and later of the Harlem Community Arts Center. Throughout the 1940s, 1950s, and 1960s, Knight became an itinerant artist of sorts, accompanying her husband, Jacob Lawerence, as he pursued new opportunities.
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.
Edmonia Lewis was the first sculptor of African American and Native American descent to achieve international recognition. In addition to creating portrait heads, Lewis sculpted biblical scenes and figural works dealing with her Native American heritage and the oppression of black people.*