...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
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.
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.
I shared a painting video inspired by an Ikea pillow to my Instagram and people seemed pretty interested in it. Have you ever been inspired by an Ikea design or commercial and created something for your home? Let me know if you have any pictures online in the comments section, so I can like and comment on yours!
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.
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!
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.
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.
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.
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
Marilyn Nance is a photojournalist who goes her own way. She wants to tell the truth, particularly about her own community whom she calls ordinary working class Black folks. She follows her instincts, leading her down paths beyond still photography. Marilyn noted in a lecture at the Library of Congress, ". . . the commercial media often has no interest in showing the images that I feel need to be shown."1
Starting with simple, house-shaped boxes into which she put feathers, beadwork she herself created, tiny bones, buttons, and memorabilia of family members, Stout progressed to creating "divining tables" and room-size installations. At the same time, she began developing an ongoing fictional narrative- the story of the stay-at-home Dorothy and the African explorer Colonel Frank- which she recorded in notebooks and which became another thread tying her work firmly to American and African traditions.
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.
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.
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.*