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).
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.)
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.
In the 1920s Augusta Savage received commissions to create portrait busts of W.E.B. Du Bois and black nationalist Marcus Garvey; both pieces were hailed for their power and dynamism. On the strength of these works and especially the poignant Gamin (1929)—a portrait bust of a streetwise boy and one of Savage’s few extant pieces—she received a Julius Rosenwald Fellowship that enabled her finally to study in Paris in 1929–31.**