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Posts tagged "art"


 Afua Richardson Illustrates the Negro Speaks of Rivers by Langston Hughes for NPR

(via dangercupcakemurdericing)



My entry for projectrooftop's Batgirl Redesign contest. I hit on the idea of having a girl holding a baseball bat (bat plus girl—get it??), but then thought if I was gonna go for such a bad pun, I might as well make it as silly as possible.

Oh, man, that is cool.

(via dangercupcakemurdericing)



African Artist:

Kehinde Wiley, a New York based portrait artist has been recognized over the last decade through his paintings that depict contemporary young black men. His paintings on African-American men threw him into the spotlight, but Wiley has since further embarked on more art projects portraying the everyday people of Nigeria, Senegal, Brazil and more. 

"For his latest exhibition, he’s ventured to Jamaica. The island has been muse to many artists, but JA is a place where moggling is a sport—a place perfectly suited to Wiley’s method, in which he casts for models literally on the street. The World Stage: Jamaica also differs from many of Wiley’s previous exhibitions in that it features a mixture of women and men— perhaps an acknowledgment of the assertive role females have always played in Jamaican society and public life.”

(via shadesoffantasy)


Flag for a Vanished Race & Blood Quantum, Fox Anthony Spears (Karuk)


I did an illustration for yesterday’s Wall Street Journal for an article titied "Missing Alexandria" by Lucette Lagnado. The article is about Alexandria, Egypt, contrasting its present and the past depicted in Lawrence Durrell’s novel ‘Justine’.

This is definitely one of my favorite pieces that I have made so far. For it allows me to tap into current events while still be able to study vintage elements such as a multi-cultural Alexandria in the 1940s, which I have always been fascinated by—as well as having a strong female lead. 

Big thanks to Art Director Angela Morris for guiding me through the piece.

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Romare Bearden, “Spring Way” (1964)

The dark grays of this collage present a gritty view of urban life. I see a paradox of simultaneously feeling trapped and of feeling at home. Bits of pink pop up here and there amidst the mismatched sets of parallel lines, hints of spirit within the tightly packed, formidable edifices.

(via streetetiquette)

From Univision:

“Can I touch your hair?”

It’s a question that makes many black women cringe and one they hear all too often from non-black folks. 

The white fascination and black frustration inherent to these encounters peaked the interest of sisters Antonia and Abigail Opiah who run a website devoted to hair called un’ruly (the pair are all too familiar with the question.)

Antonia wrote a blog for The Huffington Post on the topic, and the sisters decided to organize a public art exhibition aiming to spark a dialogue about and satire the phenomena. 

On Thursday afternoon, three black models with natural hair held signs in New York City’s Union Square that read “YOU CAN TOUCH MY HAIR. The event has been fairly contentious  on Twitter, with some critics likening it to a “slave auction” or a “petting zoo.”

But, Julee Wilson, the Style & Beauty Editor at HuffPost BlackVoices attended the event, describing it as an interesting “social experiment.” While in attendance, a white woman asked Wilson if she could touch the editor’s hair. Wilson made an exception, she said, in the spirit of the art exhibit’s experiment. 

“This was not an open invitation for white people to go around touching black peoples’ hair from now on,” Wilson said.

“It was almost like a public service announcement, like okay you can touch my hair today, but don’t come up any other day and ask to touch my hair, or I will tell you why this is wrong in the first place,” she added. “But get it out of your system today, and tell your friends.”


Gimme Your Han’

16 3/4 x 10 3/4”, Mixed Media, 2010 

(From a series of paintings interpreting Negro Spirituals)

“Gimme your han, gimme your han,
All I want is the love of God.
Gimme your han, gimme your han,
Must be loving, it’s God’s command.”


Title: Mi Vida Loca

Photographer: Amanda Lopez

(via blackcontemporaryart)


Lawrence Graham-Brown: The Bared Truth

His work has been described as “stridently race conscious,” who wrestles “with issues related to Black and gay self-hatred, Black-ness, Jamaican-ness, African-ness, sexuality, class and religion. He achieves all this through a self-taught direct style that calls on Rastafari and Garvey symbolism.” I would describe his work as right on time.

I met Lawrence a few years ago at a Rainbow Book Fair then hosted by the Lesbian, Gay, Bisexual and Transgender Community Center. He was quiet, unassuming and polite. Apparently, he saves his energy for the stage. When the spotlight hits him, Graham-Brown comes alive. He can be credited for taking the Black male body into various spaces (the church, for example) and making it front and center in unique, startling ways.

Below he shares his sensibilities about his art and its purpose.

How would you describe your artistic process?

Well, an inspiration could come from many sources. I might develop an idea by writing about it then create artwork through various media, vis-à-vis painting, collage, performance video, or just having a discussion to flesh out thoughts about it. Sometimes I may put a thought on hold and then return to it later, however  I would like to think I am a 21st Century man and so I try to address issues I think would be of relevance to me and my communities.

Nudity figures prominently in your work, talk about that.

My work is rooted in concepts of liberation, fear, boundaries or lack thereof, risks, challenges, religion, race, sex-sexuality and so on. So therefore nudity would certainly be a friend. Nudity always draws a range of emotion; it is like brush strokes or piano keys in my work. I like to create a range of emotion. Some folks pick up on the nudity because that is where they enter the work, or the olfactory notes, or sounds, or actions but as a Jamaican liberation is at the very core of my being, with influences from Garvey, Rex Nettleford, Marley, and many others. You would be blind to not realize the erosion of our civil rights, so as a 21st Century Black man in USA, I believe that public policy makers do not believe we have the right to own our bodies, to dance how we want to dance, and to dress the way we want to dress.

On Tuesday May 28, 2013, at 6:30 p.m. join Jamaican artist Lawrence Graham-Brown for a screening of “Rites of Passage/Sacred Spaces 2012,” his recent performance/film at the Schomburg Center. After the screening, Graham-Brown will be in conversation with Steven G. Fullwood about his insightful views on art, politics, and public performance as a venue for change, expression, and liberation. Light refreshments will be served.

Free! Registration requiredRegister here and spread the word!

(via blackcontemporaryart)