tobia:

Robert McCurdy
Toni Morrison
2006

Oil on canvas. National Portrait Gallery, Smithsonian Institution (Washington, D.C.) 

Images via Flickr. 

(via sapphrikah)

260 notes

(Source: sparksinthedark, via ancestryinprogress)

737 notes

ancestryinprogress: Tim Okamura Diadems 2011, Oil and mixed media on canvas 78 x 72 in / 198.1 x 182.94 cm he is so amazing. i don’t think i’ve seen any other male artist give so much space for darker-skinned black women with natural hair in their art.

ancestryinprogress:

Tim Okamura

Diadems 2011, Oil and mixed media on canvas
78 x 72 in / 198.1 x 182.94 cm

he is so amazing. i don’t think i’ve seen any other male artist give so much space for darker-skinned black women with natural hair in their art.

(Source: locmeornot)

1,112 notes

lifedepictsfashion: Gorgeous painting! beautiful

lifedepictsfashion:

Gorgeous painting!

beautiful

(Source: natural-queen-of-coarse, via deliciouskaek)

149 notes

naijaboi:

http://www.blacklooks.org/2011/01/side-by-side-kehinde-wiley-zanele-muholi/

Side by Side: Kehinde Wiley & Zanele Muholi

by Sokari on January 8, 2011

in Africa - Creative Arts,Photography,Queer Politics

Khi Baldwin, on bklyn boihood makes the connection between the “queer portraiture of Zanele’s photography and Kehinde Wiley’s paintings

“In thinking about how dope it is to see Muholi’s representations of queer people of color, it reminded me of seeing Kehinde Wiley’s portrait work for the first time. And although one medium is painting and the other photography, there is something strikingly similar about both artists work. From the emotions captured, to the background textures and contrast, the work, for me creates a similarly captivating feeling. And while Muholi’s subjects are queer and Wiley’s undertones and perspective inherently is, I think both artists create unique modern depictions of queer portraiture. Wiley is quoted as saying: “That’s partly the success of my work—the ability to have a young black girl walk into the brooklyn museum and see paintings she recognizes not because of their art or historical influence but because of their inflection.” I think both artists’ work have this same effect – they create a certain amount of visibility that didn’t previously exist that allows people to see themselves reflected within the work.

(via genderqueer)

64 notes

Pakayla Biehn’s double exposure paintings

(via squintyoureyes)

975 notes

(via zuky)

1,736 notes

blackacrylic:

23.01.11

I had a really interesting discussion about identity, self hate, cultural capital etc with my BFF today and it got me thinking of Margaret Bowland’s selection of paintings of young black girls in white face. When asked to comment on ‘Kenyetta and Brianna’ Bowland that ‘It is a commentary on how women still have to jump through all these hoops to be desirable. These girls are still visible beneath all those layers of crap … they’re still looking back at you.’ I think that a lot of black girls looking at Bowland’s paintings would say that the metaphor transcends beyond the art world. For many black girls Bowland’s paintings are a life metaphor - reflecting a reality where black girls are often marginalised by European standards of beauty. I agree with Cherise Kramarae when she states that ‘For women of color who are viewers, trying to achieve idealised femininity entails not only adjusting or refining one’s body, but also rejecting one’s identity and certain characteristics altogether. To resist this artificial standard is to stand apart from beauty as defined by society’. The frustrating thing for me is that even if you put the fact that there is very little aesthetic diversity across all media platforms to the side, in the black community we impose European standards of beauty on each other with a vengeance. It’s black men that make fun of Alek Wek and it’s black girls arguing about natural hair v relaxer/weave war (e.g ‘These little nappy headed hoes need a terminator’ - Nicki Minaj) etc. It’s this infighting that is the real tragedy.

Somebody told a lie and we believed it.

(via ancestryinprogress)

5,192 notes

loquence: artsysharlie: “Work Shirt”, oil, Tim Okamura, 2011.  

loquence:

artsysharlie: “Work Shirt”, oil, Tim Okamura, 2011.

 

(via ancestryinprogress)

781 notes

(Source: mymodernmet.com, via ancestryinprogress)

180 notes

afro-art-chick: Afro painting by ~JoelKelly

afro-art-chick:

Afro painting by ~JoelKelly

(via ancestryinprogress)

184 notes

lostateminor: Andy Denzler’s paintings look like the moments of static and distortion when VHS tracking goes off, making for really evocative, mysterious, and voyeuristic images. Original Article

lostateminor:

Andy Denzler’s paintings look like the moments of static and distortion when VHS tracking goes off, making for really evocative, mysterious, and voyeuristic images.

Original Article

(via photojojo)

2,993 notes

artismyhustle: Marion Bolognesi

artismyhustle:

Marion Bolognesi

(via zuky)

229 notes

timetoappreciate: Ok so it is official. I am in love with this artists work and one day I will own an original painting by Leonid Afermov. They are beautiful and colorful and a lot of them involve rain and the fall and New York. <3 http://en.wikipedia.org/wiki/Leonid_Afremov http://www.afremov.com/

timetoappreciate:

Ok so it is official. I am in love with this artists work and one day I will own an original painting by Leonid Afermov. They are beautiful and colorful and a lot of them involve rain and the fall and New York. <3

http://en.wikipedia.org/wiki/Leonid_Afremov

http://www.afremov.com/

Notes

(via myquiddity, sexandthechurch)

(via myquiddity, sexandthechurch)

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