“The Black Index” at UC Irvine pursues knottier narratives of self-representation.
For the past 13 years, Swann has been the only major auction house with a department dedicated to African American art, setting auction records for artists such as Sam Gilliam, Faith Ringgold, and Charles White.
Two shows in New York City take profoundly different approaches to the idea, but are worth comparing for how they represent being Black and talented or accomplished.
The free-to-attend Black Portraiture[s] conference will focus on the creation of visual archives in the context of landmark moments in Black history.
I asked respected art figures like Lowery Stokes Sims, Deborah Willis, and Ugochukwu-Smooth Nzewi to share a beloved artist with me.
In 1973, a small band of black artists published the Black Photographers Annual, Volume I, a book that changed the history of photography in America.
ST. LOUIS — Several months ago, I made the commitment to be away from New York City, my home and native land, for the duration of this summer.
MUSKEGON, Mich. — Common Ground, the Muskegon Museum of Art’s current exhibition of African American art, combines works from three regional Michigan collections: the Muskegon museum, the Kalamazoo Institute of Arts, and the Flint Institute of Arts.
Often, I consider what people will make of my notebooks after I am dead.
In performance, as in history, there’s a lot that gets lost: layers of meaning and nuance too complex to carry in a single story. Investigating Simone Leigh’s and Xenobia Bailey’s projects for funkgodjazz&medicine: Black Radical Brooklyn, produced by Creative Time and the Weeksville Heritage Center, I was struck by this loss as an informative process.
The energetic, jumbled print design of funkgodjazz&medicine: Black Radical Brooklyn, an exhibition by Creative Time and the Weeksville Heritage Center, strikes a bright, funkedelic chord in the mind’s eye. This is jazz; this is the casting off of the master’s linguistic tools; this is a celebration of black selfhood.
The appointment raises questions about the way museums treat black artists and their work, which in turn expose the complications of turning a race into an artistic category.