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Two men lying on rocky outcrop, one on his back in a blue shirt, the other on his stomach in a white shirt; blue sky and clouds at UR. Frame: painted black with open carving of birds and flowers.

%C2%A9 2009 Kehinde Wiley

Santos Dumont - The Father of Aviation II, 2009

Kehinde Wiley

G374

head of a woman with wide nose and mouth; short wavy hair; bronze patina

Copyright of the artist%2C artist%27s estate%2C or assignees

Cleota Collins, 1932

Henry W. Bannarn

G302

portrait of little Black girl with her hair in a ponytail with braids, looking over her shoulder; girl wears a gold dress patterned with raised circles and ovals in gold, white and black; hem of dress trails off into rectangular and ovoid patterns; received framed in elaborate gilt frame

God's Gift, 2019

Tawny Chatmon

G377

black-and-white bust-length photograph of Ntozake Shange wearing a headscarf and a blouse with butterfly pattern at bottom center; radiating lines in black, yellow, green, orange, and red extending out from behind the photograph; white ground; received in white frame

Ntozake, 2020

Rico Gatson

G353

symmetrical shape with 10 inward curving sides, with grommet at each "corner" which stretch the canvas by white ropes--three attached to the floor, two attached to the left, two attached to the right, and three attached to the ceiling, holding the canvas away from the wall; abstract image with bright colors--purple, black, white, orange, red, brown; rounded forms in a vertical line at center bottom; radiating tapering wide lines; arcing forms at top

%C2%A9 Joe Overstreet %2F Artists Rights Society %28ARS%29%2C New York

Evolution, 1970

Joe Overstreet

G375

%C2%A9 Martin Puryear

Cane, 2000

Martin Puryear; Author: Jean Toomer; Author: Afterword by Leon F. Litwack; Publisher: Arion Press

G369

white panel printed with a design of black ovals of various sizes and outlines of ovals of various sizes; stitched on long sides

Ovals, 1951

Joel Robinson; Manufacturer: L. Anton Maix, Inc., New York

G281

five separate panels; abstract image in bright multicolors with triangles, arcs, zigzags, and whorls, forming abstracted faces playing saxophones of various sorts

Cosmic Connection, 1971

James Phillips

G375

armchair with wooden arms and legs with scroll motifs; seat upholstered in red velvet; backrest upholstered in red and white ticking stiped fabric with red velvet buttons; back of backrest and underside of seat have black braided thread strands

Cornrow Chair, 2011

Sonya Clark

G281

pattern of radiating L shapes, squares, and rectangles; cotton and corduroy; solid white and blue and patterns with small flowers and dots and gingham; heading sleeve at top on back

%C2%A9 Addie Pearl Nicholson %2F Artists Rights Society %28ARS%29%2C New York

"Housetop" quilt--nine-block "Half-Log Cabin" variation, 1974

Addie Pearl Nicholson

G304

abstract, colorful image; squiggly, thick linear design in multicolored pigments of blue, green, yellow, red and purple; heart shape in upper left quadrant in green, yellow and red colors; white bird with wings extended in bottom center; eye shape in middle; two stars on right edge- a green star on middle center, a red star in LRC

%C2%A9 Estate of Beauford Delaney %2F Derek L. Spratley%2C Esq.%2C Court Appointed Administrator

Untitled, 1947

Beauford Delaney

G376

Mythological figures in a landscape. A tribute to jazz musician Nina Simone.

%C2%A9 Estate of Bob Thompson%2C Courtesy of Michael Rosenfeld Gallery%2C LLC%2C New York%2C NY

Homage to Nina Simone, 1965

Bob Thompson

Not on View
drop-front desk with four-legged base; front of base decorated with high-relief carving of sword; exterior of drop-front decorated with high-relief carvings of forks and knives, bottles, gun, various tools (saw, pick axe, trowel, shovel), pocket knives, two pointing hands and other objects; sides also decorated with applied relief carvings of various objects; medium wood patina

Writing desk, c. 1870

Attributed to William Howard

Not on View
abstract image in multi-colored pigments; horizontal streak of blue across top edge; horizontal streak of orange that moves diagonally upwards to LRQ, and again moves back across bottom edge; spots of washy green; blobs of impasto at bottom C and in L

Transitional Space 9, 1969

Jack Whitten

G353

abstract black-and-white mixed media drawing; horizontal lines throughout; dense, black center; diagonal line from UL to LR

%C2%A9 Jack Whitten Estate %2F Hauser %26 Wirth

The Third Entity #10, 2016

Jack Whitten

G353

pale grey stone; standing ram with blocky body; curling horns; stubby, blocky tail

Ram, 1938–1942

William Edmondson

G367

Genre. Naive. Primitive. African American. Three figures doing the wash in the foreground, clothesline and Africa House in the background.

%C2%A9 Clementine Hunter

The Wash, 1950s

Clementine Hunter

G304

Genre. Naive. Primitive. African American. Six figures picking cotton; one smaller figure headed toward a water spigot in LR.

%C2%A9 Clementine Hunter

Picking Cotton, 1950s

Clementine Hunter

G304

abstract painting that resembles image of human figure composed of geometric shapes in black, orange, yellow and white; figure is holding weapon in PL hand with arm raised; dead white bird in center; PR hand of figure is around neck of bird; bird rests atop stylized column; blue circle in upper left quadrant

%C2%A9 Estate of Charles Alston

Symbol, 1953

Charles Alston

G376

four women in colorful dresses in a room with an open door; central figure in purple floral dress is seated facing viewer; two women in profile crouched on eaither side facing central figure; fourth woman at R in green dress standing in open doorway adjusting her hair; window and curtain in TL

Front Room, 2022

Pamela Phatsimo Sunstrum

G374

black and white image of a run-down wooden house behind a picket fence; blades of tall grass at bottom edge of image; trees in ULQ

Tall Grass, Fence, and Cabin, 2020

Dawoud Bey

G374

black and white image of a ditch filled with water in C; field and woods on R and L; line of telephone wires on L; cloudy sky; white frame

Irrigation Ditch, 2020

Dawoud Bey

G374

image of a plywood sculpture of a brown four-armed and four-legged figure with a frowning face on top of a blue and red gingham cloth, casting a shadow at the right; this image is on top of a black and white image of a book, with text and part of a photograph of an African mask at right; framed in medium toned wood frame--unglazed

Female figure "A Reprise", 2020

David Alekhuogie

Not on View
black and white image of an abstracted sculpture of a face made of plywood, with round eyes and mouth and triangular shadow over center, with crescent-shaped shadow in URC and wedge-shaped shadow in LRC; plaid ground; text at bottom; received in medium-toned wood frame--unglazed

WE 431/2 "A Reprise", 2021

David Alekhuogie

Not on View
color image of leaves casting shadows on a black and white photograph of draped fabric or water on a wood board; image printed on canvas affixed by its corners onto wood backing board, with raw canvas edges exposed; frame has three elements that are medium-toned wood--left frame element is lighter-toned wood--unglazed

compton cvs 33.8958° N. 118.2201° W, 2018

David Alekhuogie

Not on View
slightly blurry color image of leaves and red berries at top against a yellow and green ground, with a shadowy area and a red stripe at bottom; image is printed on satin fabric which is nailed with a small brad in each corner of the fabric to a particle board backing; light-toned wooden frame--unglazed

roscoe's long beach 34.0407° N. 118.3476° W, 2018

David Alekhuogie

Not on View
central image with medium toned wood inner frame--black and white image of two Black men outdoors, wearing white double-breasted cook's shirts--man at right wears a tall chef's hat; outer image in color of red, blue, and white plaid fabric; medium toned wood outer frame--unglazed

post-colonial bush breakfast "no wahala", 2021

David Alekhuogie

Not on View
two women in energetic poses: woman at L in teal woven fabric, leaping onto one foot; woman at R, in dark fabric with multi-colored stripes in wide stride, with hands on top of head; large open-weave textile swaths in background; dangling shapes attached to ribbons; bright plaid woven fabric top and bottom borders

%C2%A9 Emma Amos %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C New York

Out in Front, 1982

Emma Amos

Not on View

Art %C2%A9 Estate of Benny Andrews %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

Corner Pocket, 1989

Benny Andrews

Not on View
abstract image; rectangle with black irregular streaks and spots; iridescent gold and bronze; spiderwebbed areas at bottom center and center right; collaged broken glass and brown paper elements; black canvas ground mounted on tan stretched canvas mount; received unglazed

Skinning the Mirror #12, 2021

Edgar Arceneaux

Not on View
primitive style; two standing men wearing identical outfits with tan jackets, white shirts, yellow pants and black shoes, except man at right wears purple necktie; three stylized blue and brown buildings at top; pink and brown asterisk-like flower/star in LRC on white road with a blue-outlined striped cup on same white area; brown and black borders

%C2%A9 Estate Eddie Arning

Untitled (Two Figures), c. 1960

Eddie Arning

Not on View
stylized drawing of a figure wearing a white shirt, white cap, and yellow pants, with long brown hair, playing a yellow wind instrument, with a brown snake coiled into a spiral in front of figure; snake is lying on a green, white, orange, red and brown rug with geometric patterns; stylized plants with white and yellow flowers behind figure; blue ground with brown and black borders; text in red at right: "India's / Incredible / Snake / Charmers"

%C2%A9 Estate Eddie Arning

Snake Charmer, c. 1970

Eddie Arning

Not on View
primitive style; two men standing in ULQ--one man wears a red V-neck shirt, brown pants and orange shoes, other man wears blue hat, striped shirt in red, pink and white, and blue pants; orange water tower with brown ladder and yellow supports in URQ; tree between men and water tower; yellow and black railroad tracks at bottom; red and black borders

%C2%A9 Estate Eddie Arning

Two Men, Tracks and Water Tower, c. 1965

Eddie Arning

Not on View
primitive style; frowning couple with grey hair with woman at left wearing blue and purple checked blouse and red and yellow checked skirt and man at right wearing a tan and purple striped suit, white shirt and red necktie, standing on stilts; foliage behind couple; multicolored predominately yellow, orange and green shapes; green and black borders

%C2%A9 Estate Eddie Arning

Woman with Man on Stilts, c. 1965

Eddie Arning

Not on View
primitive style; standing frowning woman at center, wearing a yellow blouse, skirt and shoes and orange stockings; blue table with two orange covered books to woman's right; man seated in a green and orange chair in LLC next to table, wearing a tan jacket, brown pants, white shirt and black necktie; background has diamond patterning in brown and orange with black outlines; blue and red borders

%C2%A9 Estate Eddie Arning

Man and Woman with Books, c. 1965

Eddie Arning

Not on View
primitive style; castle-like structure with bricks at top; archway at left trimmed in red with yellow windows with diagonal panes; three frowning figures at left, including figure with brown hair, lying down, wearing an orange garment, and heads and shoulders of two figures wearing purple; standing figure wearing purple tunic and orange hat and gloves, holding a paddle-like object, at left, with two additional figures in profile behind him; white, black and green borders

%C2%A9 Estate Eddie Arning

Family in House, c. 1965

Eddie Arning

Not on View
primitive style; stiff-looking small pink figure with brown hair wearing a blue loincloth-type garment lying on lavender, purple and blue horizontal elements on top of a red and brown stylized cradle; yellow ground with blue, purple and brown borders

%C2%A9 Estate Eddie Arning

Child in Cradle, c. 1965

Eddie Arning

Not on View
stylized drawing of pink-skinned girl with orange hair wearing a yellow dress with red and green half-circle patterns on skirt, magenta stockings and purple shoes, standing on water at center, with a standing brown-skinned man wearing a yellow shirt, purple pants and purple hat behind a black stepped element behind girl (on boat or far shore?); red-orange half-circle (setting sun?) at left; blue water with rows on white curved lines; one white football-shaped cloud; black and orange borders

%C2%A9 Estate Eddie Arning

Girl in Water, c. 1965

Eddie Arning

Not on View
Black man in front of a shop window with mannequins wearing tiaras and feather boas; man wears a black brimmed hat and a black leather trench coat, holding a black portfolio case, with a cigarette in his mouth

NYC (man in black coat), 1970s

Anthony Barboza

Not on View
Black man wearing a light-colored hat with a small brim, dark-framed glasses, plaid suit, and bow tie, with his hands in his pants pockets, standing in front of a store on a city street with a grate in front of the windows; pictures of Muhammed Ali and Malcolm X at left, behind small grate

U.S. "Slow Kid" Thompson, Harlem, 1970s

Anthony Barboza

Not on View

%C2%A9 Romare Bearden Foundation %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

The Fall of Troy, 1979

Romare Howard Bearden; Publisher: HMK Fine Arts, Inc., New York; Printer: Hugh MacKay's Atelier 52, New York

Not on View
group of figures standing in a row; center figure wears a green shirt, with bright pink pigment at leg area, with green sections; R figure wears a head scarf, and raises PR hand, with mostly red and blue pigments on body areas, and stockings with scalloped design at top; two arches in top C; figure walking through a doorway in URC; row of houses in top L edge of image; blue pigments over two figures on L; many figures have areas of impasto throughout

Rendezvous At The Crossroads, 2018

Leonardo Benzant

Not on View
young black man seated on a wire milk crate, wearing white high-top tennis shoes, shorts, and a Nike jacket; cases and cans of soda pop to the right; young man leaning his PR elbow on the side of cart

%C2%A9 Dawoud Bey

A Young Man with his Hotdog Cart, Rochester, NY, 1989

Dawoud Bey

Not on View
young black woman standing on a brick-paved path with chain link fences on the left and privacy fences on the right; woman wears a sleeveless dress with vertical ribs and sandals, with her PR hand on her hip and her PL hand on her thigh

%C2%A9 Dawoud Bey

A Young Woman Between Carrolburg Place and Half Street, Washington, DC, 1989

Dawoud Bey

Not on View

%C2%A9 John Biggers

Untitled (Altar with Elephant Motif), 1994

John Biggers; Publisher: The Limited Editions Club

Not on View

%C2%A9 John Biggers

Untitled (Female Figure), 1994

John Biggers; Publisher: The Limited Editions Club

Not on View

%C2%A9 John Biggers

Untitled (Female Figure with Two Youths), 1994

John Biggers; Publisher: The Limited Editions Club

Not on View

%C2%A9 John Biggers

Untitled (Woman, Structures, and Figural Group), 1994

John Biggers; Publisher: The Limited Editions Club

Not on View
printed in black and white; black ground with stencil-like letters--"BLACK / IS / BEAUTIFUL"--with photographs of black women, most wearing bold African print garments; received in white frame

%C2%A9 Kwame Brathwaite

Untitled (Black is Beautiful), 1970 (printed 2018)

Kwame Brathwaite; Designer: Bob Gumbs

Not on View
square form with overlapping, entwined nude figures; figures holding baby on top and on one side; figures holding chalice on one side; glossy brown with gold areas showing through surface color; cast from clay original (L2002.52)

%C2%A9 Frank J. Brown

"Hope for Tomorrow" tzedakah box, 2002

Frank J. Brown

Not on View
black-and-white image of a town; two figures in LLQ, female figure wearing a long skirt and scarf on head, bent over a round wash basin; male figure sits leaning against a fence; house with porch in LRQ; two church steeples in top center; trees in ULQ

%C2%A9 Estate of Ralph A. Chess%C3%A9

Blanchisseuse, 1930

Ralph A. Chessé

Not on View
both images mounted together in frame: upper image (a): triangular mask-like face with geometric details and squinting eyes, within eyelike, almond-shaped form; form has black background with scattered stars and arrows; 3 differently patterned bands across top and bottom edges; title at top; rendered in black and red lower image (b): diamond-shaped face with linear decorations above squinted eyes within center of larger flower-motif; center of flower is black with scattered stars and arrows; geometric and floral patterns in the petals; rendered in black and red; title across top

%C2%A9 Estate Henry Ray Clark

I am Four Eyes from the Planet Called the Red Tornado / I am Blind and I Can See your Future from my Planet Lovely, 20th century

Henry Ray Clark

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Bertha Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Bessie, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Calpurnia, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Carolina, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Clara Esther, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Emma, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Eva Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Ida Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Jane, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Jesse Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Jonny Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Lilly, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Lucy, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Lula Bell, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Mammy, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Matti Lee, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Pearl, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Rose, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Ruth, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Saphire, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Sarah, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Willy Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
23 individual prints (collectively referred to as "The Beauties") printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board (Bertha Mae, Bessie, Calpurnia, Carolina, Clara Esther, Emma, Eva Mae, Ida Mae, Jane, Jesse Mae, Jonny Mae, Lilly, Lucy, Lula Bell, Mammy, Matti Lee, Pearl, Rose, Ruth, Saphire, Sarah, Willy Mae, Zeddie) was relief printed, bottom center, in a medium gray from a photopolymer plate. While originally conceived by the artist as a body of work, they were made available as individuals. Some inking variation between impressions due to the nature of the matrix are indicated by the inscription EV—variant edition.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Zeddie, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Anna Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Dot, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Fannie Mae, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Queen, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of five prints (Savannah, Dot, Fannie Mae, Queen, Anna Mae) selected by the artist and printed intaglio style from ironing boards flattened and distressed to the artist's approval. The name of each board was relief printed, bottom center, in a medium gray from a photopolymer plate. The artist's intention is for the suite of five prints to be shown together and remain as a set.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Savannah, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of nine two-color screenprints, each printed with yellow, red, or blue iron shapes and each surrounded by either a purple, orange, or green background. While conceived as a suite, some were available as individual prints.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Yellow/Orange, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of nine two-color screenprints, each printed with yellow, red, or blue iron shapes and each surrounded by either a purple, orange, or green background. While conceived as a suite, some were available as individual prints.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Red/Orange, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of nine two-color screenprints, each printed with yellow, red, or blue iron shapes and each surrounded by either a purple, orange, or green background. While conceived as a suite, some were available as individual prints.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Blue/Orange, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of nine two-color screenprints, each printed with yellow, red, or blue iron shapes and each surrounded by either a purple, orange, or green background. While conceived as a suite, some were available as individual prints.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Yellow/Purple, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of nine two-color screenprints, each printed with yellow, red, or blue iron shapes and each surrounded by either a purple, orange, or green background. While conceived as a suite, some were available as individual prints.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Red/Purple, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of nine two-color screenprints, each printed with yellow, red, or blue iron shapes and each surrounded by either a purple, orange, or green background. While conceived as a suite, some were available as individual prints.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Blue/Purple, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of nine two-color screenprints, each printed with yellow, red, or blue iron shapes and each surrounded by either a purple, orange, or green background. While conceived as a suite, some were available as individual prints.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Yellow/Green, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of nine two-color screenprints, each printed with yellow, red, or blue iron shapes and each surrounded by either a purple, orange, or green background. While conceived as a suite, some were available as individual prints.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Red/Green, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of nine two-color screenprints, each printed with yellow, red, or blue iron shapes and each surrounded by either a purple, orange, or green background. While conceived as a suite, some were available as individual prints.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Blue/Green, 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a light orange iron shape on an orange background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Creativity (ascending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of an orange iron shape on a light orange background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Creativity (descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a light red iron shape on a red background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Desire (ascending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a red iron shape on a light red background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Desire (descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a light green iron shape on a green background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Healing (ascending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a green iron shape printed on a lighter green background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Healing (descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a light fuchsia iron shape on a fuchsia background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Renunciation (ascending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One print of eight from the suite "The Virgins." A two-color screenprint of a fuchsia iron shape on a light fuchsia background.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Renunciation (descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A four run two-color screenprint of a white iron shape on a gray field on the left side and a gray iron shape on a white background on the right.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Enlightenment (ascending/descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A four run two-color screenprint of a light blue iron shape on a blue field on the left side and a blue iron shape on a light blue field on the right.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Virgin of Wisdom (ascending/descending), 2012

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
An edition of nine black-and-white relief prints plus proofs printed from a plywood block carved by the artist with a router.

Copyright %C2%A9 Willie Cole%2C published by Highpoint Editions

Sole Sisters, 2013 (published 2018)

Willie Cole; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

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