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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

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

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
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

Black woman at left wearing a red skirt suit with white buttons, red and white striped blouse, and red hat with white pompon or flower; Black woman to right of first figure wearing a black blouse, tan skirt, and tan hat with white bow, holding a baby wrapped in a white blanket; Black couple at right, with woman in a brown skirt suit and brown hat with white band, reaching out for baby, and man wearing a dark suite and dark hat; two Black children at center; small framed portrait of a Black man in a black hat against a turquoise ground, on a shelf at top center; received in white frame

The Beginning, 2002

Winfred Rembert

G322

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

The Smoker, c. 1933

Henry W. Bannarn

G353

close-up image of a child's face, open-mouthed and crying; short, curly hair; rendered in washy green, mauve, gray and tan pigment; white background

Copyright %C2%A9 2018 Darius Steward - All Rights Reserved.

Crying Child, 2018

Darius Steward

G353

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

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

Ram, 1938–1942

William Edmondson

G376

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

Not on View
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

G303

rectangular strips of various sizes with denims, pale purple, and tan square at center right; larger strips of blue, pale green, tan, cream, and black and white gingham at edges; white backing; Velcro heading band

%C2%A9 Nellie Mae Abrams %2F Artists Rights Society %28ARS%29%2C New York

"Housetop" quilt, c. 1970

Nellie Mae Abrams

G303

group of seated figures- two adults and two children; small child with curly dark hair, gazing outward, in C, wearing a colorful top with elaborate designs in mostly red and yellow pigment; right-most figure smiles, with long hair, red earrings and wearing a turquoise double-stranded necklace; child in top C, head turn toward seated figure in ULQ; green background, with eye shapes drawn n blue pigment along top of image

Sierra and her family, on the Mississippi shore, 2021

Leslie Barlow

G302

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
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
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
Matrix for Anna Mae & Lula Bell, from The Beauties series

Printing matrix for "Anna Mae" (top) and "Lula Bell" (bottom), 2012

Willie Cole

Not on View
Matrix for Dot/ & Ida Mae, from The Beauties series

Printing matrix for "Dot" (top) and "Ida Mae" (bottom), 2012

Willie Cole

Not on View
Matrix for Fannie Mae & Ruth, from The Beauties series

Printing matrix for "Fannie Mae" (top) and "Ruth" (bottom), 2012

Willie Cole

Not on View
Matrix for Queen & Lucy, from The Beauties series

Printing matrix for "Queen" (top) and "Lucy" (bottom), 2012

Willie Cole

Not on View
Beauty, Savannah/ Bessie

Printing matrix, 2012

Willie Cole

Not on View

%C2%A9 Roy DeCarava. All rights reserved.

Man in a Window, 1978

Roy DeCarava

Not on View

%C2%A9 Roy DeCarava. All rights reserved.

Man Smoking Cigar on Ashcan, 1978

Roy DeCarava

Not on View
photographic image of six bridges spanning a waterway between tall city buildings, printed in blue; orange and purple vertical smeared lines at R and L edges and top; purple blocks and splotches at top and central area

%C2%A9 John Dowell

The Bridge, 2004

John E. Dowell

Not on View
abstract image printed in black; lighter "ground" area and dark "sky"; insect-like shapes in "sky," amoeba-like shapes in "ground"

%C2%A9 John Dowell

Hat and Beard, 1977

John E. Dowell

Not on View
Photolithographic plates created with films of spray paint and stencil drawings created by the artist. Photo polymergravure plate made from a retouched historical photograph of Harriet Tubman.

Copyright %C2%A9 Rico Gatson%2C published by Highpoint Editions

Harriet, 2018

Rico Gatson; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Expressionist sketch of quickly drawn, overlapping lines in red, blue, orange, yellow, green, purple and pink; the lower half of the composition consists of a smaller rectangular drawing characterized by the same lines and a predominantly light blue center

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Study for "Coffee Thyme", 1980

Sam Gilliam

Not on View
Maquette using leftover fragments from Coffee Thyme project, taped together

%C2%A9 Sam Gilliam %2F Artists Rights Society %28ARS%29%2C New York

Study for "Lattice", 1981

Sam Gilliam

Not on View
geometric design; a variety of triangles in red, blue, yellow; large grey rectangle with one corner missing in center background; blue square center left

%C2%A9 Sam Gilliam %2F Artists Rights Society %28ARS%29%2C New York

Buoy Landscape II, 1982

Sam Gilliam; Printer: Vermillion Editions Limited, Minneapolis

Not on View
abstract image; vertical band of dappled orange and red color in center, flanked by vertical bands of cooler layered tones of green, blue and pink pigments on right and left sides

%C2%A9 Sam Gilliam %2F Artists Rights Society %28ARS%29%2C New York

Fire, 1972

Sam Gilliam; Printer: Impressions Workshop, Boston; Publisher: Impressions Workshop, Boston

Not on View
abstract image in cool-toned pigments, with natural paper fibers woven throughout, creating a linear veining pattern; mauve vertical section on right, green washy center and indigo washy pigment, all with a drippy, blue over wash; paper has an organic, uneven fringed effect around the edges

%C2%A9 Sam Gilliam %2F Artists Rights Society %28ARS%29%2C New York

Nile, 1972

Sam Gilliam; Printer: Impressions Workshop, Boston; Publisher: Impressions Workshop, Boston

Not on View

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Color run for published print

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Color run for published print

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Color run for published print

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Color run for published print

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Color run for published print

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Color run for published print

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Black and white abstraction

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Blind intaglio of triangle and rectangle

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Nearly empty composition featuring a small purple triangle composed of non-descript forms and superimposed over a plain white rectangle

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Abstraction featuring a small rectangle and overlapping triangle against a predominantly red background

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Abstraction featuring a small rectangle and overlapping triangle surrounded by a sea of red and blue markings

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Abstraction featuring a small rectangle and overlapping triangle in the lower half of the page; the surrounding space is a blend of colors, predominantly red, yellow and blue

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View

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