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a: wire framework in organic shape with printed tin, plastic and wooden toys and noisemakers attached--Jack-in-the-boxes, various shapes of noisemakers, drums, clickers, tops and tambourines; b: suit installed over black plastic mannequin; colorful sweater fragments pieced together to create a bodysuit with head and face covering; bodysuit covered overall with crocheted doilies and hot pads, embroidered felt fragments and pieced stitched pieces; pink and white doily over face area

%C2%A9 Nick Cave and Jack Shainman Gallery%2C NY

Soundsuit, 2010

Nick Cave

Not on View
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

G310

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

Ram, 1938–1942

William Edmondson

G367

Bust-length portrait of a Black female field worker

Art %C2%A9 Elizabeth Catlett %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

Sharecropper, 1952 (printed c. 1952-57)

Elizabeth Catlett; Printer: Printed by the artist and Jose Sanchez; Publisher: Published by the artist and Taller de Grafica Popular, Mexico City

Not on View
cross-shaped; applied red cross with pink lines and pink, grey, and cream square spots; blue-grey ground with pink and red birds, one at top center and one at each end of horizontal arm of cross; pinkish-cream standing figure with pigeon toes and small three-feathered wings, with arms upraised, at bottom center

%C2%A9 Mose Tolliver %2F Artists Rights Society %28ARS%29%2C New York

Cross of a White Jesus with a French Bird, a Mountain Bird, and Pinto Bird, 1987

Mose Tolliver

G375

After meeting in the early sixties, Henry and Georgia Speller married in 1979. They spent 10 years together, lovingly comparing illustrations on their porch. As a couple they balanced each other, and as artists their respective practices grounded their union. By using basic, accessible materials, they collectively convey a youthful simplicity underscored by a deep social critique. Through bold washes of tempera and contrasting color schemes, the Spellers manifested on paper their hopes, dreams, frustrations, and criticisms of the classist and racist structures that impoverished their community. Henry’s Steamboat Katie Adam and Georgia’s House up on the Hill off the Highway exemplify material class privilege in southern society—a way out, always in view, never in reach. In Two Cousins, Georgia explores beauty standards and individual stylistic choices. Pig Eating Breakfast and Two Cousins refer more and less overtly to eroticism and sexual pressures under the white patriarchal gaze in American society. “We sit on the porch in the summer drawing pictures and making music. I made me up a song once. Georgie had a round piece of wood, made a drum and beat on it. One night, her mama’s spirit come to her, told her she’d be coming. She told me, ‘Mama come to me in a dream. I won’t be out here next summer.” - Henry Speller

%C2%A9 Henry Speller %2F Artists Rights Society %28ARS%29%2C New York

Steamboat Katie Adam, 1987

Henry Speller

G103

After meeting in the early sixties, Henry and Georgia Speller married in 1979. They spent 10 years together, lovingly comparing illustrations on their porch. As a couple they balanced each other, and as artists their respective practices grounded their union. By using basic, accessible materials, they collectively convey a youthful simplicity underscored by a deep social critique. Through bold washes of tempera and contrasting color schemes, the Spellers manifested on paper their hopes, dreams, frustrations, and criticisms of the classist and racist structures that impoverished their community. Henry’s Steamboat Katie Adam and Georgia’s House up on the Hill off the Highway exemplify material class privilege in southern society—a way out, always in view, never in reach. In Two Cousins, Georgia explores beauty standards and individual stylistic choices. Pig Eating Breakfast and Two Cousins refer more and less overtly to eroticism and sexual pressures under the white patriarchal gaze in American society. “We sit on the porch in the summer drawing pictures and making music. I made me up a song once. Georgie had a round piece of wood, made a drum and beat on it. One night, her mama’s spirit come to her, told her she’d be coming. She told me, ‘Mama come to me in a dream. I won’t be out here next summer.” - Henry Speller

%C2%A9 Henry Speller %2F Artists Rights Society %28ARS%29%2C New York

Pig Eating Breakfast, 1988

Henry Speller

G103

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

Rocking Chair, 1981

Nellie Mae Rowe

G103

two rectangular images with rounded corners in a vertical format with red painted border; roughly mirror images; each image has a curvy woman with short curly hair and large eyes wearing a pink and white leotard-like outfit, seated beside a pond with a tree and a basket of flowers; woman at left holds her PL index finger beneath her PL eye and has "NETIA" on her belt buckle; fish in pod on left image; woman at right holds her fist beneath her PR cheek and has "ANN" on her belt buckle

%C2%A9 Royal Robertson %2F Artists Rights Society %28ARS%29%2C New York

Visions of Times, 1985

Prophet Royal Robertson

G103

painting on paper torn from spiral notebook on left edge; portrait of two women, each with long black hair; woman on left wears purple blouse with red collar; woman on right wears brown, black, and red irregularly striped blouse; pink ground; bold red, brown, and white facial features

%C2%A9 Georgia Speller %2F Artists Rights Society %28ARS%29%2C New York

Two Cousins, 1987

Georgia Speller

G103

%C2%A9 Georgia Speller %2F Artists Rights Society %28ARS%29%2C New York

House up on the Hill off the Highway, 1987

Georgia Speller

G103

recto: calendar grid at center; text overall in squares and bands; drawing of standing women at left and right edges; woman at left has brown skin, short brown hair, and wears a lacy blouse and short girdle-like pants, with flowers at her feet; woman at right, with brown hair in an updo and seen from back, is nude except for white stockings and looks over her PL shoulder verso: black painted border with rounded corners; image of linear 1950s style house with ice cream cone shaped pot on a platform at front center; two large trees; blue sky with clouds

%C2%A9 Royal Robertson %2F Artists Rights Society %28ARS%29%2C New York

Untitled, 1989

Prophet Royal Robertson

G103

%C2%A9 Herbert Singleton %2F Artists Rights Society %28ARS%29%2C New York

Crucifixtion Coffee Table, 1995

Herbert Singleton

G103

recto: Godzilla-like dragon in green and dark red with tan back plates at left confronting a blue, green, and yellow eel in a reverse S shape; yellow zigzag in ULC; yellow radiating lines in URC; blue ground at top, tan in LLC, dark form in LRC; red border verso: portion of a newspaper ad on Lowe's pasted at top in a T shape; text at center in a sketch of an open book; grid at bottom with numbers and "BATH ROOM" in LRC

%C2%A9 Royal Robertson %2F Artists Rights Society %28ARS%29%2C New York

Fire Dangon Fighting Giant Electric Ell, 1980

Prophet Royal Robertson

G103

%C2%A9 John B. Murray %2F Artists Rights Society %28ARS%29%2C New York

Untitled, early 1980s

John B. Murray

G103

white border and backing; orange with grey, black, and brown squares, rectangles, and L shapes in four quadrants with grey rectangle at center; asymmetrical pattern; Velcro heading band

%C2%A9 Lottie Mooney %2F Artists Rights Society %28ARS%29%2C New York

"Housetop" quilt--four-block "Half-Log Cabin" variation, c. 1940

Lottie Mooney

G103

rectangular radiating blocks; one black in one corner has I-shape at center; corduroy front and back; tan, browns, pale green, red, and orange; brown backing; Velcro heading band

%C2%A9 Lola Pettway %2F Artists Rights Society %28ARS%29%2C New York

"Housetop" variation quilt, 1970s

Lola Pettway

G103

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

Old Rugged Cross, 1998

Joe Minter

G103

%C2%A9 Ronald Lockett %2F Artists Rights Society %28ARS%29%2C New York

April Nineteenth (The Number), 1995

Ronald Lockett

G103

%C2%A9 John B. Murray %2F Artists Rights Society %28ARS%29%2C New York

Untitled, mid 1980s

John B. Murray

G103

%C2%A9 Lonnie Holley %2F Artists Rights Society %28ARS%29%2C New York

Pressure from the Burn, 1995

Lonnie Holley

G375

%C2%A9 Richard Burnside %2F Artists Rights Society %28ARS%29%2C New York

The Ancient King, 1987

Richard Burnside

G375

%C2%A9 Thornton Dial %2F Artists Rights Society %28ARS%29%2C New York

Royal Flag, 1997-1998

Thornton Dial

G103

%C2%A9 Eldren M. Bailey %2F Artists Rights Society %28ARS%29%2C New York

Spider Lady, 1960s

Eldren M. Bailey

G103

%C2%A9 Leroy Almon %2F Artists Rights Society %28ARS%29%2C New York

Christ, 1987

Leroy Almon

G103

%C2%A9 Arthur Dial %2F Artists Rights Society %28ARS%29%2C New York

Eve and Adam, 1989

Arthur Dial

G103

%C2%A9 Archie Byron %2F Artists Rights Society %28ARS%29%2C New York

Life Form, 1988

Archie Byron

G103

old textbook ("You and Your Health") with paper and cardboard glued over pages and some pages torn out; cover is an old shipping bill of lading with vertical brown wavy lines painted over it; back cover has a line drawing in pen of a portrait of a man with a blue Afro hairstyle; various abstract imagery inside book

Copyrighted %C2%A9 Purvis Young. All rights reserved.

Untitled (You and Your Health), c. 1990

Purvis Young

G280

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

close-up of face and upper chest (Face Sweating)

%C2%A9 The Gordon Parks Foundation

Muhammad Ali, 1970 (printed 1980s)

Gordon Parks

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

G302

head of an African-American woman upside down at top of sheet with long twisted dreadlocks in shades of grey and black hanging down toward bottom of sheet

%C2%A9 2008 Mequitta Ahuja

Tress IV, 2008

Mequitta Ahuja

Not on View
black-on-white silhouette of a woman in a horizontal format; woman has short curly hair and wears a long bead necklace and large cuff bracelet on PL wrist; ribbons at woman's hips; long hair between legs (pubic hair or skirt material?)

%C2%A9 Kara Walker

African/American, 1998

Kara Walker; Printer: Landfall Press, Santa Fe, N.M. (formerly Chicago); Publisher: Landfall Press, Santa Fe, N.M. (formerly Chicago)

Not on View
three standing men with factory in back on R

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

Factory Workers, 1942

Romare Howard Bearden

Not on View
Genre. Naive. Primitive. African American. Three figures doing the wash in the foreground, clothesline and Africa House in the background.

The Wash, 1950s

Clementine Hunter

G324

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

Picking Cotton, 1950s

Clementine Hunter

G324

Charles Wilbert White%2C Courtesy Heritage Gallery

Just a Closer Walk with Thee, 1958

Charles White

Not on View
three black-and-white images, from top: mouth, chin and collar bones of dark-skinned female figure; small cylindrical brick building with conical roof; and cylinrical loops of hair braids; surrounded by six black blocks with white text

%C2%A9 1991 Lorna Simpson

Counting, 1991

Lorna Simpson; Publisher: Brooke Alexander Editions, New York

Not on View
wall hanging/relief; boat-shaped element at bottom with white on right side and red on left side and a cross inside a circle in black pigment at center; loop of thick wire at top with partial grid made of thinner wires; child-sized black three-dimensional hand hanging from loops of wire at top right; bulbous element in brown with encrustations at top attached on lower left with wire

%C2%A9 2015 Ren%C3%A9e Stout

Crossroads Marker with Little Hand, Reaching, 2015

Renée Stout

G375

columnar bundle of clothing (primarily denim) and other textiles, tied together in a bundle with black and white ribbon; fabrics are predominately blues and purples; mirror on one side decorated with black organic lines; rectangular wooden base partially covered with various fabrics and trims including denim and dripping purple pigments on one side; copper colored metal pendant in a type of dreamcatcher form with a crystal on one side, hanging from twisted black ribbon and yarn

%C2%A9 Shinique Smith

Bale Variant No. 0024 (Everything), 2017

Shinique Smith

Not on View

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

Coffee Thyme II, 1981

Sam Gilliam; Printer: Vermillion Editions Limited, Minneapolis

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
Abstraction featuring a small rectangle and overlapping triangle in the lower half of the page; the surrounding space is a blend of colors--light purple, red, yellow, blue and light brown

%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--light purple, red, yellow, blue and light brown

%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--light purple, 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
Abstraction featuring a small rectangle and overlapping triangle in the lower half of the page; the surrounding space is a blend of colors--red, yellow, blue and purple

%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
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 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
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
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
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
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

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

Coffee Thyme I, 1980

Sam Gilliam

Not on View

%C2%A9 Richard Hunt

Untitled, 1975

Richard Hunt; Printer: The Lakeside Studio, Lakeside, Michigan; Publisher: The Lakeside Studio, Lakeside, Michigan

Not on View

%C2%A9 Richard Hunt

Untitled, 1974

Richard Hunt; Printer: The Lakeside Studio, Lakeside, Michigan; Publisher: The Lakeside Studio, Lakeside, Michigan

Not on View

%C2%A9 Richard Hunt

Untitled, 1974

Richard Hunt; Printer: The Lakeside Studio, Lakeside, Michigan; Publisher: The Lakeside Studio, Lakeside, Michigan

Not on View

%C2%A9 Richard Hunt

Untitled, 1974

Richard Hunt; Printer: The Lakeside Studio, Lakeside, Michigan; Publisher: The Lakeside Studio, Lakeside, Michigan

Not on View

%C2%A9 Richard Hunt

Untitled, 1974

Richard Hunt; Printer: The Lakeside Studio, Lakeside, Michigan; Publisher: The Lakeside Studio, Lakeside, Michigan

Not on View

%C2%A9 Richard Hunt

Untitled, 1975

Richard Hunt; Printer: The Lakeside Studio, Lakeside, Michigan; Publisher: The Lakeside Studio, Lakeside, Michigan

Not on View

%C2%A9 Richard Hunt

Untitled, 1974

Richard Hunt; Printer: The Lakeside Studio, Lakeside, Michigan; Publisher: The Lakeside Studio, Lakeside, Michigan

Not on View

%C2%A9 Russell T. Gordon

Sky Vision, 1974

Russell T. Gordon; Printer: The Lakeside Studio, Lakeside, Michigan; Publisher: The Lakeside Studio, Lakeside, Michigan

Not on View
Multi-layered abstract composition

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

Top Bunk, 1973

Sam Gilliam

Not on View
Pop-up silhouette book; binding: maroon buckram covers

%C2%A9 Kara Walker

Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times, 1997

Kara Walker; Publisher: Peter Norton Family Christmas Projects, Pasadena, California

Not on View
binding: black cowhide, blind-stamped lettering; endpapers: black wove; slip case: black fabric over cardboard, stamped lettering in violet; type: Foundry Optima Medium

%C2%A9 Estate of Jacob Lawrence %2F Artists Rights Society %28ARS%29%2C New York

Hiroshima, 1983

Jacob Lawrence; Author: John Hersey; Author: Poem by Robert Penn Warren; Printer: Studio Heinrici, Ltd., New York , (prints); Printer: Wild Carrot Letterpress , Hadley, MA, (text); Publisher: The Limited Editions Club

Not on View
black-and-white 3/4 length portrait of a woman with long dreadlocks or braids, with shorter braids/dreadlocks on the top of her head, with her eyes closed and hands raised with palms facing out; woman wears a headband, beaded necklace with two large gems and two small skulls, and a dark long-sleeved shirt

See-Line Woman (The General), 2019

Renée Stout

Not on View
abstract image; red face at center; red bird head, ULC; white and red face in profile at right center with red sun in URC; cat-like form in LRC; predominately red, peach, and black

La Rose (The Rose), 1986

Herbert Gentry; Printer: Atelje Arte, Malmo, Sweden

Not on View
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.

Not on View
standing woman wearing a sheer sleeveless dress, with her hair in six braids being lifted by blooming cotton plants; woman holds a clothes iron with red at the tip in her PL hand; woman's eyes are white; tan background with pattern of blooming cotton plants; received in dark finish wood frame

White Guise, 2019

Alison Saar; Printer: P.R.I.N.T. Press, University of North Texas, Denton; Publisher: P.R.I.N.T. Press, University of North Texas, Denton

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

Not on View
group of six framed photographs installed with one vertical photograph at right and five photographs clustered together at left at a 45-degree angle; each photo printed in black on blue or pink ground with Ben Day dots and framed in black frame Part 1/6 (a): blue; silhouette of running man in profile, wearing a hat Part 2/6 (b): pink; barking aggressive German Shepard dog on its hind legs with arm and leg of man being lunged at by dog at right; crowd at top of image Part 3/6 (c): pink; image on the diagonal; back of torso and PR arm of man swinging a bat Part 4/6 (d): blue; image of back of man with legs wide apart (head out of picture plane) with a dog pulling on the seat of his pants; other figures at top Part 5/6 (e): blue; image of a Black handcuffed woman wearing a dress and white shoes being pulled by her wrists by a uniformed figure and escorted by two other white men in uniforms Part 6/6 (f): blue; two Black men and a Black woman leaning against a brick building while a strong jet of water is strayed at their backs

Blues and Pinks 3, 2020

Carrie Mae Weems

Not on View
black and white image of two little Black children cuddling with a doll between them, seated on the floor with a decorative heat register grill in wall in URQ; received in black frame

Children with Doll, 1942

Gordon Parks

Not on View
color image of a middle-aged woman in profile from PR, with dark hair streaked with grey pulled into a low bun, wearing glasses, a small black hat, pearl necklace and white jacket; received in black frame

Untitled, Washington, D.C., 1963 (printed 2017)

Gordon Parks

Not on View
black and white image of a young Black child pointing at Black and white baby dolls being held by their heads in the hands on a white man; received in black frame

Doll Test, Harlem, New York, 1947 (printed 2020)

Gordon Parks

Not on View
color image of a group of Black people with tall buildings in background; boy wearing a dark suit at right; smiling man at center holding a newspaper ("Muhammad Speaks") with the headline, "OUR FREEDOM CAN'T WAIT!"; two women at left wearing sunglasses; received in black frame

Untitled, Harlem, New York, 1963 (printed 2020)

Gordon Parks

Not on View
black and white image of young woman with Afro hairstyle, with her mouth open wide, wearing a sweatshirt printed "MALCOLM X" with his portrait, and houndstooth pants, at left; young man at right with head turned to PL, smiling, wearing identical sweatshirt, jacket and black pants; received in black frame

Untitled, Watts, California, 1967 (printed 2020)

Gordon Parks

Not on View
vertical geometric sculpture made up of triangular and square planes; faces of planes are covered in old patchwork quilts--triangular pieced designs with various printed fabrics, portion of Log Cabin pattern with various prints and some solid fabrics (particularly red and white), and solid colored diamond shaped pieces designs forming brightly-colored bars with larger solid blue areas; planes edged in gold leaf

Semaphore, 2019

Sanford Biggers

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
woman with bobbed hair wearing black robe over Wonder Woman costume, walking on a tightrope; yellow bottom section with eyes (painted and collage); woman holds paintbrushes in one hand and a shirt on a hanger, with bare breasts and hand holding an abstracted bowl of red fruit on front; images in corners of Gauguin painting of woman with bowl of fruit; cloth borders with African printed motifs

Tightrope, 1994

Emma Amos

Not on View
triptych: R image: female figure in white silhouette facing R, with hair in kerchief, bare chested, puffy apron or skirt; C image depicts silhouetted female upper torso and head, being pulled by three smaller silhouetted figures with rope at L, and pushed by two smaller silhouetted figures at R; L image masculine figure in white silhouette wearing ponytail wig, high-necked jacket, holding a burning candle in outstretched hand

%C2%A9 Kara Walker

Resurrection Story with Patrons, 2017

Kara Walker; Printer: Burnet Editions, New York; Publisher: Sikkema Jenkins & Co., New York

Not on View
portrait of black man in sunglasses and slightly askew hat

%C2%A9 Richard Ellington Lewis

Self-portrait as Fassbinder, September 4, 2012

Richard Ellington Lewis

Not on View
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

Not on View
image of back of a person's head with overlapping cornrows on top, giving way to natural, curly black hair, accented with brown and orange; arch of thin black lines over top of head, with orange and brown color around head as well

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

Crown, 2002

Emma Amos; Publisher: Emma Amos

Not on View
two figures, right figure wearing a pink shirt, and holds PR arm around the neck of left figure; left figure bent forward, face obscured, with PL hand on arm of right figure

Copyright %C2%A9 2019 Darius Steward - All Rights Reserved.

Bare Arms (The Practice #2), 2019

Darius Steward

Not on View
black female figure reclined on a couch covered in a floral-patterned blanket; figure wears red, gauzy robe, open, with chest exposed, and a black bodice around the waist, with lace trim at the bottom; animal patterened rugs, with a bright blue wall in background; large plant at right edge; white lamp on a wooden table, with a tattered LP under table leaning against the wall

%C2%A9 Mickalene Thomas %2F Artists Rights Society %28ARS%29%2C NY

Madame Mama Bush, 2012

Mickalene Thomas

Not on View
large work with collage elements; many layered pieces of fabric with elaborate prints and objects coated in resin; two cavities resembling veiled heads in top center; thick, gold chain draped under bottom of cavity on the left; fourteen compact disks in top center; large black circle in URC; white transparent cloths in center right and on the left; scattered green and blue hair curlers in center left, center right and in URC; scattered wooden clothes pins; gray-brown feathers with white spots in LLQ, LRQ, center left and center right

%C2%A9 Kevin Beasley

Queen of the Night, 2018

Kevin Beasley

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
black and white image of a town; two figures in LLQ, one wearing a long skirt and scarf on head, bent over a round 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
black and white image of a group of female figures and children on a beach; two seated figures on left; child bending over with feet in a small puddle in LLQ; seated child holding a ball in LRQ; standing figure holding a child in PL arm on left; linear sky in background

%C2%A9 Margaret Burroughs

On the Beach, 1957

Margaret Burroughs

Not on View
drawing of the head of a man, bald, looking upward, and rendered in blue, black and white pigment; linear, woodgrain-like design, with vertical lines running downward on face; gold background with same woodgrain-like pattern

%C2%A9 Alfred Amadu Conteh

Kirby, 2017

Alfred Amadu Conteh

Not on View
image of two female figures seeming to gaze at each other; L figure has shoulder-length hair, parted in the center, and wears a red sleeveless shirt, arms crossed over chest; R figure wears hair in pony tail with a shaded sleeveless shirt; both figures have decorative paper hand-stitched skirts; circular elements in white pigment with blue and gold decorative floral pattern in center, all overlap image of figures; muted green background

%C2%A9 Delita Martin

Between Sisters, 2018

Delita Martin

Not on View
image of two female figures with blue, washy pigments over scene; left figure covers her face with her hands; figure on right gazes outward, holding a white and black lined mask in PL hand; black floral shapes on long stems on top and bottom edges; black and white decroative floral paper is hand-stitched on shirt of right figure

%C2%A9 Delita Martin

The Soaring Hour (Self Portrait), 2018

Delita Martin

Not on View
smiling young black girl with her hair in thick braids standing with her PL hand on her hip and her PR hand in her front pocket, wearing overalls and a long sleeved white shirt

%C2%A9 Dawoud Bey

Untitled, 1988

Dawoud Bey

Not on View

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