🔎 Black History at Mia | Mia

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Watch, view, and read about Black art and artists at Mia.

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 — 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 — Untitled, 1947
Beauford Delaney

G376

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

The Smoker, Henry W. Bannarn — 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 — 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. — 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 — 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 — "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 — Out in Front, 1982
Emma Amos

Not on View

Corner Pocket, Benny Andrews — 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

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

Man in a Window, Roy DeCarava — Man in a Window, 1978
Roy DeCarava

Not on View

Man Smoking Cigar on Ashcan, Roy DeCarava — 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 — 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" — 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. — 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 — Study for "Coffee Thyme", 1980
Sam Gilliam

Not on View

Maquette using leftover fragments from Coffee Thyme project, taped together — 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 — 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 — 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 — Nile, 1972
Sam Gilliam; Printer: Impressions Workshop, Boston; Publisher: Impressions Workshop, Boston

Not on View

Coffee Thyme I, Sam Gilliam — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Color run for published print — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Color run for published print — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Color run for published print — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Color run for published print — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Color run for published print — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Color run for published print — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Black and white abstraction — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Blind intaglio of triangle and rectangle — 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 — Coffee Thyme I, 1980
Sam Gilliam

Not on View

Abstraction featuring a small rectangle and overlapping triangle against a predominantly red background — 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 — 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 — Coffee Thyme I, 1980
Sam Gilliam

Not on View

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