There's an abundance of reasons to visit the current set of exhibitions at the Studio Museum of Harlem (the ones on view close on June 8). I'll get to the art itself, but there are some overarching considerations.
Outside the venue, a very long line winds down and around several blocks. Art aficionados wait patiently in the sun. Inside, the exhibition visitors wander and wonder. THE MARVELOUS SUGAR BABY regally inhabits the space.
Richard Stuart Perkins makes for an easy interview. I had the pleasure of sitting down with the filmmaker and photographer recently. He's talented, sweet, and charming. (It's a shame you don't get to hear his contagious laugh.) We touched on some heavy and important topics.
Putting Traylor at the forefront of the mid-20th century African-American context for art today seems an act of reclamation that, in addition to restoring the African-American artistic heritage, also dispels the unfortunate aura of Outsiderism,
Although Andrews has become known for his later images, which were typically easier and lighter, the strength of There Must Be a Heaven lies in showing how long it took for Andrews to get to a place of peace.
Kara Walker is no stranger to controversy. On Thursday, March 7, 2013, the African-American visual artist addressed a room of more than 100 people in New Jersey's Newark Public Library to talk about her work and its most recent firestorm.
Moses Groves was not always an artist. As a bass, baritone, and second tenor, he recorded with Little Jimmy and The Tops. The group eventually disbanded. A future filled with life, love, and art intertwined would ensue for this passionate artist.
On the surface, "An Economy of Grace" is a well-timed game-changer for painter Kehinde Wiley. After making a name for himself by exclusively painting men, "An Economy of Grace" presents Wiley's first series of portraits featuring women.
I recently visited an art exhibit chronicling the legacy of art in Black Los Angeles. The show is called "Now Dig This! Art & Black Los Angeles 1960-1980, " and I sat down to speak with the curator of the exhibit, Kellie Jones. Here's the second part of that conversation.
I recently visited an art exhibit chronicling the legacy of art in Black Los Angeles. The show is at the UCLA Hammer Museum and is called "Now Dig This! Art & Black Los Angeles 1960-1980." I sat down to speak with the curator of the exhibit, Kellie Jones.
He was not only an extraordinarily gifted artist who produced powerfully moving works of art; he was also an important pioneer who inspired a generation of young black artists to believe that they, too, had something of urgent importance to say.