Category: reblogs


Octopus, 150×150 cm, acrylic, glitter, canvas.


In the wake of the Civil Rights Movement and the Black Arts Movement in the 60s and 70s, Dindga McCannon became one of the founding members of the Where We At collective, formed in response to the marginalization of Black women artists in the larger art world, and who subsequently organized one of the first exhibitions on Black women artists in “Where We At: Black Women Artists, 1971.” 

McCannon wrote about her inspiration for making the vibrant Revolutionary Sister stating, “In the 60’s and 70’s, we didn’t have many women warriors (that we were aware of) so I created my own […] I used a lot of the liberation colors: red—for the blood we shed; green—for the Motherland—Africa; and black—for the people.” 

See McCannon’s Revolutionary Sister on view in Out of Place: A Feminist Look at the Collection all Black History Month and through September 13.

Author: Jenée-Daria Strand
Dindga McCannon (American, born 1947). Revolutionary Sister, 1971. Mixed media construction on wood. Brooklyn Museum, Gift of R.M. Atwater, Anna Wolfrom Dove, Alice Fiebiger, Joseph Fiebiger, Belle Campbell Harriss, and Emma L. Hyde, by exchange, Designated Purchase Fund, Mary Smith Dorward Fund, Dick S. Ramsay Fund, and Carll H. de Silver Fund, 2012.80.32. © artist or artist’s estate 


This work by Kara Walker, from a series of etchings called “An Unpeopled Land in Uncharted Waters,” reflects the trauma of the transatlantic slave trade. A member of both the American Philosophical Society and the American Academy of Arts and Letters, Walker blends artistic mediums that create compelling visual narratives, and is a leader in addressing the legacy of discrimination and oppression through art.

 "no world,“ 2010, by Kara Walker  © Kara Walker 


Zita David, Path, gouache on paper, 70×78 cm, 2018


‘Thank You for Your Patronage’ – pastel on 100% cotton paper



Artist Miriam Escofet has painted an award-winning portrait of her mother. The painting, entitled An Angel at My Table, won the BP Portrait Prize in 2018.


Memory and Self-Love Highlight Profound Portraits of Black Figures by Harmonia Rosales


Group IX/UW No. 25, The Dove, No. 1, Hilma af Klint, 1915

Oil on canvas
151 x 114.5 cm (59.45 x 45.08 in.)
The Hilma af Klint Foundation, Stockholm, Sweden


Surrealist Kay Sage spent most of the 1920s and 1930s in Europe. But it was during the 1940s back home in the United States that she produced her strongest work. In “Unicorns Came Down to the Sea,” an enigmatic landscape is seen obliquely from a large window with drapery of muted reds, yellows, and blues hanging from a scaffolded archway. Sage’s characteristically precise architectural structures signal an entirely new addition to Surrealism’s imaginary built environment.

 "Unicorns Came Down to the Sea,“ 1948, by Kay Sage Tanguy 


Joyce Polance


oil on canvas, 2018, 36 x 30 in.