blackcontemporaryart:
whos-afraid-of-postblack-art:
“I feel sometimes constrained by the expectation that the work should be solely political. I try to create a type of work that is at the service of my own set of criteria, which have to do with beauty and a type of utopia that in some ways speaks to the culture I’m located in. But Americans are so overly fixated on racial identity-and on identity in general.”
Kehinde Wiley
A Dead Soldier
2007
oil and enamel on canvas
(Source: whos-afraid-of-postblack-art, via blackcontemporaryart)
hauntedranch:
Ammi Phillips, Jeannette Woolley, later Mrs. John Vincent Storm, c. 1835-45
(Source: hauntedcola)
femalepersuasion:
Rosalyn Drexler, Self Portrait, 1964
Acrylic and paper collage on canvas
In the Pink, Joe Sheftel Gallery, NYC, June 21 - July 31
In the Pink is a group exhibition featuring paintings, drawings and photographs that unabashedly explore the pleasure— and tension— of looking at the female body. While some figures twist and turn spasmodically, revealing fleshy exposed orifices, others are seemingly caught in static, private moments.
(Source: femalepersuasion, via riley-ferretboy-konor)
mmex:
John Singer Sargent: The Birthday Party, 1887
This image was treasured by the Besnard family it portrays. The son, their only child, died tragically young, and this image served as a valuable memory. The father in this image is painted intentionally blurry to convey the relationship between mother and child.
Hans Hofmann: The Third Hand (1947)








