Sentences with phrase «black women artists from»

Focusing on the work of more than forty black women artists from an under - recognized generation, the exhibition highlights a remarkable group of artists who committed... Read More

Not exact matches

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Sharing honors from the Society Dramatic Authors and Composers, given annually to a French film in Fortnight, were two very different tales of romantic possibility in Paris: Philippe Garrel's black - and - white «Lover for a Day» («L'Amant d'un Jour»), about a 23 - year - old woman who learns that her father is dating a girl her age, and Claire Denis» «Let the Sunshine In» («Un Beau Soleil Intérieur»), starring Juliette Binoche as a divorced artist looking for love in many of the wrong places.

Simone Leigh has used her agency as an artist to turn her exhibitions at various art institutions into platforms for everything from yoga classes to natural healing centers; at the New Museum this past summer, Leigh staged a protest and celebration by 100 artists assembled under the name Black Women Artists for Blackartists assembled under the name Black Women Artists for BlackArtists for Black Lives.

Focusing on the work of black women artists, We Wanted a Revolution: Black Radical Women, 1965 — 85 examines the political, social, cultural, and aesthetic priorities of women of color from the mid-1960s to the mid-1black women artists, We Wanted a Revolution: Black Radical Women, 1965 — 85 examines the political, social, cultural, and aesthetic priorities of women of color from the mid-1960s to the mid-1women artists, We Wanted a Revolution: Black Radical Women, 1965 — 85 examines the political, social, cultural, and aesthetic priorities of women of color from the mid-1960s to the mid-1Black Radical Women, 1965 — 85 examines the political, social, cultural, and aesthetic priorities of women of color from the mid-1960s to the mid-1Women, 1965 — 85 examines the political, social, cultural, and aesthetic priorities of women of color from the mid-1960s to the mid-1women of color from the mid-1960s to the mid-1980s.

Arguably one of today's leading artists, Mickalene Thomas stands out from the pack because of her ability to own the legacy of Dadaism as a black lesbian woman.

In an interview with Kehinde Wiley, the artist explains why he shifted his focus from black men to women.

BOOKSHELF A number of recent exhibition catalogs have featured artists from the Black Arts Movement and AfriCOBRA in particular, including «Soul of a Nation: Art in the Age of Black Power,» «Witness: Art and Civil Rights in the Sixties,» «The Freedom Principle: Experiments in Art and Music, 1965 to Now,» and «We Wanted a Revolution: Black Radical Women, 1965 — 85.»

The curators expound upon a score of topics, from the Studio Museum in Harlem, Just Above Midtown Gallery, The Black Photographers Annual, and Emory Douglas and the Black Panther newspaper to abstraction shows, black women artists, FESTAC» 77, and the Wall of Respect and mural moveBlack Photographers Annual, and Emory Douglas and the Black Panther newspaper to abstraction shows, black women artists, FESTAC» 77, and the Wall of Respect and mural moveBlack Panther newspaper to abstraction shows, black women artists, FESTAC» 77, and the Wall of Respect and mural moveblack women artists, FESTAC» 77, and the Wall of Respect and mural movement.

THE LO - DOWN FROM 1987: No black woman had ever been chosen for a Whitney Biennial since 1973; Of the 30 non-white artists who had been in the biennials since 1973, only 3 have had work acquired for the museum collection; More than 70 artists had been chosen for more than one Biennial.

The National Museum of Women in the Arts is presenting works by 21 black women artists working in abstraction from the 1960s to the preWomen in the Arts is presenting works by 21 black women artists working in abstraction from the 1960s to the prewomen artists working in abstraction from the 1960s to the present.

Other women include another black artist in Mildred Thompson with Galerie Lelong, nudes by Jane Freilicher with Paul Kasman, thickly woven paintings by Harmony Hammond with Alexander Gray, mixed media on dark monochrome by Carol Rama at Fergus McCaffrey, and glitter - soaked rags from Lynda Benglis with Cheim & Read.

2017 Third Space: Shifting Conversations about Contemporary Art, Birmingham Museum of Art, Birmingham, AL We Wanted a Revolution: Black Radical Women, 1965 — 85, Brooklyn Museum, Brooklyn, NY; California African American Museum, Los Angeles, CA; Albright - Knox Art Gallery, Buffalo, NY; Institute of Contemporary Art, Boston, MA Magnetic Fields: Conversations in Abstraction by Black Women Artists 1960 - Present, Kemper Museum of Contemporary Art, Kansas City, MO; National Museum of Women in the Arts, Washington, DC; Museum of Fine Arts, St. Petersburg, St. Petersburg, FL Approaching Abstraction: African American Art from the Permanent Collection, La Salle University Art Museum, Philadelphia, PA 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Carnegie Museum of Art, Carnegie Institute, Pittsburgh, PA Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York, NY The Time Is N ♀ w, Michael Rosenfeld Gallery LLC, New York, NY MIDTOWN, Salon 94 at Lever House, New York, NY

Except for a smear of blue by Norman Lewis, Michael Rosenfeld avoids color, but with a striking mix of black and white artists, both men and women, from the 1930s to today.

Here, gelatin silver photographs and photograms — taken from the artist's personal archive made over the years and used both altered or unmodified — are layered into compositions, along with pieces of sheer black or tan fabric that allude to women's hosiery.

When in 2014 white artist Joe Scanlan introduces a character played by a black woman into the Whitney Biennial, the mostly queer and black Yams Collective withdraws from the show.

Group Island Press: Recent Prints, Mildred Lane Kemper Art Museum, St. Louis, MO, 2018 Thinking Through Art, Middlebury College Museum of Art, Middlebury, VT, 2018 Sunrise, Sunset, Emerson Dorsch Gallery, Miami, FL, 2017 The Unhomely, Denny Gallery, New York, NY, 2017 Women Painting, Miami Dade College, Kendall Gallery, Miami, FL, 2017 New Faces, Different Places, Central Features Contemporary Art, Albuquerque, NM 2017 The Home Show, form & concept, Santa Fe, NM, 2016 Girls Who Dance in Dissonance, Wayside, Los Angeles, CA, 2016 Surface Area: Selections from the Permanent Collection, Studio Museum in Harlem, New York, NY, 2016 Self - Proliferation, Girls» Club, curated by Micaela Giovannotti, Fort Lauderdale, FL, 2016 Faces and Vases, Royal NoneSuch Gallery, Oakland, CA, 2016 Visions Into Infinite Archives, SOMArts Cultural Center, curated by Black Salt Collective, San Francisco, CA, 2016 Summer Art Faculty Exhibition, Schick Art Gallery, Skidmore College, Saratoga Springs, NY, 2015 Paula Wilson & Jovencio de la Paz, Saugatuck Center for the Arts, Saugatuck, MI, 2015 Perception Isn't Always Reality, Kranzberg Arts Center, St. Louis, MO, 2015 DRAW: Mapping Madness, Inside — Out Art Museum, curated by Tomas Vu, Beijing, China, 2014 - 2015 Lake Effect, Saugatuck Center for the Arts, curated by Mike Andrews, Saugatuck, MI, 2014 I Am The Magic Hand, Sikkema Jenkins & Co, Organized by Josephine Halvorson, New York, NY, 2013 Sanctify, Vincent Price Museum, Los Angeles, CA, 2013 The Bearden Project, Studio Museum in Harlem, New York, NY, 2012 Configured, Benrimon Contemporary, Curated By Teka Selman, New York, NY 2012 Art by Choice, Mississippi Museum of Fine Art, Jackson, MS, 2011 The February Show, Ogilvy & Mather, New York, NY, 2011 Art on Paper: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC, 2010 Defrosted: A Life of Walt Disney, Postmasters Gallery, New York, NY, 2010 41st Collectors Show, Arkansas Art Center, Little Rock, AK, 2009 - 2010 Carrizozo Artist's Show, Gallery 408, Carrizozo, NM, 2009 - 2010 While We Were Away, Sragow Gallery, New York, NY, 2009 A Decade of Contemporary American Printmaking: 1999 - 2009, Tsingha University, Beijing, China, 2009 Collected.

interdisciplinary artist / writer / performer Kenyatta AC Hinkle's makes loose energetic drawings with handmade brushes while dancing, and from these works she creates poignant un-portraits of black women who have gone missing via erasure.

«There was a tendency, particularly in the»70s and»80s, to pigeonhole artists — you were a woman artist, you were an artist from the South, you were a black artist,» explained Jennifer Burris, co-curator of the show along with artist Park McArthur, as we strolled past a button - down shirt covered in painted crosses, a totem - like sculpture made of pill bottles, and a postcard scrawled with the words «Here is a good solid woman,» each underlined emphatically with glitter.

2015 Interventions in Printmaking: Three Generations of African American Women, Allentown Art Museum of The Lehigh Valley, Pennsylvania, USA SELF: Portraits of Artists in Their Absence, National Academy Museum of Art, New York, USA Piece by Piece: Building a Collection, Selections from the Christy & Bill Gautreaux Collection, Kemper Museum of Contemporary Art, Kansas, USA Status Quo, The School, Jack Shainman Gallery, New York, USA Breath / Breadth: Contemporary American Black Male Identity, Maier Museum of Art at Randolph College, Lynchburg, USA To Be Young, Gifted, and Black, Goodman Gallery, Cape Town, South Africa

Because they took issue with Joe Scanlan — a white male — for masquerading as (and profiting from) Woolford, a fictitious artist portrayed by two hired black women, Jenn Kidwell and Abigal Ramsay.

Co-curated with Andrea Barnwell Brownlee, «Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970» (2008) presented work by 40 women artists from Australia, Cuba, Europe, Kenya, South Africa, and the United StWomen Artists and the Moving Image Since 1970» (2008) presented work by 40 women artists from Australia, Cuba, Europe, Kenya, South Africa, and the United Artists and the Moving Image Since 1970» (2008) presented work by 40 women artists from Australia, Cuba, Europe, Kenya, South Africa, and the United Stwomen artists from Australia, Cuba, Europe, Kenya, South Africa, and the United artists from Australia, Cuba, Europe, Kenya, South Africa, and the United States.

Curated by Daniella Rose King Opening Reception: June 11, 2017, 3 - 6 pm LaKela Brown Nontsikelelo Mutiti Sam Vernon Patrice Renee Washington Lachell Workman We Buy Gold presents THREE.: On Visibility and Camouflage, works from Black Women Artists for Black Lives Matter, opening on Sunday, June 11th from 3 - 6 pm at 387A Nostrand Avenue in Bed - Stuy, Brooklyn.

The late Italian artist's watercolor drawings from the late «30s and early «40s depict women masturbating with big black snakes or inspecting headless men with six penises in the place of one.

«From its very inception, an exhibition about black women artists working in this medium was groundbreaking.

ARTIST»S STATEMENT Coming from a long line of Louisiana Black Creole sex workers, courtesans, concubines, temple prostitutes, voodoo priestesses, shamans, and witchy women the lure and lore of this form of renumeration has long held me in fascinating rhythm.

2005 Family Legacies: The Art of Betye, Alison and Lezley Saar, Ackland Art Museum, University of North Carolina, Chapel Hill, NC; Pasadena Art Center, Pasadena, CA; San José Museum of Art, San José, CA; Palmer Art Museum, Pennsylvania State University, University Park, PA Back to Black: Art, Cinema and the Racial Imaginary, The Whitechapel Art Gallery, London, England; New Art Gallery, Warsall, England Eye Contact, American Painting and Drawing, Michael Rosenfeld Gallery, New York, NY Syncopated Rhythms: 20th Century African American Art from the George and Joyce Wein Collection, Boston University Art Gallery, Boston, MA Art of Engagement, Jack Rutberg Fine Arts, Los Angeles, CA How American Women Artists Invented Postmodernism: 1970 — 1975, Mason Gross School of the Arts Galleries, Rutgers University, New Brunswick, NJ

Bringing together students from the Artist's Coalition, Black and Muslim Student Associations and Women's studies class, the Guerilla Girls visit St. Kate's University and amp up for next year's takeover.

1973 Women Artists in the Museum Collection, University Art Museum, Berkeley, CA Dimensional Prints, Los Angeles County Museum of Art, Ahmanson Gallery, Los Angeles, CA Art of Black Culture, California State University, Humboldt, CA Eight Women Artists from Los Angeles, Santa Monica City College, Santa Monica, CA Black Mirror, Womenspace, Los Angeles, CA In a Bottle, California State University, Fullerton, CA Black USA: 1973, New York Cultural Center, New York, NY

Lake's groundbreaking early work includes «A Genuine Simulation of...» (1973 — 74), a series of photographic self - portraits retouched with Covergirl makeup, and Miss Chatelaine (1973), a grid of black - and - white photos of the artist, each embellished with a different hat or head of hair cut from Chatelaine, a Canadian women's magazine.

In an interview with Artnet today, Christopher Y. Lew, who co-curated the biennial, said that Open Casket would remain on view, rejecting artist Hannah Black's call in an open letter for the work's destruction because Schutz is a white woman benefiting from black trBlack's call in an open letter for the work's destruction because Schutz is a white woman benefiting from black trblack trauma.

In 1969, he became a founding member of the Black Emergency Cultural Coalition (BECC), which formed coalitions with other artists» groups, protested the exclusion of women and men of color from institutional and historical canons, and advocated for greater representation of black artists, curators, and intellectuals within major musBlack Emergency Cultural Coalition (BECC), which formed coalitions with other artists» groups, protested the exclusion of women and men of color from institutional and historical canons, and advocated for greater representation of black artists, curators, and intellectuals within major musblack artists, curators, and intellectuals within major museums.

Drawings from the artist's ongoing The Evanesced series focus on the erasure of Black women from the African Diaspora, will take over the Gallery's walls.

This exhibition is the final episode in the artist's series on Colonial America, his successful combining of art, history, and sometimes wicked but always fun - to - read commentary on people — Europeans adventurers and explorers, North American Indians, freed and enslaved blacks, and ravishing women who love, laugh, and die on the banks of the Hudson from Manhattan up to Lake Oneida.

But Fort Gansevoort flips the script on millennia of male - dominated athletics with art works by thirty - one women made between the mid-twentieth century and now, from Elizabeth Catlett's jubilant 1958 print of a barefoot girl jumping rope to a just - finished collage of a pigtailed boxer by Deborah Roberts, a young artist who borrows the Dadaist strategies of Hannah Höch for the era of Black Lives Matter.

From Derrick Adams's inventive adaptations of politically - charged designs by black fashion pioneer Patrick Kelly, to Firelei Báez's reimagining of Judy Chicago's The Dinner Party to grant women of color their rightful seat at the table, artists are resurfacing visual languages from the past to comment on contemporary socio - political cultFrom Derrick Adams's inventive adaptations of politically - charged designs by black fashion pioneer Patrick Kelly, to Firelei Báez's reimagining of Judy Chicago's The Dinner Party to grant women of color their rightful seat at the table, artists are resurfacing visual languages from the past to comment on contemporary socio - political cultfrom the past to comment on contemporary socio - political culture.

While the artist's earlier works focused on classical depictions of the female form, primarily using powerful black women as the subjects, Tête de Femme more boldly conceptualizes female faces from collaged geometric cutouts.

An overview of Wiley's prolific career from 2001 to the present, A New Republic features spectacular portraits of black men - the artist's signature works - along with exciting new developments: portraits of women, monumental sculpture, and «paintings» in stained glass.

... and check out the selection from Marilyn Minter and Andrianna Campbell's ANGER MANAGEMENT, a pop - up featuring resistant work by John Baldessari, Black Women Artists for Black Lives Matter, Zoe Buckman, Nicole Eisenman, Charles Gaines, Jenny Holzer, Rashid Johnson, Joan Jonas, Barbara Kruger, Glenn Ligon, Robert Longo, Laura Owens, Jack Pierson, Mary Ping, Faith Ringgold, Laurie Simmons, Rirkrit Tiravanija, and many others.

Best known for her vivid, rhinestone - studded pictures of black women, the artist is curating an exhibition of work by 14 of today's most critical voices in the visual arts, from Carrie Mae Weems and Deana Lawson (who designed Blood Orange's most recent album cover) to Hank Willis Thomas (founder of the first artist - run super PAC).

Replicating Kehinde Wiley's celebrated portraits of black men and women from around the world, these open edition plates (and available set of six) feature images from the artist's «Economy of Grace» and «World Stage: Lagos and Dakar» series.

It is a sight to see such a wide selection of the artist's images from 1946 to 2001, on subjects spanning the arc of 20th century African American history and culture from slavery, civil rights, and black power and pride to portraits of African American women and families.

Among these are the artist's most famous, landmark paintings — among them Pink Angels (1945), Excavation (1950), and the celebrated third Woman series (1950 — 53)-- plus in - depth presentations of all his most important series, ranging from his figurative paintings of the early 1940s to the breakthrough black - and - white compositions of 1948 — 49, and from the urban abstractions of the mid 1950s to the artist's return to figuration in the 1960s, and the large gestural abstractions of the following decade.

For the exhibition, the two artists approach the «White Male on a Pedestal» from their individual responses as black women operating in a system of white male supremacy.

«Miami Arts Project,» Miami, FL, January — March, 1998; brochure «I'm Still In Love With You: Visual Artists and Writers Respond to the 1972 Album by Al Green,» Women's 20th Century Club, Eagle Rock, CA, February 14 — March 14, 1998 «Postcards from Black America,» Breda, De Beyerd Museum, Breda, The Netherlands, 1998; catalogue «Núcleo Historico, XXIV Bienal de São Paulo,» curated by Paulo Herkenhoff, São Paulo, Brazil, 1998 «100 Years of Sculpture: From Pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislaine Hussenot, Paris, France, 1998 «Heart, Mind, Body, Soul,» Whitney Museum of American Art, New York, NY, 1998 «Cut on the Bias: Social Projects of the 90's,» from the Permanent Collection: The Fabric Workshop and Museum, Philadelphia, PA, 1998 «Histories (Re) Membered: Selections from the Permanent Collection of the Bronx Museum,» Paine Webber Art Gallery, New York, NY, 1998 «100 Years of Sculpture: From pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislane Hussenot, Paris Miami Art Project, Miami, FL, 1998 «Hindsight: Selections from the Permanent Collection,» Whitney Museum of American Art, New York, NY, 1998 «A Portrait of Our Times: An Introduction to the Logan Collection,» San Francisco Museum of Modern Art, San Francisco, CA, from Black America,» Breda, De Beyerd Museum, Breda, The Netherlands, 1998; catalogue «Núcleo Historico, XXIV Bienal de São Paulo,» curated by Paulo Herkenhoff, São Paulo, Brazil, 1998 «100 Years of Sculpture: From Pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislaine Hussenot, Paris, France, 1998 «Heart, Mind, Body, Soul,» Whitney Museum of American Art, New York, NY, 1998 «Cut on the Bias: Social Projects of the 90's,» from the Permanent Collection: The Fabric Workshop and Museum, Philadelphia, PA, 1998 «Histories (Re) Membered: Selections from the Permanent Collection of the Bronx Museum,» Paine Webber Art Gallery, New York, NY, 1998 «100 Years of Sculpture: From pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislane Hussenot, Paris Miami Art Project, Miami, FL, 1998 «Hindsight: Selections from the Permanent Collection,» Whitney Museum of American Art, New York, NY, 1998 «A Portrait of Our Times: An Introduction to the Logan Collection,» San Francisco Museum of Modern Art, San Francisco, CA, From Pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislaine Hussenot, Paris, France, 1998 «Heart, Mind, Body, Soul,» Whitney Museum of American Art, New York, NY, 1998 «Cut on the Bias: Social Projects of the 90's,» from the Permanent Collection: The Fabric Workshop and Museum, Philadelphia, PA, 1998 «Histories (Re) Membered: Selections from the Permanent Collection of the Bronx Museum,» Paine Webber Art Gallery, New York, NY, 1998 «100 Years of Sculpture: From pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislane Hussenot, Paris Miami Art Project, Miami, FL, 1998 «Hindsight: Selections from the Permanent Collection,» Whitney Museum of American Art, New York, NY, 1998 «A Portrait of Our Times: An Introduction to the Logan Collection,» San Francisco Museum of Modern Art, San Francisco, CA, from the Permanent Collection: The Fabric Workshop and Museum, Philadelphia, PA, 1998 «Histories (Re) Membered: Selections from the Permanent Collection of the Bronx Museum,» Paine Webber Art Gallery, New York, NY, 1998 «100 Years of Sculpture: From pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislane Hussenot, Paris Miami Art Project, Miami, FL, 1998 «Hindsight: Selections from the Permanent Collection,» Whitney Museum of American Art, New York, NY, 1998 «A Portrait of Our Times: An Introduction to the Logan Collection,» San Francisco Museum of Modern Art, San Francisco, CA, from the Permanent Collection of the Bronx Museum,» Paine Webber Art Gallery, New York, NY, 1998 «100 Years of Sculpture: From pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislane Hussenot, Paris Miami Art Project, Miami, FL, 1998 «Hindsight: Selections from the Permanent Collection,» Whitney Museum of American Art, New York, NY, 1998 «A Portrait of Our Times: An Introduction to the Logan Collection,» San Francisco Museum of Modern Art, San Francisco, CA, From pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislane Hussenot, Paris Miami Art Project, Miami, FL, 1998 «Hindsight: Selections from the Permanent Collection,» Whitney Museum of American Art, New York, NY, 1998 «A Portrait of Our Times: An Introduction to the Logan Collection,» San Francisco Museum of Modern Art, San Francisco, CA, from the Permanent Collection,» Whitney Museum of American Art, New York, NY, 1998 «A Portrait of Our Times: An Introduction to the Logan Collection,» San Francisco Museum of Modern Art, San Francisco, CA, 1998

2009 Landscape Revisited, Park Avenue Armory, New York, NY Extended Family: Contemporary Connections, Brooklyn Museum, Brooklyn, NY Posing Beauty, New York University Tisch School of the Arts, New York, NY Dress Codes: The Third ICP Triennial of Photography and Video, The International Center of Photography, New York, NY Creating Identity: Portraits Today, 21C Museum, Louisville, KY Black Is, Black Ain't, The Artspace at the Kansas City Art Institute, Kansas City, MO Undercover: Performing and Transforming Black Female Identities, The Spelman College Museum of Fine Art, Atlanta, GA First Look: An Exhibition of Emerging Artists from Los Angeles Galleries, House of Campari, Los Angeles, CA Remix, Catharine Clark Gallery, San Francisco, CA The Female Gaze: Women Looking At Women, Cheim and Read, New York, NY Crash Proof, The Scholar and Feminist Online, Barnard Center for Research on Women, online exhibition Elsewhere, Saltworks, Atlanta, GA The Glamour Project, Lehmann Maupin, New York, NY CAN & DID — Graphics, Art, and Photography from the Obama Campaign, Danziger Projects, New York, NY

Entering the recent exhibition «Vanishing Points» at James Cohan Gallery in New York, one was confronted with a large wall text — visible from the street through the gallery's glass doors — penned by a group of black women artists in the name of the Black Lives Matter moveblack women artists in the name of the Black Lives Matter moveBlack Lives Matter movement.

Perched at one of the magazine booths, I watched a succession of tribes go by: a blur of men in white thobes; Eungie Joo and her crew from Sharjah (including M + curator Doryun Chong and the artists Danh Vo, Haegue Yang, and Eric Baudelaire); and the designer Rick Owens surrounded by five black - clad beauties — men, women, expertly draped, drifting slow figure eights around Michèle Lamy, Owens's strikingly face - tattooed and arm - bangled partner, and a young lanky soul, totally androgynous, lagging behind in a pink leather ball gown.

January 17, 2013 «Works from every stage of the pioneering black woman artist's career» Museum of Fine Arts, Boston Read More