Betye Saar, Rojo Toro, 1964
Betye Saar, The Beast that Pounds the Devil's Dust, 1964
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Alma Woodsey Thomas (1891-1978) "Astronauts’ Glimpse of the Earth" [acrylic on canvas, 1974]
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Jacob Lawrence
The Migration Series, Panel no. 57: The female workers were the last to arrive north. (between 1940 and 1941)
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Kerry James Marshall's 'Vignette', acrylic / fiberglass, 2003
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A quilt depicting snakes.
Unknown African American Maker, Quilted Bedcover, ca. 1875–1900, cotton top, linen back,
and cotton stuffing.
High Museum of Art
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Joyce J. Scott, Three Generation Quilt I, 1983, mixed media (Artist's Collection)
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Quilt. Cotton and synthetic metallic knit. 85 × 77 in. (215.9 × 195.6 cm). Nettie Jane Kennedy. ca. 1955.
Museum of Fine Arts, Houston
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Aesthetics of Funk - Crocheted mandalas by Xenobia Bailey
Xenobia Bailey is a trash alchemist, a single stitch, urban crochet aficionado, designer, artist and community activist, whose practice industrializes the visual aesthetic of “Cosmic-Funk,” practiced by African-American homemakers since Emancipation, into utilitarian “Funktional” design. Media exposure ranges from an Absolut advertisement to a design consultancy with Disney World, and a subway mosaic commission from the MTA in New York. She has shown internationally, with such institutions as Creative Time, the Sharjah Art Foundation, and numerous U.S. Embassies. Her work is held by numerous museums, as well as in academic, corporate, public and private collections.
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"Carmen Portrait" by Tamara Downes
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Richard Hunt (1935-2023) — The Chase [welded steel, 1965]
The garden, our planet, is inhabited by beings of beautiful movement — Richard Hunt
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William H. Johnson Three Friends, 1939
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United States of Attica (1971-72). Faith Ringgold.
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'Boy and Book' (before 1900) by Charles Ethan Porter (1847–1923).
Watercolour on paper.
Wikimedia.
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