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twitter.com/fyahblaze2011:

    66lanvin:

    lamusenoire:

    Fashion Art: Grace Bol and Kai Newman by Max von Gumppenberg und Patrick Bienert for VOGUE Germany May 2014

    CREDITS: Photography by Max von Gumppenberg and Patrick Bienert, styling by Nicola Knels, Hair Styling by Maxine Mace and Makeup by Mayumi Oda.

    AFRICA is my DESCENT…………No.22

    (via loveisthewateroflife)

    — 13 hours ago with 841 notes
    #africa  #fashion  #art 
    briannamccarthy:

goldlings series remixed.
brianna mccarthy. 2014

    briannamccarthy:

    goldlings series remixed.

    brianna mccarthy. 2014

    (via fuckyouimgeegee)

    — 3 days ago with 258 notes
    #brianna mccarthy  #art 

    devotedtodiversityinart:

    medievalpoc:

    Contemporary Art Week!

    S. Ross Browne

    Series: Self-Evident Truths

    from the artist’s statement:

    These paintings represent a modern study in dichotomy and perception from a historical context using portraiture as the interpretive engine.

    I often use the image of the black woman in unaccustomed/atypical context; derived to create a visual tension between historical fact, misinformation and myth. The viewer is lured into the possible narrative of the depicted figure by her beauty, strength and grace; however immediately enters an intellectual menagerie where they are confounded by the disconnected visual clues. Is she slave or slaveholder? Is she captive or free, is she servant or served? Is she factual or fictional in a historical context? All of these questions and more provide basis for the individual viewers journey of allegorical interpretation.

    The images are imbued with cultural and ethnic symbolism that provides insight into the historical context of the painting. Yet, the icons, combined with my personal visual vocabulary, may remain unseen or misread by the “unknowing” eye; the eye that never learned the historic bases for all the possibilities in the lives of these women. In a society that often make instant cultural judgements based on visual cues that are often stereotypical, but not always, I feel offering ethnic imagery that defies common visual library of the modern citizen may challenge each individuals biases and foregone conclusions of their own notions of what race represents in history and therefore in humanity.

    The images beg the question: Is “Truth” self-evident? Who’s “Truth”? How does knowledge, experience and perception of one’s “self” determine what is evident? If the view of oneself is skewed is it possible to see another clearly?

    This person is amazing!

    (via soulsurvyvor)

    — 3 days ago with 2381 notes
    #art 
    ozu-teapot:

Dorothea’s Rache (Dorothea’s Revenge) - Peter Fleischmann - 1974
Anna Henkel-Grönemeyer

ok…this is a penis 
…what is this supposed to symbolize?

    ozu-teapot:

    Dorothea’s Rache (Dorothea’s Revenge) - Peter Fleischmann - 1974

    Anna Henkel-Grönemeyer

    ok…this is a penis 

    …what is this supposed to symbolize?

    (via loveisthewateroflife)

    — 2 weeks ago with 68 notes
    #art 

    blackpoemusic:

    A black hand in art, Annie Lee!

    Happy 79th Birthday!

    (via saltthought)

    — 2 weeks ago with 275 notes
    #Annie Lee  #art 

    themodernisis:

    cultureunseen:

    The art of Bro. Kadir Nelson

    Beautiful

    (via drquestlove)

    — 2 weeks ago with 4918 notes
    #art  #Kadir Nelson 
    Bob shining down on….
Lee Perry
Peter Tosh
Bunny Wailer
Jacob Miller
who is this artist?
i want this

    Bob shining down on….

    Lee Perry

    Peter Tosh

    Bunny Wailer

    Jacob Miller

    who is this artist?

    i want this

    (Source: paraisoparanoia, via poeticallyhighdreams)

    — 2 weeks ago with 566 notes
    #bob  #peter  #bunny  #perry  #is that jacob miller?  #reggae  #art  #jamaica 
    ventureandvirtue:

Art instructor supervising his students, Watts, Calif., 1965.

    ventureandvirtue:

    Art instructor supervising his students, Watts, Calif., 1965.

    (via elimentality)

    — 2 weeks ago with 628 notes
    #Watts  #California  #instructor  #Art  #students 

    red-lipstick:

    Pedro Ruiz (b. 1957, Bogotá, Colombia)      Paintings: Acrylics, Resin on Canvas

    (Source: oronatural.wordpress.com, via str8nochaser)

    — 2 weeks ago with 4411 notes
    #Pedro Ruiz  #art 
    danielpardini:

.gif remix “edward hopper” painting


me ah tek breaze :)

    danielpardini:

    .gif remix “edward hopper” painting

    me ah tek breaze :)

    — 2 weeks ago with 4651 notes
    #art  #gif 
    thesingingcanary:

Man Ray.  Animated Tribute.
Orig: Man Ray - Indestructible Object (1923), editioned replica 1965. 
dojo.electrickettle.fr

    thesingingcanary:

    Man Ray.  Animated Tribute.

    Orig: Man Ray - Indestructible Object (1923), editioned replica 1965.

    dojo.electrickettle.fr

    — 3 weeks ago with 6519 notes
    #Indestructible Object  #Man Ray  #art  #artist 
    ripening-under-the-sun:

kalanji.
illpegna:

SIZZLA - a commission piece for frontin’ Manchester (https://www.facebook.com/frontinmcr)  

    ripening-under-the-sun:

    kalanji.

    illpegna:

    SIZZLA - a commission piece for frontin’ Manchester (https://www.facebook.com/frontinmcr)  

    (via holyharam)

    — 3 weeks ago with 127 notes
    #SIZZLA  #art  #dancehall 

    5centsapound:

    Mary Sibande is one of South Africa’s most talented young artists. For several years, her work has nearly exclusively revolved around Sophie, a servant character created from her personal genealogy (her mother, grandmother and great-grandmother were maids). Sophie’s dark silky skin and her majestic eye-catching blue Victorian dresses turn her into a queen whose eyes close on reality (but only a little, as only artists can do) to open on a world of  celebrational fantasy exploring South Africa’s identity. - meetheartist

    1.  Her Majesty, Queen Sophie

    2 - 6. Lovers in tango **

    7. Wish you were here

    8. I’m a Lady

    9. All is not lost 

    10. Living Memory

    11. I put a spell on me

     The faces of the mannequins are a cast of Sibande’s own face and the figures are clothed in an elaborate hybrid of a ‘maids’ uniform and Victorian dresses. According to the artist’s statement, ‘the body… and particularly the skin, and clothing is the site where history is contested and fantasies are played out’. The histories being played out here are the ‘stereotypical depictions of women, particularly black women in our society’. One cannot deny that the figure of `the maid’ is one of South Africa’s most common stereotypes. 

    Stereotypes are contradictory in the sense that on the one hand they stand in for a group in the most generalised and recognisable way, but on the other hand are also invisible through the process of generalisation. The `servant’ traditionally is conceived of as an invisible, sightless, deaf and mute figure to those she serves. She has no individuality, and one of the ways this is realised is through the uniform. The uniform literally covers the body but at the same time covers the clothing of the `maid’ that might identify her as an individual who has made particular sartorial decisions.

    Sibande’s ‘maids’ uniforms, however, have been extended and remodelled into lavish and voluptuous dresses. Sibande has used masses of tulle to create the over-feminised costume of the Victorian `lady’ as in I’m a Lady, (2009).  The extravagance of the dresses disables the figures from easy movement, let alone to be able to perform the work of a `maid’. This inability to perform tasks, ironically, becomes a marker of status: a figure dressed as such would have to be waited on, her inaction indicating her position in the hierarchy. -artthrob

    amazing

    (via loveisthewateroflife)

    — 1 month ago with 454 notes
    #Mary Sibande  #South Africa  #art