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Anthropométrie sans titre   (Untitled Anthropometry) -   Yves  Klein  1960

French  1928-1962

Oil on paper

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alfred browning parker, mass residence, palm beach, florida, 1954 @ spfaust

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Paul Klee

 The One Who Understands, 1934

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Lorna Simpson, Untitled, 1993, photogravure with screenprint and handcolouring.

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Mona Hatoum, Hot Spot (2006). 

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A woman-of-color who writes poetry or paints or dances or makes movies knows there is no escape from race or gender when she is writing or painting. She can’t take off her color and sex and leave them at the door or her study or studio. Nor can she leave behind her history. Art is about identity, among other things, and her creativity is political.

Gloria Anzaldúa, Making Face/Making Soul: Haciendo Caras – Creative and Cultural Perspectives by Women of Color   (via habi-bah)

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Rosalba Carriera

Africa (from Allegories of Four Continents)

Italy (c. 1712)

Pastel on blue paper

34 x 28 cm.

One of the most successful women artists of any era, the Venetian-born Rosalba Carriera spent most of her life fulfilling commissions for distinguished patrons at courts across 18th-century Europe.

[source] [source] [source]

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 Cristina de Middel

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Afrique - Deborah Metsch 

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Thread - Njideka Akunyili Crosby

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Yinka Shonibare collage: After delving into the Whitechapel’s archives, Yinka Shonibare created a collage using images from the gallery’s past, among them David Hockney and Picasso’s Guernica, and entwined them with representations of today’s East End – an image of hip-hop artist Dizzee Rascal and some sumptuous West African prints. (via Cabein Blog)

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Bruno Barbey. Nigeria. Warri region. Niger river delta. 1977.

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Chambres Maliennes (2008) - Mohamed Camara

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Kinshasa, ville des couleurs (2010) - Baudouin Bikoko

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Photographer Pat Ward Williams photographer speaking on her pursuit of a BFA degree in photography at the age of 29. She discusses how her entrance into academia came on the tail end of a 9 year marriage. She states, “…in fact my husband gave me my first camera. I got rid of the husband and kept the camera”.

Her work is highly political and explores race, gender, violence upon Black bodies, and familial histories. She works between photography, installation, and public projects. Ward Williams was also a participant in the Photo-Active Feminist series organized in the 1998 and 1999. I recently re-engaged with her work after reading the exhibition catalog for “Constructed Images, New Photography” (1989) organized by Kelly Jones and Deborah Willis. 

Video Data Bank // 1990

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Lorna Simpson art. - Backdrops (circa 1940s) 1998