afroartnerd
Afro.Art.Nerd
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afroartnerd · 11 days ago
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Derrick Adams (American, 1970), Super Nude 3, 2024. Acrylic, latex paint, and fabric collage on panel, in artist’s frame, 60 ⅜ × 60 ⅜ × 2 ½ in.
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afroartnerd · 11 days ago
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Richard Mayhew (American, 1924-2024), Taos, 1990. Oil on canvas, 57 x 55 in.
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afroartnerd · 12 days ago
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Romare Bearden (American, 1911-1988), Untitled, c.1978. Mixed media and collage on board, 15 ½ x 9 in.
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afroartnerd · 18 days ago
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Ernie Barnes (American, 1938-2009), Pool Hall, c.1975. Acrylic on canvas, 23 3/4 x 48 in.
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afroartnerd · 26 days ago
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Girl with Pomegranate, 1940, by Laura Wheeler Waring
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afroartnerd · 1 month ago
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Charles White (American, 1918-1979, Children's Games II, 1976. Oil on paper mounted to board, 54 5/8 × 47 1/2 in. Arkansas Museum of Fine Arts, Little Rock
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afroartnerd · 2 months ago
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It's my 12 year anniversary on Tumblr 🥳
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afroartnerd · 2 months ago
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Richard Mayhew (American, 1924-2024), Departure, 2006. Oil on linen canvas, 48 x 60 in.
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afroartnerd · 2 months ago
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Martin Puryear
A Column for Sally Hemings  2019
Cast iron, painted tulip poplar
via: Matthew Marks
Martin Puryear conceived A Column for Sally Hemings for his exhibition in the United States Pavilion at the 58th Venice Biennale. Its fluted base echoes the Doric columns at the entry of the neoclassical building, which was directly modeled on Thomas Jefferson’s Virginia home, Monticello. As the title suggests, this work is dedicated to Sally Hemings, a woman enslaved on Jefferson’s estate and the mother of six of his children. A shackled cast-iron stake appears to have been rammed into the top of the column, drawing the flutes down with it and disrupting the column’s classical perfection. This form has been a recurring motif in recent sculptures by Puryear, including Shackled (2014) and Big Bling (2016). “A Column for Sally Hemings speaks multiple historical languages. There is that of the streaming robes that fluted columns originally meant to evoke — being, as they are, proxies for the bodies of women positioned to hold everything up, and to be seen doing this and nothing but. And there are the many languages of iron, from the colonial to the quotidian. For the black part, tightly fitted to the white, could be said to intervene upon the latter.”
—Darby English, 2019
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afroartnerd · 2 months ago
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Bob Thompson (American, 1937-1966), The Recreation of Cephalus and Procris, 1965. Oil on canvas, 18 1⁄8 x 24 1⁄8 in.
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afroartnerd · 3 months ago
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Daily Painting
Delilah Pierce DC WATERFRONT, MAINE AVENUE (1957)
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afroartnerd · 4 months ago
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Toyin Ojih Odutola (Nigerian/American, 1985) - Nwanyeruwa (Aba Women's Rebellion) (2023-2024)
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afroartnerd · 4 months ago
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Romare Bearden (American, 1911-1988), The Sea Nymph, 1977. Collage of various papers with paint and graphite on fiberboard
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afroartnerd · 5 months ago
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Afro Lunar Lovers I, Chris Ofili, 2003
Screenprint on paper 49 x 31.8 cm (19 ¼ x 12 ½ in.)
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afroartnerd · 5 months ago
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Jacob Lawrence (American, 1917-2000), Kibitzers, 1948. Egg tempera on masonite
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afroartnerd · 5 months ago
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Loïs Mailou Jones, Ode to Kinshasa, 1972; Mixed media on canvas, 48 x 36 in.; National Museum of Women in the Arts, Gift of the artist
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afroartnerd · 5 months ago
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Bill Traylor, Female Drinker, probably 1940s poster paint, pencil on cardboard 11 1/2x8 3/8"
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