#ExhibitClosing

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🎨🎥#ArtIsAWeapon #ExhibitClosing

ᴡɪʟᴅ ꜱᴛʏʟᴇ 40

ᴄᴜʀᴀᴛᴇᴅ ʙʏ ᴄᴀʀʟᴏ ᴍᴄᴄᴏʀᴍɪᴄᴋ

closes at the @jeffreydeitchgallery this Saturday, January 13th with a special celebration featuring the legendary @therealgrandmastercaz from 6PM-8PM.

📍Jeffrey Deitch Gallery

18 ᴡᴏᴏꜱᴛᴇʀ ꜱᴛʀᴇᴇᴛ #NYC

Reposted from @jeffreydeitchgallery 𝐖𝐢𝐥𝐝 𝐒𝐭𝐲𝐥𝐞 𝟒𝟎, 𝐜𝐮𝐫𝐚𝐭𝐞𝐝 𝐛𝐲 𝐂𝐚𝐫𝐥𝐨 𝐌𝐜𝐂𝐨𝐫𝐦𝐢𝐜𝐤

This exhibition beings together over 20 artists to celebrate the 40th anniversary of Charlie Ahearn ( @twincharlie )’s seminal film ‘Wild Style’🔥

In the words of the curator Carlo McCormick-

“While ‘Wild Style 40’ is in many ways a celebration of the graffiti art form that emerged out of this time and starred in the movie, it is centered within a broader circle of participation, including key figures from Colab, who were also forging new kinds of urban art, artists who were major supporters and benefactors of graffiti, the photographers who not only captured this movement but embodied it, and a few who have somehow carried these traditions with an authenticity and ingenuity that goes beyond what hip hop sounds like or graffiti looks like today.”

Participating artist include-

Charlie Ahearn @twincharlie

John Ahearn @jahearnart

Janette Beckman @janettephoto

Fred Brathwaite (Fab 5 Freddy) @fab5freddy

Cathleen Campbell

Henry Chalfant @henrychalfant

Joe Conzo @joeconzo

Martha Cooper @marthacoopergram

Jane Dickson @janeinpeepland

Brian Donnelly (KAWS) @kaws

Chris Ellis (Daze) @dazeworldnyc

Sandra Fabara (Lady Pink) @ladypinknyc

Aaron Goodstone (Sharp)

Eric Haze @erichazenyc

John Matos (Crash) @crashone

Leonard McGurr (Futura) @futuradosmil

Osgemeos @osgemeos

Phase 2

Lee Quinones @leequinones

Rammellzee @therammellzee

Revolt @drrevoltrtw

Don White (Dondi)

Andrew Witten (Zephyr) @zephyrgraffiti

Martin Wong

Don't miss your chance to experience this electric show maxed out with pioneering artists before it closes this Saturday. The gallery is opened each day from 12-6PM.

—

#wildstyle #carlomccormick #jeffreydeitch #HipHop #ForTheCulture #graffiti

[justsoeddie]

And that's a wrap #Liberace #exhibitclosing #cosmo #curatorstuff

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🎨#ArtIsAWeapon #ExhibitClosing Y'all, RUN see @simoneyvetteleigh's exhibition at @matthewmarksgallery, and @kara_walker_official 's exhibition at @sikkemajenkins before they close tomorrow, December 21! Also, @lornasimpson 's exhibition at @hauserwirth is a must-see!

📷 Images 1-16, #SimoneLeigh

📷 Images 17-26, #KaraWalker, The High and Soft Laughter of the Nigger Wenches at Night, In the Colorless Light of Day

📷 Images 27-32, #LornaSimpson, Earth & Sky

Other exhibits that are closing tomorrow:

▪︎@eyesrevive Alvin Armstrong: Tie Breaker at @annazorinagallery

▪︎Diambe: honey honey honey at Kaufmann Repetto

▪︎Keith Haring: Black, White, and Red All Over at @paceprints

#ArtCrawl #GalleryHopping #BlackGirlArtGeeks #NYCExhibits #BlackArtists

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🎨#ArtIsAWeapon #ExhibitClosing

"Richard Hunt: Early Masterworks, the second largest exhibition of the artist's work in New York in over 50 years," is on view at @whitecube through tomorrow, April 13th.

📍White Cube Gallery

1002 Madison Avenue #NYC

Reposted from @whitecube / @richardhuntsculptor In 1971, Richard Hunt achieved a historic milestone by becoming the first African American sculptor to have a landmark retrospective at MoMA, New York with a presentation of works from 1955–71.

This show at White Cube New York mirrors that time span, including the restaging of several works that were presented in his MoMA retrospective.

Several rarely exhibited works from the artist’s personal collection, including ‘Hero’s Head’ (1956), a pivotal sculpture made in response to the murder of Emmett Till, feature in the show.

"[Richard Hunt's] attendance at the Till funeral nearly 70 years ago helped establish the course for his career." - New York Times

When Richard Hunt was 19 years old, he witnessed the open-casket funeral of Emmett Till in Chicago. Till, who was abducted, tortured, and lynched in Mississippi in 1955, had grown up only two blocks from the Woodlawn home where Hunt was born. Till's mother, Mamie, decided to have an open casket for Emmett, and images of his mutilation circulated the world to show the torture and violence conducted on her son. Hunt would later remark, "What happened to [Till] could have happened to me." Hunt went on to create art shaped by this experience, which influenced both his artistic expression and his commitment to the cause of Civil Rights.

"[The sculpture] Hero's Head, 1956, is what I would call my response to Emmett Till," says Richard Hunt. "I was there with my mother and father, my sister, and my cousin who was part of the family . . . [Emmett Till's] remains are there at the church. Till's mother had an open casket. It was obviously something to respond to."

Find out more: whitecube.art/RichardHuntNY

Images: Richard Hunt, ‘Hero's Head’, 1956 © 2024 The Richard Hunt Trust / ARS, NY and DACS, London;

#whitecube #richardhunt #richardhuntsculptor #newyorkartexhibition #BlackArtists #BlackGirlArtGeeks #ArtHero

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🎨 #ArtIsAWeapon #ExhibitClosing TODAY (January 28) IS THE LAST DAY TO SEE "HENRY TAYLOR: B SIDE" AT THE WHITNEY MUSEUM! Surveying 30 years of Taylor’s work in painting, sculpture and installation, this exhibit IS NOT TO BE MISSED and is the perfect way to spend this rainy, chilly winter day. GO! 🙌🏿💜

📍Whitney Museum of American Art

99 Gansevoort Street, #NYC 10014

⏰️10:30 AM–6:00 PM

@chinatowntaylor

@whitneymuseum

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✍️🏾Reposted from www.whitney.org

"For more than thirty years, the Los Angeles–based artist #HenryTaylor (b. 1958) has portrayed people from widely different backgrounds—family members, friends, neighbors, celebrities, politicians, and strangers—with a mixture of raw immediacy and tenderness. His improvisational approach to artmaking is hinted at in this exhibition’s title, Henry Taylor: B Side, which refers to the side of a record album that often contains lesser-known, more experimental songs.

Taylor’s paintings, executed quickly and instinctually from memory, newspaper clippings, snapshots, and in-person sittings, are variously light-hearted, intimate, and somber. In them, he combines flat planes of bold, sensuous color with areas of rich, intimate detail and loose brushstrokes to create paintings that feel alive. Guided by a deep-seated empathy for people and their lived experiences, Taylor captures the humanity, social milieu, and mood of his subjects, whose visceral presence is heightened by their closely cropped, often life-size images. In working from personal experience and shared history, Taylor offers a view of everyday life in the United States that is grounded in the experiences of his own community, including the incarceration, poverty, and often deadly interactions with police that disproportionately affect Black Americans. Deeply steeped in art history, his work forms a continuum with the expressive figurative painting and politically engaged work of European and American artists from Max Beckmann to Bob Thompson, Philip Guston, and Alice Neel."

#BlackGirlArtGeeks #BlackArtists #BlackArt

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🎨 #ArtIsAWeapon #exhibitclosing

"Michael Richards: Are You Still Down" closes this Sunday, January 7th at the Bronx Museum of the Arts

📍1040 Grand Concourse, Bronx, NY 10456

Reposted from @bronxmuseum Join us this Saturday, January 6th, to celebrate the closing weekend of Michael Richards: Are You Down? with a special documentary film screening, discussion, and exhibition walkthrough. ​This culminating event will highlight Richards’ powerful sculpture and drawing practice, his friendships, the circumstances of his passing on September 11, 2001, and his enduring influence on cultural communities in New York City, Miami, and beyond.

A screening of the 30-minute documentary on Michael Richards titled Are You Down?, directed by #JuanMatos and Dennis Scholl @schollcreative, will be followed by a discussion moderated by Scholl, with artists #williamcordova and Dread Scott @dreadscottart and #MichèleWong, Deputy Director at the Grey Art Gallery, all of whom were friends with Richards. After the screening and discussion, exhibition curators Alex Fialho @alexfialho_ and Melissa Levin @melissalev will lead a walkthrough of the retrospective with cordova. This will be a unique opportunity to learn about Michael Richards from the perspective of those who knew him, offering an intimate look into Richards’ art, life, and legacy.

2pm–3pm, Documentary Screening and Discussion

3:15pm–4pm, Exhibition Walkthrough

RSVP for free www.BronxMuseum.org

Image Credit: Michael Richards and Carolyn Swiszcz in his studio in Miami Beach, 1998. Courtesy of Nina Ferre Cohen.

#MichaelRichards #BlackArtists #BlackGirlArtGeeks #BronxMuseum

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🎨#ArtIsAWeapon #ExhibitClosing

Only two days left to see "Mickalene Thomas, je t’adore" at Yancey Richardson Gallery - it closes tomorrow, November 11.

📍525 W 22nd Street, #NYC 10011

@mickalenethomas

@yanceyrichardsongallery

_________________

🎥Caption, video and image reposted from @yanceyrichardsongallery - "In our current exhibition je t’adore, multidisciplinary artist Mickalene Thomas presents 13 new large-scale mixed media photo collages inspired by her research into the imagery of #Blackfemaleerotica featured in the calendars of #Jetmagazine and the pages of the 1950s French publication, Nus Exotique.

Combining abstraction and figuration, these dynamic three-dimensional constructions undercut any narrative reading and draw attention to the fluidity of identity, collectiveness of culture, and malleability of history in modern society. Rich in materiality and visual appeal, the works celebrate the sexuality and beauty of the female black body...

Watch Thomas discuss her thought process behind this new body of work.

Click the link in our bio to listen to an interview between Mickalene Thomas and Alison Stewart on the WNYC program All Of It, and read a review of je t’adore in Wallpaper magazine.

—

#MickaleneThomas

#JeTeAdore #BlackGirlArtGeeks #BlackBeauty #Artists #BlackArtists.

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🔥#ArtIsAWeapon #ExhibitClosing There are only a few more days to experience Wangechi Mutu: Intertwined - a major solo exhibition featuring over 100 works spanning the artist's 25 year career - at the New Museum. GO before it closes June 4!! Tonight, June 1, admission is pay what you wish between 7PM-9PM! DO NOT MISS and plan to spend several hours having your mind completely blown!!!

📍@newmuseum 235 Bowery, #NYC

@wangechi_mutu_official

Newmuseum.org

"Representing the full breadth of her practice, the presentation will encompass painting, collage, drawing, sculpture, film, and performance. Mutu first gained acclaim for her collage-based practice exploring camouflage, transformation, and mutation. She extends these strategies to her work across various media, developing hybrid, fantastical forms that fuse mythical and folkloric narratives with layered sociohistorical references. “Wangechi Mutu: Intertwined” will trace connections between recent developments in the artist’s sculptural practice and her decades-long exploration of the legacies of colonialism, globalization, and African and diasporic cultural traditions. At once culturally specific and transnational in scope, Mutu’s work grapples with contemporary realities, while proffering new models for a radically changed future informed by feminism, Afrofuturism, and interspecies symbiosis."

#BlackGirlArtGeeks

https://www.instagram.com/reel/Cs90UaArDQu/?igshid=MzRlODBiNWFlZA==

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🎨#ArtIsAWeapon

"GRAND OPENING ... GRAND CLOSING" - Jay-Z

"Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys" opens on February 10, and "Spike Lee: Creative Source" closes February 11 at the Brooklyn Museum. I'm excited to see pieces from @therealswizzz & @aliciakeys @thedeancollection , and @officialspikelee's exhibition is dynamite (so don't miss it).

www.BrooklynMuseum.org

Reposted from @brooklynmuseum Something GIANT is coming our way. 🏙️

Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys opens on February 10. The exhibition will provide the first-ever glimpse into the personal collection of these two musicians, artists, and born-and-raised New Yorkers.

Discover more about the Dean Collection (@thedeancollection) at the link in our bio.

______________________________

"Spike Lee: Creative Sources"

Formed over decades, Spike Lee's personal collection offers a new lens through which we can learn how his lifelong interests have intersected and impacted his work. As part of Spike Lee: Creative Sources, you'll see more than 350 objects representing the filmmaker's sources of inspiration, such as historical photographs, paintings, album covers, movie posters, letters, first-edition books, costumes, and film memorabilia (many of which are autographed and signed to the director).

#TheDeanCollection #BrooklynMuseum #AliciaKeys #SwizzBeatz #SpikeLee #SpikeLeeExhibit #ExhibitOpening #ExhibitClosing #BlackGirlArtGeeks

#BlackHistoryMonth #YallGonnaGetThisBlackExcellence

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🎨#ArtIsAWeapon #ExhibitClosing Only a few more days to see Henry Taylor: B Side at the @whitneymuseum - it closes January 28. The Whitney offers free admission on Friday nights from 5:00 PM-10:00 PM, so reserve tickets to catch this exhibit tomorrow, January 26. www.whitneymuseum.org

@chinatowntaylor

🎥 and caption reposted from @whitneymuseum Experience 30 years of Henry Taylor’s influential work through his striking paintings, rarely-seen drawings, sculptures, and a new installation created just for the Whitney...

For more than thirty years, the Los Angeles–based artist Henry Taylor (b. 1958) has portrayed people from widely different backgrounds—family members, friends, neighbors, celebrities, politicians, and strangers—with a mixture of raw immediacy and tenderness. His improvisational approach to artmaking is hinted at in this exhibition’s title, Henry Taylor: B Side, which refers to the side of a record album that often contains lesser-known, more experimental songs.

Taylor’s paintings, executed quickly and instinctually from memory, newspaper clippings, snapshots, and in-person sittings, are variously light-hearted, intimate, and somber. In them, he combines flat planes of bold, sensuous color with areas of rich, intimate detail and loose brushstrokes to create paintings that feel alive. Guided by a deep-seated empathy for people and their lived experiences, Taylor captures the humanity, social milieu, and mood of his subjects, whose visceral presence is heightened by their closely cropped, often life-size images. In working from personal experience and shared history, Taylor offers a view of everyday life in the United States that is grounded in the experiences of his own community, including the incarceration, poverty, and often deadly interactions with police that disproportionately affect Black Americans. Deeply steeped in art history, his work forms a continuum with the expressive figurative painting and politically engaged work of European and American artists from Max Beckmann to Bob Thompson, Philip Guston, and Alice Neel.

Read more and book tickets now

https://whitneymuseum.org

#HenryTaylor #WhitneyMuseum

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🎨#ArtIsAWeapon #ExhibitClosing “Barkley L. Hendricks: Portraits at the Frick" closes at #FrickMadison on Sunday, January 7, 2024

📍Frick Madison

945 Madison Avenue, #NYC 10021

www.frick.org/exhibitions/hendricks

https://www.frick.org/exhibitions/hendricks

"This 2023 presentation celebrates the remarkable figurative work of Barkley L. Hendricks (1945–2017) through a focused selection of portraiture drawn from private and public collections. This pioneering American artist, who counted the Frick among his favorite museums, continues to inspire artists and designers today...

Barkley L. Hendricks revolutionized contemporary portraiture with his vivid depictions of Black subjects that emphasize the dignity and individuality of his sitters. Beginning in the late 1960s, his work drew from and challenged traditions of European art, and The Frick Collection—with its iconic portraits by Rembrandt, Bronzino, Van Dyck, and others—was one of his favorite museums.

Through a selection of some of Hendricks’s finest portraits displayed in the context of the Frick’s holdings, this exhibition celebrates and explores the remarkable work of this pioneering American painter with an unprecedented display of paintings drawn from private and public collections. Organized by #AimeeNg, Curator at the Frick, and Consulting Curator #AntwaunSargent, Barkley L. Hendricks: Portraits at the Frick considers the complex place of European painting in Hendricks’s art and the evolving role of the Frick in modern American culture."

🎥Reposted from @frickcollection

"Watch as Curator Aimee Ng and Consulting Curator Antwaun Sargent introduce 'Barkley L. Hendricks: Portraits at the Frick...' The show presents fourteen of the finest portraits by the American painter displayed in the context of the Frick—one of his favorite museums—and explores the enduring legacies both of Hendricks’s pioneering work and of the museum itself.

Learn more at the link in bio.

—

Produced by the Frick’s Media Production Team

#BarkleyLHendricks #BarkleyHendricks #BlackArtists #Artists #BlackPortraiture #BlackGirlArtGeeks #FrickMuseam #FrickMadison

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🌊#ArtIsAWeapon #ExhibitClosing

Only a few more days left to see "Calida Rawles - A Certain Oblivion" at Lehmann Maupin Gallery. It closes December 16. GO...

📍501 W 24th Street, #NYC

@calidagarciarawles

@lehmannmaupin

■

https://www.lehmannmaupin.com/exhibitions/calida-rawles2/press-release

"Lehmann Maupin presents A Certain Oblivion, an exhibition of new paintings by Los Angeles-based artist Calida Rawles. This is her first major solo exhibition in New York, following an In Focus exhibition with the gallery in 2021. Featuring Rawles’ most monumentally scaled works to date, A Certain Oblivion celebrates hope as an expression of our shared humanity in the face of dark times. The power of Rawles’ proposition is embodied in her subjects: young women and girls who float and tread—alone and in community—in uncertain waters. They are the next generation, women whose graceful determination to transcend the riptides of contemporary American life belies the effort required to keep their heads above water. Rawles’ newest body of work reminds us that their triumph is our salvation."

Reposted from @calidagarciarawles Thank you, @cnnstyle and @suyinsays , for describing my practice and new body of work so beautifully.

“But I try to think of that as a moment where you can reflect and restart,” she continued. “Before there’s light, there’s darkness.”

This re-examination of darkness then forms the inspiration for Rawles’ latest body of work, “A Certain Oblivion.” Across a series of 10 large-scale paintings, Rawles captures the movement of young women and girls suspended in water, hovering just near the surface. Swirling pools of opaque blackness give the images a sense of uncertainty, but the subjects’ faces and bodies are positioned toward the light, conveying hope with a celestial presence amid the heaviness.

Full article:

#CalidaRawles #BlackGirlArtGeeks

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#ArtIsAWeapon #ExhibitClosing

There are only a few days left to see "The Book of HOV" tribute to Hip Hop artist / mogul / Beyoncés husband Shawn "JAY-Z" Carter exhibition - it closes at the @bklynlibrary on December 4 (his b'earthday). If you plan to attend, get there early, expect long lines, be patient and don't forget to sign up for a special souvenir library card.

📍BROOKLYN CENTRAL LIBRARY

10 GRAND ARMY PLAZA

BROOKLYN NY 11238

🕑MON–THURS 9AM–8PM

FRI–SAT 9AM–6PM

SUN 1PM–5PM

While I am not always the biggest fan of JAY's social commentary or hyper-capitalism, this exhibition of his many accomplishments is quite expansive, impressive and inspiring.

"The Book Of HOV is a tribute exhibition at the Brooklyn Public Library, Central Branch, recognizing Shawn 'JAY-Z' Carter’s extraordinary journey from Brooklyn’s Marcy Projects to global figure.

The multimedia exhibit explores JAY-Z’s global impact as a musician, innovator, entrepreneur, and philanthropist.

The Book Of HOV presents thousands of archived objects, including original recording masters, never-before-seen photos, iconic stage wear, prestigious awards and recognitions, as well as videos and artifacts from every facet on JAY-Z’s professional life. Our goal, with The Book of HOV tribute exhibition, is to provide a behind-the-scenes look at a Hall of Fame songwriter and performer, successful business person, and a consequential philanthropist who has never forgotten the lessons he learned on the road to success. And the borough where his journey began.

Always bet on yourself."

#JAYZExhibit #JAYZTribute #BrooklynLibrary #TheBookOfHOV #HipHop #HipHopExhibit #RockAFellaRecords #RocNation

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🎨#ArtIsAWeapon #ExhibitClosing RUN see "Sanford Biggers | Meet Me on the Equinox" at Marianne Boesky Gallery before it closes October 14.

BRAVO Sanford @sanfordbiggers 👏🏿

@marianneboeskygallery

📍507 West 24th Street #NYC 10011

☎️212 680 9889

📆Tues – Sat: 10 AM – 6 PM

▪︎

"Biggers’s third solo exhibition with the gallery, Meet Me on the Equinox features new works from the artist’s quilt-based Codex series, sculptural Chimera series, and a site-specific anamorphic drawing. A foray into the origin of myth and the malleability of historical narrative, the exhibition blurs the boundaries between seemingly disparate elements of Biggers’s practice as the convergence of pattern, material, and allegory sets the stage for the creation of novel, discordant, and subjective mythologies.

Throughout his practice, Biggers examines the inherent tensions of history and culture, of language and symbol, of myth and narrative. Operating across diverse mediums—including painting, sculpture, collage, mixed media, music, video, and performance—Biggers emerges as an artistic intermediary. Continuously interrupting established narratives, intervening into historical forms, and remixing recognizable cultural signifiers, Biggers complicates, questions, and ultimately fosters new understandings of collective histories.

With Meet Me on the Equinox, Biggers examines the points of harmony and discord—material, formal, and conceptual—in his recent Codex and Chimera works. Antique quilts—versions of which, according to American folklore, acted as coded signposts on the Underground Railroad—form the heart of the Codex series. Biggers paints, collages, twists, and molds found quilts into artworks that resonate with major themes of his practice. With the marble Chimera sculptures, Biggers combines elements from traditional African and European masks, busts, and figures to investigate historical depictions of the body—and their associated myths, archetypes, and power dynamics." - www.marianneboeskygallery.com

#SanfordBiggers #exhibition #artists #Codex #Chimera #BlackGirlArtGeeks #BlackArtists

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🎨#ArtIsAWeapon

#ExhibitClosing "Juan de Pareja, Afro-Hispanic Painter" closes at the @metmuseum on July 16. 📍The Metropolitan Museum of Art, 1000 5th Ave, #NYC

Reposted from @metmuseum Before becoming an artist in his own right, Afro-Hispanic painter Juan de Pareja was enslaved in Diego Velázquez’s studio for more than two decades.

NOW ON VIEW—"Juan de Pareja, Afro-Hispanic Painter" shares an unprecedented look at the life and artistic achievements of Juan de Pareja.

The exhibition tells his story and examines the role of enslaved artisanal labor and a multiracial society in the art and material culture of Spain’s so-called “Golden Age.”

Representations of Spain’s Black and Morisco populations in works by Francisco de Zurbarán, Bartolomé Estebán Murillo, and Velázquez join works that chart the ubiquity of enslaved labor across media.

Visit now through July 16 to experience the first gathering of Pareja’s rarely seen paintings, some of enormous scale, which engage with the canons of Western art while reverberating throughout the African diaspora.

@schomburgcenter Have you seen our founder #ArturoSchomburg’s books, writings, and photos on display @metmuseum? They are part of the exhibition #JuandePareja, Afro-Hispanic Painter.

Mr. Schomburg’s materials offer the framework for discussing the painter. Pareja (c. 1608–1670) was enslaved and worked under famed Spanish painter Diego Velázquez (c. 1599–1660) for over two decades before becoming an artist in his own right.

Mr. Schomburg’s materials were invaluable resources to expand the conversation on Pareja and offers valuable insights on 17th–century Spain. They also provided insight into 17th-century Spain.

Dr. Vanessa K. Valdés, author of Diasporic Blackness: The Life and Times of Arturo Schomburg and associate provost for Community Engagement at The City College of New York, co-curated. Additionally, she wrote the essay “Arturo Schomburg, Juan de Pareja, and Afro-Hispanic Studies” for The Met’s exhibition catalog and served as its co-editor.

Images reposted from @metmuseum

#JuandePareja #MetMuseum #VanessaKValdés #BlackGirlArtGeeks

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🎨#ArtIsAWeapon

#ExhibitClosing There are only a few more days to see "Zéh Palito:

Won’t You Celebrate With Me" at @lucegallery, which closes on June 10.

📍Luce Gallery

365 Broadway, #NYC

Reposted from @zehpalito

Image: “I swam against their waves”,

130 x 160 cm, Acrylic on Canvas

“I will present my new body of work that is inspired by the poem of #LucilleClifton’s. A response to the rhythm and urgency of Clifton’s poem, the paintings capture the essence of Black life in respite, at ease, and at peace through vivid dreamscapes. 'Won’t You Celebrate with Me' invites us to reflect on the resilience of Black people across the diaspora...

The first painting of my solo show [curated by @larryosseimensah] talks about feminism, empowerment and to be the protagonist of your own story. This young New York lady feeling beautiful, full of pride and independent with her pink Mercedes. She has flowers for herself and has her lucky snow globe that reads, 'Girls Rule' an inspiring metaphor from Beyoncé’s song 'Run the World(Girls).'

Another two elements that I’d like to mention in this painting are the Ice Cream and the Pink Mercedes.

The Ice Cream represents fun, desire indulgence, the attitude of allowing yourself or someone else to have something enjoyable. I use Wayne Thiebaud's reference to the ice cream on the shirt. He was an artist that I admired for his colorful and realistic paintings of food, desserts, and everyday objects.

Casually and confidently, she is leaning against her pink Mercedes. The color pink is often associated with femininity, romance, and playfulness. A celebration of femininity and rejecting traditional gender roles, as a pink car is not typically associated with masculine stereotypes."

#ZéhPalito #BlackArt #AfricanArt #BlackGirlArtGeeks