Born in Panama, artist Giana De Dier is acutely aware of the history of how she came to be in a country thousands of kilometers from where her ancestors came from. This displacement of Africans is a topic she often explores in her collages. Centering the Afro-Caribbean people in her collages, she constructs a powerful image with archival pictures. These archival photographs, once a fetishized look at the black body, become a celebration of the life and culture of the people that came before her.
Wangechi has depicted herself as a feministic artist because most of her work entails violence meted upon black women in society. Mutu tries to show how black women in society have been subjected to serial harassment by members of society. Mutu's work seems quite contradictory because she depicts a problematic society and at the same is hopeful that society will change how it treats women.
Edmonia Lewis was the first sculptor of African American and Native American descent to achieve international recognition. Edmonia's Neoclassical works exploring religious and classical themes won contemporary praise and received renewed interest in the late 20th century.
Harvey C. Jackson was another trailblazer that started the legacy of Black photographers in the United States. Though he was born in Cleveland, Jackson later moved to Detroit and possibly became the first African-American to set up a photo studio in the city. Jackson is most well-known for his documentation of the African-American community in Detroit. He was an active member of many groups, giving him an insight that outsiders could never have.
Born in 1886 in Lenox, Massachusetts, James Van Der Zee did not seek to be a photographer. With an early gift in music, Van Der Zee was an aspiring violinist. At the age of 14, he was gifted a camera, and the trajectory of his career shifted. As one of the few people in his city with a camera, Van Der Zee became a sought-after young man, documenting the rich lives of Black Americans in his town.
Born in 1892, Augusta Savage has always wanted to be an artist since she was young when she would carve animals out of clay in her backyard. Though women were encouraged to be performing artists (think singers and dancers) the thought of a woman being a visual artist was basically unheard of. It got to the point where her father would try to beat the art out of her. But it didn’t work. Her teacher spotted her talent and so began Savage’s career as a sculptor.
Ringgold explored many mediums throughout her long career, like painting and printmaking. However, Ringgold would mostly be known for her textile works. Following a long legacy of fabric artists in her matriarchal line, Ringgold learned about the legacy of quilts and their importance in African-American history.
Noah’s inspiration is drawn between the fusion of cultures and the creation of palaces of memory, through an 'appropriation of Manifesto of the Anthropophagus', published in 1928 by the Brazilian poet and polemicist Oswald de Andrade, a key figure in the cultural movement of Brazilian Modernist.
South African art director and illustrator Rendani Nemakhavhani first created the persona PR$DNT HONEY during the 2019 South African national elections. Under this moniker, she continues to create works celebrating the lives of Black women.
Available from the 19th of September 2020 to the 3rd of January 2021, the new exhibition ‘Trembling Landscape:Between Reality and Fiction’ brings together eleven artists from North Africa and the Middle East. Presented at the EYE FILM Museum in Amsterdam, these engaged and versatile artists look at landscapes from a novel and critical stand. Not only exploring the question of borders, these artists bring to life stories about landscapes’ past, present and future.
Portraits in high black and white contrast, Zanele Muholi proposes a visually appealing and engaged work rooted in her affirmed ‘visual activism’...
Like many artists, David Shrobe look to his past and his home to inspire his creations. Unlike many artists, Shrobe physically incorporates parts of his history into his creations. With a family history that can be traced almost a century back, Shrobe has inherited some items rich with stories. In turn, he incorporates these historical items into a similarly charged artwork about identities and history.
For artist Tariku Shiferaw, the mark is a concept that he constantly grapples with. A mark is a way for humans to leave behind their presence. When used purposefully, it becomes a storytelling tool that’s utilized as early as the presence of the cave marks. When simplified, a mark becomes a line. It’s a feature that’s heavily repeated in Shiferaw’s works. It’s present in the painted lines he creates or the shipping crates he utilized.
Partially influenced by his medical background, artist Nate Lewis explores history using patterns, textures, and rhythm.
Both in grandness, color, and composition, Ballon’s works evoke the same aura as Christian arts of yore. Mixed with the contemporariness of Ballon’s subjects, his work becomes a powerful message of the lives and plight of the modern Black people.
There is an avant-garde quality to Samuel’s photographs. True to his mission, Samuel utilizes whatever he could get his hands on to create his highly conceptual works.
Having spent years as a professional dancer, Djeneba Aduayom spent her life thinking about movement and the human body. After an injury caused her to rethink her life and career, she picked up a camera and began exploring the human body in another way.
Beneath the chaotic lines lie the heart and soul of the work, the people of Baltimore themselves.
Tadeas Podracky is an artist based between Eindhoven and Prague, and his graduation project is bringing light to the concept of “Metamorphosis”. Podracky believes that “design has rendered our environment impersonable”. Furniture are being massively and extensively produced, and to escape these impersonal environments, we tend to escape to virtual words.
Hailed as one of the most innovative artists from Africa, Victor Ehikhamenor creates stunning visual masterpieces inspired by his African roots.
With techniques both seen in graffiti art and abstract expressionist paintings, Jansen’s paintings are full of colors and textures.
Her series with fellow photographer Loïc Hoquet, titles Malaïka Dotou Sankofa, won the Leopold-Sédar-Senghor Grand Prix, the top prize for the Dakar Bienalle of Contemporary Art. It’s a stunning series that comments on how the media portrays Africa. The series is built with layers upon layers of symbolism finished with an impeccable aesthetic sheen. An androgynously-dressed model bears wings made of fabrics created by the Baye Fall Muslim religious community in Senegal. It is a poignant commentary on how the African body is often hidden or manipulated to fit the mold of Western society.
As a Nigerian, he draws inspiration from his surroundings, telling the stories of friends and families and their resilience and pride within this world
Characteristic vividness of colors in sharp contrast to his dark-skinned models capture a spectator’s eye more than easily. Exactly that is what 25-year-old Yannis Davy Guibinga aims to emphasise through his lens: the revolutionary voice of the modern African continent, perspective shift on African ethnicities and their identity in post-colonial times.
Massey’s works are always rooted in the African American vernacular and their experiences. She draws inspiration from a variety of topics, like the hip hop scene or the beauty shops, commenting on racial stereotypes and class separation.
Rewa has been creative most of her life. That creative tendency was often directed towards her financial career as a manager to solve issues and come up with marketing strategies. In 2016, needing a truly creative outlet, Rewa picked up a brush and started painting. She hasn’t looked back. In 2020, she sold thousands of dollars of her paintings in international markets.
Mous said: "Two people kissing under a scarf has been read as being about homosexuality or two people meeting for the first time after a wedding…For me it's just nice to start the conversation and make you think because normality doesn't actually exist."
For African women, hair and beauty is an integral part of their lives. Yet the current discussion of African hairstyles is often seen through a colonial, western civilization lens, without any thoughts on the pre-colonial times and what it actually means to African women. Nigerian-German artist Ngozi Schommers tackles this issue, and many others unique to African women, in her transcendent works.
In reality the colourful pattern splattered on the entire body does the exact opposite, it takes away identity. It mystifies race and betters our understanding of whatever other political statement Emmett is exploring in a single piece. It is also a reflection of the word coloured which is the way in which African Natives of many racial origins refer to each other.
She has since created many works that explore femininity and female empowerment and reflect her identity as a woman in today’s society.
For Harper his arthas been a way to translate the wide range of shades and body types that sitwithin the African Diaspora into art. His work therefore showcases the diversitythat exists within blackness.
Ghanaian artist Kwame Acheampong perfectly captures the essence of his seaside town, Jamestown, Accra, with his camera. Using bold colors and composition, Acheampong records the spirit and soul of the people from his town. They’re both playful and hard workers, but also not entirely devoid of their own misgivings and troubles.
Her main aim in her pieces to show humanity within Black women against the more common narrative built by society today. Which is also why nature is very prominent in her paintings as well, alluding to representing the true essence of black women. She introduces a new perspective on Black women and who they are - confident and comfortable.