Louise Bourgeois - Fears, 1992
Conversation
Renée Cox, The Signing, 2018
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Umar Rashid, The Majestic Manor Of Maroons. 2019
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Umar Rashid, Ma’atism. The pleasure principle. When laws were stern and justice stood. Ma’at and Isfet, two halves of the whole while everyone else trying to get paid, get over, or simply stay alive. Twirling silently in space. 2017.
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"I, Gerald Ford am the 38th Puppet of the United States”, Emory Douglas for the Black Panther Party, U.S.A.1974
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Kara Walker, Cotton, 1997. Ink etching and aquatint on paper, 18 x 15 in.
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Betye Saar. We Was Mostly ’Bout Survival, 2017. Mixed-media assemblage, ironing board etc. 37 x 8.5 x 2.75 in.
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Alexis Rockman, The Fate of the Rebel Flag, 2019. Oil on dibond, 18 x 24 in.
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Jean-Michel Basquiat, Earth, 1984
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Emory Douglas
"Revolution in our lifetime" Black Panthers Poster, 1969
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Replying to
Kerry James Marshall, “Untitled (Curtain Girl)”; acrylic on PVC panel , 2016. 76 x 61 cm.
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Amy Sherald, Grand Dame Queenie, 2013, oil on canvas
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Carrie Mae Weems, Blue Black Boy, 1997
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Umar Rashid (Frohawk Two Feathers) , A Bonnville (For Lafcadio). Or, The Fall of Olympus Is Warranted so That the Tyranny of Western Civilization Is Deaded in the Crib. (2017)
Acrylic, ink, and graphite on canvas (72 × 84 inches)
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Jean-Michel Basquiat – Defacement (The Death of Michael Stewart), 1983.
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Trenton Doyle Hancock, Struggle, acrylic, ink, graphite, paper/canvas collage on paper, 2 ft x 2ft, 2008
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Trenton Doyle Hancock, Leave Salem, acrylic on paper, 24 inches x 36 inches, 1999
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Kara Walker. The Rich Soil Down There. Cut paper, paint on wall. 2002.
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