Afro.Art.Nerd

[thunderstruck9]

Richard Mayhew (American, 1924-2024), Delusions, 2000. Oil on canvas, 30 × 40 in. San Francisco Museum of Modern Art (SFMOMA)

[thunderstruck9]

Richard Mayhew (American, 1924-2024), Delusions, 2000. Oil on canvas, 30 × 40 in. San Francisco Museum of Modern Art (SFMOMA)

[cosmicanger]

Barkley L. Hendricks

J. S. B. III, 1968

Oil on canvas

48 x 34 3/8 in. (121.92 x 87.3125 cm.)

[thunderstruck9]

Barkley L. Hendricks (American, 1945-2017), J.S.B. III, 1968. Oil on canvas, 48 x 34 3/8 in.

[thunderstruck9]

Julie Mehretu (Ethiopian/American, 1970), Conversion (S.M. del Popolo/after C.), 2019-20. Ink and acrylic on canvas, 96 x 120 in.

[la-muse-noire]

Black Venus , Margaret Taylor Burroughs, 1957

[halfabird]

Renée Cox, Yo mamadonna and child, 1994

[thunderstruck9]

Benny Andrews (American, 1930-2006), Harlem USA (The Migrant Series), 2004. Oil and fabric collage on canvas, 54 x 72 1/4 in.

[thunderstruck9]

Robert Colescott (American, 1925-2009), Nubian Queen, c.1965. Oil on canvas, 76 3⁄8 x 58 1⁄8 in.

[thunderstruck9]

Barkley L. Hendricks (American, 1945-2017 ), Hurricane Tree at Great Bay, 2008. Oil on linen canvas, 24 1/4 × 32 1/2 × 1 in.

[fantasticsagas]

[milksockets]

'undone' by alison saar, 2012

[thunderstruck9]

Barkley L. Hendricks (American, 1945-2017), Stanley, 1971. Oil on canvas, 72 x 49 5/8 in.

[nobrashfestivity]

Bill Traylor, Black Jesus

[thunderstruck9]

Bill Traylor (American, c.1853-1949), Black Jesus, c.1939-42. Gouache and pencil on cardboard, 3 3/4 x 10 in. The Met Fifth Avenue, New York City

[jokeanddaggerdept]

[thunderstruck9]

Bill Traylor (American, c.1853-1949), Man with Yoke, c.1939-42. Gouache and graphite on cardboard, 22 x 14 in.

[thunderstruck9]

Raymond Saunders (American, 1934-2025), Untitled, 1989. Graphite and collage on paper, 14 x 12 ¾ in.

[ec-phrasis]

Emma Amos, Measuring Measuring, 1995

[wmnst-fa18]

her tin skin

BY EVIE SHOCKLEY

i want her tin skin. i want       her militant barbie breast, resistant, cupped, no, cocked       in the V of her elbow. i want my curves mountainous and locked. i want her       arabesque eyes, i want her tar markings, her curlicues,       i want her tin skin. she is a tree, her hair a forest of strength. i want to be       adorned with bottles. i want my brownness       to cover all but the silver edges of my tin skin. my sculptor should have made       me like her round-bellied maker hewed her: with chain-       saw in hand, roughly. cut away from me everything but the semblance of tender.       let nothing but my flexed foot, toeing childhood, tell     the night-eyed, who know how to look, what lies within.

—after alison saar’s “compton nocturne”