Artists of Colour

Artists of Colour (AoC) is a tumblog dedicated to featuring contemporary artists of colour that speak about identity and its intersections through their work. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-42524167-1']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })();

[artistsofcolour]

The Last Thanks by Wendy Red Star.

[artistsofcolour]

Wendy Red Star, Rez Wife, 2013-14.

[artistsofcolour]

Wendy Red Star, White Squaw, inkjet prints, 2013. Wendy Red Star's inkjet prints entitled White Squaw appropriate book covers from E.J. Hunter's mass-market pornographic paperback series of the same name. In Red Star's work, she inserts herself into the salacious covers without changing the original titles or subtitles. --The Oregonian

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Wendy Red Star, Family Portraits, 2011.

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Wendy Red Star, My Home Is Where My Tipi Sits, 2011. Wendy Red Star attended Montana State University in Bozeman then moved to the urban sprawl of southern California where she earned her MFA at UCLA. Returning to Crow country from these large metropolises, Red Star finds comfort and identity in the broken down cars and vibrantly painted houses that litter and decorate the landscape of her reservation. Over the years the artist has documented with photographs the everyday aspects of the reservation; the government houses, the dogs, basketball hoops, sweat lodges, cars and churches. This exhibition of photographs, grouped by subject and presented as large individual prints, demystifies the romantic stereotype of American Indians while examining the mundane objects of rural life. --Missoula Art Museum

[artistsofcolour]

Wendy Red Star, Four Seasons, archival pigment print on paper, 2006. "I moved to Los Angeles in 2004 from Montana right after I graduated from Montana State University in Bozeman. I was struck by the lack of natural environment in the city of Los Angeles and I was also lonely for home. I decided to go searching for something familiar, so I took a trip to the Los Angeles Natural History Museum to look at the Native American section. I saw one of my Crow ancestor’s moccasins on display in a glass case. Seeing his moccasin in this encased state made the object appear very odd and misplaced. I wanted to analyze this feeling further, but couldn’t quite piece it together. I strolled by the dioramas and found in them the same cold quality as the display of my ancestor’s moccasin. I decided to construct my own version of a diorama and to convey [the way] this format of display makes me feel. I fabricated four elaborate sets, one for each season, complete with plastic inflatable woodland creatures and 70s photo mural mountain ranges. I also photographed myself in the middle of the curious natural history-like dioramas." --Wendy Red Star, NY Arts Magazine

[artistsofcolour]

Wendy Red Star - Apsáalooke and Irish [b. Billings, MT, U.S., 1981-] Disciplines: Digital, Fibre Art, Installation Art, Photography Notable Works: Four Seasons (2006), Rez Car (2008-11), White Squaw (2013) Wendy Red Star was born in Billings, Montana just outside of the Crow Indian reservation where she was raised. She grew up in a multi-cultural family. Her mother is of Irish decent, her father a full blood Crow Indian and her older sister is Korean. Wendy left the Crow Indian reservation when she was eighteen to attend Montana State University in Bozeman, Montana where she studied sculpture. She then went on to earn her MFA in sculpture at UCLA. Wendy currently lives in Portland, Oregon. Wendy Red Star’s work explores the intersection between life on the Crow Indian reservation and the world outside of that environment. She thinks of herself as a Crow Indian cultural archivist speaking sincerely about the experience of being a Crow Indian in contemporary society. --Bockley Gallery

[arabellesicardi]

attn: mixed raced girlz in nyc

i am putting together a thing, that thing i was talking about a few weeks ago? i am starting to plan it now. i am free a few days next week and i want to ki with you. this is mostly for my asian mixed raced girls (since that is the position in which i am operating from and where my community stems from) but if u are mixed i welcome you to join. please email me. if you are not in nyc i would still like to hear from you. 

this project is centered around beauty thought and the multiplicity and evolution of identities. you can read my past discussions about it here.

[email protected] 

spread the word

[diasporadash]

Hola amigos el festival AfroLatino de Nueva York será el 28 de Junio será un evento excepcional estamos buscando a nuestros talentos si usted esta interesado en participar por favor manda un correo a [email protected], gracias, seremein, obrigado, thanks Hello Friends the Afrolatino Festival of New York will be June 28th and it is going to be an exceptional event, we are looking for talent, if interested in participating send us an email at [email protected] or Tania Molina and Mai-Elka Prado Gil

via Tania Molina

[fuckyeahmixedbeauty]

To any NYC or east coast followers: Afro-Latin@ festival!

[blackcontemporaryart]

Signal boost! RVSP on facebook:  https://www.facebook.com/events/656753121061038/?ref_newsfeed_story_type=regular

A gathering for people of color at Kara Walker’s art installation in the Domino Sugar factory. Invite your friends— and your friends’ friends— so that we can experience this space as the majority.  This exhibition reflects a monumental moment in history. “Walker’s gigantic temporary sugar-sculpture speaks of power, race, bodies, women, sexuality, slavery, sugar refining, sugar consumption, wealth inequity, and industrial might that uses the human body to get what it needs no matter the cost to life and limb” (Creative Time curatorial statement).  Set in Williamsburg, Brooklyn—a community that continues to experience a deep physical and mental erasure of recent history— this exhibition provides a chance for its thousands of daily visitors to reflect on this history before the old factory space is replaced by high rises. Let us gather to experience this important work, together. FREE + all are welcome! *Arrive at 2pm (Sun. June 22) and enjoy/build community while in line. http://creativetime.org/projects/karawalker/ *This event is organized collectively, and is unaffiliated with Kara Walker and Creative Time.

[artistsofcolour]

Su-en Wong, DH-4 Dildos in Display Case, coloured pencil and acrylic on panel, 2009.

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Su-en Wong, Happy Seven, graphite on paper, 2007.

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Su-en Wong, Feeding Time, graphite on paper, 2007.

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Su-en Wong, Mirage Lake/Peak of Perfection/Twilight, coloured pencil and acrylic on panel, 2005.

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Su-en Wong, High Noon, coloured pencil and acrylic on panel, 2003. In one large-scale painting, entitled High Noon (2003), ten naked girls lounge on a rock formation, which floats in the saturated yellow background. The girls, oblivious to the rock's "Keep Off" sign, engage in myriad activities. Some interact with each other, one licks a lime green ice cream cone, one reads the March 2003 issue of Artforum, reminding us (as if we could forget) just how postmodern Wong's work really is. Wong functions as auteur and depicts her cookie cutter ladies gazing at each other seductively, as well as staring straight out of the picture plane, confronting on-lookers with their intense stares and come hither glances. In this way, she subverts the idea of Western art's traditional "male gaze" by intentionally putting her naked body on display and controlling all the subsequent sexual exchanges. --Heather Taylor, Art Critical

[artistsofcolour]

Su-en Wong, Sweet Sixteen Pink, coloured pencil and acrylic on paper, 2003.

[artistsofcolour]

1: Su-en Wong, Perky Peach, coloured pencil and acrylic on paper, 2001. 2: Su-en Wong, Yellow Wall, coloured pencil and acrylic on paper, 2004.