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archivedotorgfan · 2 months

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charles white, 'guitarist,' charcoal and gauche on paperboard, 1959.

#archive.org #art #charles white #black history month

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karabies · 2 years

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i was just scrolling through a discord chat and

WHAT THE FUCK IS CHARLIE DOING ON A BODY PILLOW??????????? WHY IS MY MAN CHARLIE "MOIST CR1TIKAL" PENGUINZ0 TRAPPED ON A PILLOWCASE WHY IS MICHAEL REEVES THERE

I'M SO CONFUSED??????????? WHERE IS THIS

#body pillow #cr1tikal #penguinz0 #moist critikal #charlie white #charles white #convention #discord stuff #cursed image #michael reeves

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deadassdiaspore · 6 months

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HARVEST, Charles White, 1964.

#Charles White #Chicago #Artistas negros

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fashionlandscapeblog · 2 months

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Charles White

Two Alone, 1946

Oil on board.

#black history month #black history #charles white #art #modernist art #african american artist #black art #oil on board #oil painting #painting

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jadeseadragon · 6 months

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Charles White (American, 1918 - 1979), Sojourner Truth and Booker T. Washington, 1943, graphite on paperboard, 37⅝ × 28 in. (95.6 × 71.1 cm); The Newark Museum of Art.

#charles white #african american artist #depression era #black history #american history #sojourner truth #booker t. washington

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arinewman7 · 7 months

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John Brown

Charles White

1949

#Charles White #art #artist #John Brown #1949

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deadbythebeach · 9 months

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#moist critikal #penguinz0 #cr1tikal #charlie white #charles white #girlblogging #girl dinner #hes so pretty

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coltonwbrown · 6 months

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SOLID AS A ROCK (MY GOD IS ROCK), 1957

Charles White

#charles white

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enoughbykelela · 3 months

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“Sound of Silence” Charles White, 1978.

#Charles white #fav #African American art #his work is so deeply impactful #Chicago #SAIC

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desrac · 8 months

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Charles White

#Charles White

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sheltiechicago · 6 months

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“Talking shit with Coatlicue” (2017), flashe on linen, 79 9/10 × 65 inches

Monumental Paintings by Eamon Ore-Giron Translate Cultural Symbols into Vivid Geometries

A mélange of architectural structures, cosmic mappings, South American textiles, hieroglyphics, and Indigenous symbols emerge in vivid, balanced color in Eamon Ore-Giron’s paintings. Often rendered in flashe and mineral paint on large-scale linen canvases, the works are enveloping and visionary, transporting the viewer into Ore-Giron’s flat, geometric vistas.

All images © Eamon Ore-Giron, courtesy of the artist and James Cohan

“Black Medallion XXIII” (2023), mineral paint and flashe on linen, 72 x 72 inches. Photo by Charles White/JWPictures.com

“Night Shade” (2016), flashe on linen, 84 x 60 inches

“Infinite Regress CLXXXIV” (2021), flashe and mineral paint on linen, 120 x 120 inches. Photo by Charles White/JWPictures.com

“Black Medallion XV (Mama-Quilla)’ (2023), mineral paint and flashe on linen, 174 x 300 inches. Photo by Charles White/JWPictures.com

“Infinite Regress CLXXXVIII” (2021), mineral paint and flashe on linen, 120 x 156 inches. Photo by Charles White/JWPictures.com

#eamon ore-giron #artist #art #paintings #painter #cultural symbols #vivid geometries #architectural structures #cosmic mappings #south american textiles #hieroglyphics #indigenous symbols #flashe and mineral paint #large-scale linen canvases #james cohan #charles white #photographer #jwpictures.com

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digital-soliloquy · 4 months

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Charles White, Nobody Knows My Name #2

#charles white #drawing #masters of drawing #sotheby's

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image-junkie · 5 months

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THE ARTIST & HER WORK: ELIZABETH CATLETT

Elizabeth Catlett (1915-2012) lived a storied life. From a young age, she knew she wanted to be an artist, and pursued her dreams by receiving a BA in Art from Howard University in 1935.

She married Charles White (another legacy artist), and together they moved to NYC, where their circle of friends included the likes of Loïs Mailou Jones, Charles Alston, Aaron Douglas, Jacob Lawrence, and Langston Hughes.

In 1946, the pair moved to Mexico, where Catlett was a guest artist at the printmaking collective Taller de Gráfica Popular (TGP). This was a formative time in her practice, as her work became increasingly sociopolitical. She began spending time with Diego Rivera, Frida Kahlo, and David Siqueiros and was committed to representing strength and struggle in her work. During the Red Scare of the 1950s, her activism and work with TGP came under investigation by the House Un-American Activities Committee (HUAC) and the U.S. embassy in Mexico. She was declared an "Undesirable Alien" and was prevented from returning to the States. By 2002, her citizenship was reinstated, and she became a celebrated artist around the world. Images:

Charles White. Elizabeth Catlett in her studio. c. 1942. Black-and-white photograph, 3 5/8 × 3 9/16" (9.2 × 9 cm). Private collection. © The Charles White Archives

Elizabeth Catlett, Head. Carved limestone, 1943. Approximately 13 1/2x9 1/2x7 1/4 inches. (sold for $ 485,000 in 2021)

Elizabeth Catlett, "Which Way?," 1973–2003, lithograph, 11 x 14 ½ in. (27.5 x 37 cm), edition 4 of 25. Courtesy of the Elizabeth Catlett Family Trust.

Image of Elizabeth Catlett at work in her studio, circa 1983

#elizabeth catlett #women in art #female artists #20th century art #sculpture #printmaking #photography #charles white #frida khalo #diego rivera #nyc artist #mexico art #art history #black and white #artist studios #artist profile

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quo-usque-tandem · 8 months

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