Mary Lovelace O'Neal, Whose Paintings Were Saturated in Black, Dies at 84

https://www.nytimes.com/2026/05/21/arts/design/mary-lovelace-oneal-dead.html

#Art #BlackArt #Obituary

my friend Milo still has open guest spots in London!! book them, they are so cool!
https://www.instagram.com/milo_tattu/p/DW4mdqeDXO9/

#blackart #tattooart #blackqueerart

"Sinners Is Not a Vampire Movie"

"The film’s time structure, folding forward sixty years and back again, reinforces this. Ancestral time does not move in a straight line. The dead are present. The future bleeds into the room. As a viewer and artist who has felt this bleed of time and space in work that draws on ancestors, this moment resembled a tesseract for me."

Check out my latest writing!

https://subscribers.artistmarciax.com/sinners-is-not-a-vampire-movie/

#film #filmMastodon #review #writer #movie #blackart #marciamail

By African-American artist Manet Harrison Fowler, Still life with flowers and Tuskegee pennant, 1966, watercolor on paper, 17 3/4 × 14 1/2 inches, photo: Swann Galleries, March 24, 2022. #art #blackart #blackartist #womanartist #womenartists

From the gallery: "Manet Harrison Fowler (1895-1976) was a Texas native and 1913 graduate of the Tuskegee Institute who later studied at the Art Institute of Chicago and toured the country as a soprano opera singer. She brought the Mwalim Center for African Culture to Harlem in 1932, and became an important figure in the Harlem Renaissance.”

By Kehinde Wiley (born 1977), “Shantavia Beale II,” 2012, oil on canvas, 60x48 inches, private collection. #blackart #blackartist #blackartists #oilpainting #painting

From the Saint Louis Art Museum: “Kehinde Wiley’s vibrant paintings actively engage with the traditions of European art. In his work, Wiley replaces historical depictions of white figures with images of contemporary African Americans, Africans, and people of the African diaspora. His work is widely recognized for calling attention to significant absences and erasures in Western art history, exposing the lack of representation of black individuals in figurative painting.”

I'm equally left and right-brained so this article was such a pleasant read for me. Eglash, wrote the book African Fractals and I was so excited to see that he'd also written about artist John Biggers.

"A Geometric Bridge across the Middle Passage: Mathematics in the Art of John Biggers" by Ron Eglash

https://www.researchgate.net/profile/Ron-Eglash/publication/299000294_A_geometric_bridge_across_the_middle_Passage_Mathematics_in_the_art_of_John_Biggers/links/59ffd7fca6fdcca1f29eeace/A-geometric-bridge-across-the-middle-Passage-Mathematics-in-the-art-of-John-Biggers.pdf
#BlackArt #JohnBiggers #RonEglash #geometry #FineArt #painting

Your art history post for today: by African-American artist Charles Ethan Porter (1847–1923), Floral Still Life, ca. 1880-1890, oil on canvas, 16 1/8 × 20 3/8 × 13/16 inches (41 × 51.8 × 2 cm), Detroit Institute of Arts. #ArtHistory #blackart #blackartists #blackartist #BlackHistory

Information on the artist from the National Gallery of Art: ‘In 1881 Porter decided to travel abroad to continue his development as an artist…

Less than two years into his time in France, Porter’s money ran out. He wrote to Mark Twain, asking him for help. His letters to the writer are the only known first-person accounts from Porter. On April 4, 1883, he wrote:

Now I am aware that there are a goodly number of my Hartford friends and others who are anxious to see how the colored artist will make out, but this is not the motive which impresses me. There is something of more importance. The colored people—my people—as a race I am interested in, and my success will only add to others who have already shown wherein they are capable the same as other men.

Conscious of his place in an art world dominated by white men, Porter was eager to show what he, and other Black artists, could do.’