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@awesomesauceme-art.bsky.socialOct 5, 2026, 8:36 PM

"I am not my body not my mind nor my brain. Not my thoughts or feelings, I am not my DNA. I am the observer, I'm the witness of life. I live in the space between the stars and the sky." -Ancient Dreams in a Modern Land
#art #blackart #bskyart #ocart #oc #ocsky #wlw

Art of my OC Safa, dressed in a purple top and greenish skirt, looking back warily. A target centers on her eye, which glows na unusual orange. A spiral of foliage surrrounds her. This is a representation of her clairvoyance thta allows her to see things often after they happen, or before they happen without her being able to change the outcome. I used the fibbonacci sequence and the rule of thirds to compose this piece. #black #wlw #sapphic #lesbian #originalcharacter #muslimcharacter #biracialcharacter #postapocalyptic
@chandirects.bsky.socialOct 5, 2026, 6:31 PM

A dream came true for me over the weekend. I participated as an artist in my first group show!

I am so honored to be a part of this amazing show, “A Lesson I Learned: A Lesson I Taught” in Nashville, TN at @ Radar Project 615.

#art #blackart #blackartist #artist #artwork #artlover

@artsychica.bsky.socialOct 5, 2026, 4:57 PM

#iLoveUs❤️🖤💚
#Art
#BlackArt
www.reddit.com/r/BlackPeopl...

@mdstamper.bsky.socialOct 5, 2026, 2:56 PM

“afro.died, T.” by Rozeal. (American) - Acrylic, pen, ink, marker, and graphite on birch plywood panel / 2011 - National Gallery of Art (Washington, DC) #WomenInArt #Rozeal #art #artText #WomenArtists #BlackArt #AfricanAmericanArt #AfricanAmericanArtist #IonaRozealBrown #ContemporaryArt #WomanArtist

American artist Rozeal. (Iona Rozeal Brown) created this work after becoming fascinated by ganguro, a Japanese youth style associated with deeply tanned skin, blond or bleached hair, dramatic makeup, and fashion shaped in part by African American hip-hop culture. She combines that contemporary reference with the visual language of ukiyo-e and bijin-ga images of fashionable women, producing a deliberately unstable hybrid of Japanese, Black American, and Western imagery. A glamorous woman reclines diagonally across the panel, gathering a long fall of blond hair in both hands. Her skin is partly covered in dripping brown pigment that leaves lighter areas visible beneath, while dark roots, red lips, elongated scarlet nails, pearls, and a green robe trimmed with white fur heighten the sense of deliberate self-fashioning. Behind her, large circles resembling records overlap with angular lines and repeated “BACK AND FORTH” text. At lower left and across her thigh, koi, curling blue waves, patterned cushions, and flattened decorative space evoke Japanese print traditions. Her lowered gaze makes the scene feel less like a posed portrait than a private moment of transformation. The brown color appears applied rather than natural, making racial transformation visible and raising questions about imitation, appropriation, and the unequal consequences of “putting on” signs of Blackness. The repeated phrase “BACK AND FORTH” reinforces that cultural movement and also recalls Aaliyah’s 1994 song. The title is another layered exchange as “afro.died, T.” sounds like Aphrodite, goddess of love and beauty, while its written form suggests an “afro” dying or disappearing. Rozeal. does not reduce cultural borrowing to a simple accusation. Instead, she makes the painting seductive, witty, and uneasy at once, asking what is gained, distorted, or erased when beauty and identity travel across cultures.
@droppingfacts.bsky.socialOct 5, 2026, 1:07 AM

#blackart #afroart #ebonyart #africanamericanart

@droppingfacts.bsky.socialOct 5, 2026, 1:06 AM

#blackart #afroart #ebonyart #africanamericanart

@chandirects.bsky.socialOct 4, 2026, 9:35 PM

Here is the second piece for Artober and the ‘W’ series, titled “Try me.” I really love the facial expression in this one.

#art #artist #blackart #blackartist #artwork #sportsart #wnba

@panda-loaf.bsky.socialOct 4, 2026, 9:25 PM

It’s the moooooost wonderful tiiiime of the yeeeaaaaaAAAARYHHC

#Halloween #Blackart

3 ghost girlies around the words ‘Spooky Time Baby’
@serjetyn.bsky.socialOct 4, 2026, 8:25 PM

Celebration Day of Afrobeauty
🪮🎆🪮
serjetyn.com
Afrobeauty is not a one-day celebration, it is a timeless proclamation, 365 days of honoring what was once meant to be hidden.
#serjetyn #artwork #blackart #painting #abstractart

Celebration Day of Afrobeauty — original mixed-media painting by Serj Éty’n, featuring a vibrant pink background, radiating comb-like forms, colorful beads, reflective elements, and textured decorative details celebrating Afrobeauty.
@mdstamper.bsky.socialOct 4, 2026, 5:59 PM

“Africa” by Loïs Mailou Jones (American) – Oil on canvas board / 1935 – The Johnson Collection (Spartanburg, South Carolina) #WomenInArt #WomenArtists
#LoisMailouJones #BlackArt #AfricanAmericanArt #TheJohnsonCollection #artText #LoïsMailouJones #WomensArt #WomanArtist #africa #HarlemRenaissance

American artist Loïs Mailou Jones painted “Africa” in 1935, five years after joining the faculty of Howard University, where she would teach for nearly half a century. Colleagues there encouraged the Boston-born artist to challenge racist stereotypes and explore African heritage, and this painting reflects that developing engagement. Three monumental Black figures fill the composition, pressed close to the picture plane against a glowing yellow-orange background and broad tropical leaves. The central woman dominates the upper half of the painting, her long, symmetrical face framed by dark hair and accented with green, almond-shaped eyes. She wears dangling gold earrings, a necklace of pale tusks or teeth, and patterned fabric draped across one shoulder. Below her, two additional figures overlap across the foreground. At left, a figure tilts inward beneath stacked gold neck rings and an elaborate spiral earring. At right, another face reclines horizontally, partially obscuring the boldly striped garment at center. Deep browns, greens, golds, cream, blue, and red repeat across skin, jewelry, foliage, and textiles, creating a tightly orchestrated pattern. The elongated faces, simplified features, still expressions, and compressed space give the figures a sculptural presence that evokes African masks, an aesthetic vocabulary Jones would return to throughout her career. At the same time, the work displays her exceptional command of decorative pattern and color, skills rooted partly in her early training as a textile designer. The Johnson Collection describes the painting’s jewel-like palette, patterned cloth, jewelry, and mask-inspired faces as central to Jones’s response to calls for Black artists to engage more directly with African cultural traditions.
@disburst.bsky.socialOct 4, 2026, 4:01 PM

We formed LBO Collective as an attempt to live diversity, equity, and inclusion, knowing it would be difficult & that we're imperfect, even in the best of times.

Why releasing this project w/ Eric is so special to me.
#dei #diversity #equity #inclusion #blackart #graffiti #nyc #blackhistory #hiphop

@disburst.bsky.socialOct 4, 2026, 3:46 PM

A prolific sculptural historian of black history, Acori's work attempts to fill the huge void in our society by recognizing those who long deserved to be memorialized in figural pieces.

#blackhistory #collectibles #blackartist #bipoc #philly #Philadelphia #actionfigures #onesixthacale #blackart

@apanaki.bsky.socialOct 4, 2026, 2:31 AM

Beautiful day collaborating with Oddside Arts for Beyond the Soil at Scarborough Museum! 🖤 Textiles, storytelling, Black creativity & community came together beautifully. Go experience the installation! #BeyondTheSoil #BlackArt #TextileArt

@doctressstory.bsky.socialOct 4, 2026, 2:22 AM

Today was a reminder that when we invest in ourselves, our communities, and one another, we all grow stronger.
#Louisville #Community #Leadership #ArtistsAndAfros #FairnessCampaign #LGBTQVictoryFund #BlackArt #ChildhoodInterrupted

@chandirects.bsky.socialOct 3, 2026, 11:38 PM

Starting Artober with the W series! Up first is “Time to Go”.

In my naive loose brushstroke style. I love how this piece of art & how graphic it is. It just pops!

#art #blackart #artist #blackartist #wnba #sportsart

@angelneesan.bsky.socialOct 3, 2026, 8:08 PM

It is done! My first manga is out!!! Whew, this was a crazy journey, but we made it. I hope you love the story cause it's my little baby 😍 Link is in my bio.

#withoutherAN #manga #blackmanga #release #angelneesan #blackart

@renlodraws.bsky.socialOct 3, 2026, 8:07 PM

Trying different brushes to stave off art block! 💫

#art #digitalart #Procreate #BlackArt

The image is a screenshot of a work-in-progress drawing in the Procreate app. The drawing depicts a young Black woman. Her head is three-fourths view, though nearly completely turned towards the viewer. She has coily shoulder length black hair. She is wearing a wide, gentle smile, which accentuates her dimples. Her eyes are creased gleefully; she is looking past the viewer's left at something off screen.
@droppingfacts.bsky.socialOct 3, 2026, 4:25 PM

#blackart #afroart #ebonyart #africanamericanart #BlackSky

@laurajg.bsky.socialOct 3, 2026, 4:03 PM

By 19th century African-American/Canadian artist Edward Mitchell Bannister (1828-1901), Walking Through a Field, ca. 1870–1880’s, oil on canvas, 22x42 inches, photo: Lincoln Glenn Gallery, New York. #art #arthistory #blackart #blackartist #BlackHistory

From the museum: ‘The painting's bucolic imagery of agricultural workers walking along picturesque paths, tracks and roads~ across crop fields and pasture land, up gentle hills, by rivers, or through shaded woodland is a constant throughout all phases of the artists career, reflecting not only his long-term aesthetic allegiance to American and French Barbizon, but also his childhood roots in Canada, where he helped with livestock on the Hatch farm in the timber town of Saint Andrews, and his close artistic, en plein air engagement with the New England agrarian landscape. In this work Bannister employs a compositional theme of the rural track, depicting both groups and solitary farm workers, and other country folk, some driving sheep or cows. The artist depicts his figures with wood cutting tools to identify characters' hands to identify their specific type of labor and to underline their rusticity. Edward Mitchell Bannister was one of the few African American painters of the nineteenth century to win significant recognition. He grew up on the coast in New Brunswick, and spent several months working as a ship's cook. He lost both his parents when he was young and moved to Boston, where he took sculpture classes and learned photography. Bannister faced an uphill battle to become a professional artist. In 1867 the New York Herald stated that "the Negro seems to have an appreciation of art" but went on to assert that blacks were "manifestly unable to produce it" (Driskell, Two Centuries of Black American Art, 1976). Bannister decided to prove the article wrong and in 1876 achieved his goal when one of his paintings won a medal at the Philadelphia Centennial Exposition. When he arrived to claim his prize, however, he was refused entry because he was black. Bannister was a founder and member of the Providence Art Club and was an original board member of the Rhode Island School of Design.‘