Meet Starasea Camara, a Black Latina Muslim American Curator, Emerging Historian and Diasporist

Meet Starasea Camara, a Black Latina Muslim American Curator, Emerging Historian and Diasporist

Meet Starasea Camara, a Black Latina Muslim American curator, emerging historian and diasporist. She’s passionate about the transatlantic intersections and centering Black and Brown communities within the arts. Her focus is on West African, Indigenous, Latinx, Muslim, and Black American arts, intersectional histories and cultures. In this interview, Starasea breaks down Black diaspora/Latine/Caribbean/Trans-Atlantic histories, her experiences as an emerging arts curator, and the need for specificity when talking about Blackness — and within that, Afro Latinidad.
Why artist Sanford Biggers remixes different forms, styles of art to express himself

Why artist Sanford Biggers remixes different forms, styles of art to express himself

Sanford Biggers is an artist who mixes media and pushes boundaries to create an art all his own. Jeffrey Brown looks at his interdisciplinary work, focusing on a signature piece, “Fool’s Folly.”

The Recent Sale of Amy Sherald’s ‘Welfare Queen’ Symbolizes the Urgent Need for Resale Royalties and Economic Equity for Artists

The Recent Sale of Amy Sherald’s ‘Welfare Queen’ Symbolizes the Urgent Need for Resale Royalties and Economic Equity for Artists

This past Wednesday, November 17, a regal portrait by the celebrated artist Amy Sherald sold for $3.9 million, double its $1.2 million-to-$1.8 million estimate, in the 20th-century and contemporary evening sale at Phillips New York. Welfare Queen (2012), listed in the catalogue as hailing from “a private East Coast collector,” was consigned by Dr. Imani Perry, the Hughes-Rogers Professor of African American Studies at Princeton University.

Five University Art Museums Acquire Artwork from the Collection of Souls Grown Deep
Souls Grown Deep Foundation and Community Partnership announced today that the Blanton Museum of Art (The University of Texas at Austin), Hampton University Museum, Hood Museum of Art (Dartmouth College), Princeton University Art Museum, and RISD Museum have made acquisitions from its collection of artworks by Black artists from the Southern United States, including Mary Lee Bendolph, Sally Mae Pettway Mixon, Thornton Dial, Lonnie Holley, and Purvis Young. The Hampton, Hood, Princeton, and RISD museums will also partner with the Foundation to offer paid internships to BIPOC undergraduate students for the Spring 2022 semester, marking the fourth cohort of the Foundation’s Internship Grant Program.
Apollo Awards 2021: Acquisition of the Year Shortlist

Apollo Awards 2021: Acquisition of the Year Shortlist

Apollo’s annual celebration of achievements in the art world. The Acquisition of the Year Award commends the best museum acquisitions of the past 12 months.

If You Want to Support the Arts in America, Invest in the South. Here’s Why

If You Want to Support the Arts in America, Invest in the South. Here’s Why

According to the latest United States Census, the South is home to nearly 40 percent of all Americans, making it the most populous region in the country. It is also the least supported by arts funding. A recent study found that a person living in the South received only $4.21 in arts and culture funding from philanthropy, compared to the national average of $8.60 per person. If you’re reading this in New York or Boston, know that Northeasterners receive about $16.

Greg Lauren Celebrates American Identity by Honoring Small Community of Black Quiltmakers From Gee’s Bend, Alabama

Greg Lauren Celebrates American Identity by Honoring Small Community of Black Quiltmakers From Gee’s Bend, Alabama

Greg Lauren’s line has always been rooted in American identity, but for his latest collection he wanted to approach that theme with more specificity. “I started to have a lot of conversations about fashion, about the work, and creating a more equitable company,” said Lauren. “And I wanted to change the way I approach things. I wanted to take a look at the history and roots of things.” Lauren looked at the history of quilts. He’s worked with them before, but started to dig deeper and came across Gee’s Bend, a community of craftswomen in the rural area of Boykin, Alabama, who have a history of quilting that dates back to slavery.

Greg Lauren and Gee’s Bend Quilters Take Aim at Cultural Appropriation

Greg Lauren and Gee’s Bend Quilters Take Aim at Cultural Appropriation

Ralph Lauren may have built an apparel empire out of romantic interpretations of Americana, but his nephew Greg Lauren is giving credit to authentic American creators with a new collaboration with the quilters of Gee’s Bend. Debuting at Bergdorf Goodman today, the textiles for the pieces were created by 14 quilters from the rural Alabama community of Black artists who trace their history — and craft — back to the enslaved people of Pettway Plantation.

Saving the Artwork of the South: Deep Investment, and a Drone

Saving the Artwork of the South: Deep Investment, and a Drone

“I’m the conjurer of all my ancestors, 400 years of African people in America,” said Joe Minter, surveying the dense outdoor environment of artworks he has forged from refuse over the past 32 years across his half-acre yard, facing two of the largest African-American cemeteries in the south. Nodding to the tombstones, he added, “they have given me the privilege of being their spokesman.”

How the Quilts of Gee's Bend Became Seminal Works of Modern Art

How the Quilts of Gee's Bend Became Seminal Works of Modern Art

One of the potential hazards of loving art is the tendency to see it as something separate from everyday life—a thing apart, with no ability to function practically beyond what it stirs in us emotionally or intellectually. Sometimes that can be true, but often our most inspired works are the ones inspired by a practical need, like the patterned rugs of the Middle East and Central Asia. The African American quilts of Gee’s Bend, Alabama, fall into this category. Now hailed as pivotal works of modern art in museum exhibitions around the country, the quilts were inspired by the simple need to stay warm.