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The Mexican Muralist movement’s rich visual language emerged in public spaces as a means to make art accessible to the struggling Mexican people.

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¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now is organized by the Smithsonian American Art Museum with generous support from The Latino Initiatives Pool, administered by the Smithsonian Latino Center, Michael Abrams and Sandra Stewart, The Honorable Aida Alvarez, Joanne and Richard Brodie Exhibitions Endowment, James F. Dicke Family Endowment, Sheila Duignan and Mike Wilkins, Ford Foundation, Dorothy Tapper Goldman, HP, William R. Kenan Jr. Endowment Fund, Robert and Arlene Kogod Family Foundation, Lannan Foundation, and Henry R. Muñoz, III and Kyle Ferari-Muñoz.

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The Rise and Impact of Chicano Graphics - Google Arts & Culture

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Chicanx artists have forged a remarkable history of printmaking grounded in social justice. Explore this innovative and vibrant tradition through works in SAAM's collection.

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https://www.louise-alexander.com/artist/salomon-huerta/

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https://art21.org/theme/decolonize/

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Art21 is the world’s leading source to learn directly from the artists of our time. The mission of Art21 is to educate and expand access to contemporary art through the production of documentary films, resources, and public programs.

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After a first solo show, at the Arnolfini Gallery in 1969, and inclusion in several Arts Council touring exhibitions during the early '70s, David Inshaw became a household name almost overnight, following the sale of the The Badminton Game to the Tate Gallery, in 1973. Over five decades on, and this enigmatic painting remains one of the Tate's most popular 20 th century paintings. Work from this period simmered with a psychological drama between the human figures and the landscape, creating a distinctive sense of mood and mystery. The painting was reproduced in Edward Lucie-Smith's seminal article in The Sunday Times; entitled 'New British Artists', the article described Inshaw as marking a move away from the Pop Art of the previous decade, towards an art that was more "tranquil" and "affectionate in tone".

The female figure standing mournfully in a churchyard, in the painting Our Days were a Joy and Our Paths Through Flowers, is typical of his work from the early '70s, and was partly inspired by the poetry of Thomas Hardy, and the idea of spirits living on through plants and trees. This painting featured in a second solo show at the Arnolfini in 1972, and was purchased by Bristol Museum & Gallery. A successful solo show followed at the Waddington Gallery, London, and selection for another Arts Council touring exhibition, this time on the theme of landscape. Indeed, after settling in Wiltshire, his home of 40 years, Inshaw took much inspiration from the surrounding countryside, and his interest in the poetry of Thomas Hardy permeated his resulting pictures. As such, he became associated with the Brotherhood of Ruralists, a group he co-founded with Peter Blake in 1975. After showing for the first time at the Royal Academy in 1976, the Brotherhood was given a retrospective at the Arnolfini Gallery in 1981, which toured to Birmingham, Glasgow and London, and later at the Tate in 1983. They were also the focus of a BBC documentary in 1977. For Lucie-Smith, "Inshaw's work seems to give the flavour of the group most fully - a self-conscious poetry, a nostalgia for the country, and a pervasive eroticism". Interest in the group culminated in a highly successful solo show for Inshaw at Waddington in 1980; "it caused something of a stir in the London art world -it was virtually sold out", added Lucie-Smith.

Though the Ruralists disbanded, Inshaw has maintained his interest in the local landscape, and for Andrew Lambirth, author of the first monograph on the artist, "in some ways he can be seen as a contemporary interpreter of Hardy's Wessex". Lambirth continues: "He has known and loved this landscape for nearly half a century, and during that time his understanding of it has matured and developed, just as his style has evolved from the tiny immaculate brushstrokes of the early paintings to the more broad and expressive sweep of his work today. Inshaw's work is renowned for its mood of celebration: of the beauties of the natural world as well as the women who have been his muses. That generosity of spirit is balanced by an intimate appreciation of the great artists of the past, whose works are frequently referenced in his own work. David Inshaw reaffirms with wit and warmth the human place in the world and our part in its larger beauty."

Inshaw's paintings have appeared in various museum survey shows around the world, with recent examples being British Art: Ancient Landscapes, at Wiltshire Museum in 2017, and The Landscape in Art 1690-1998, drawn from the Tate's permanent collection. His paintings are in the Tate, Arts Council and British Council, among others, while examples of his printmaking are in the British Museum. In addition to landscapes, Inshaw has also taken on portrait commissions, and was one of sixteen leading artists to contribute a portrait to the album Face Dances by The Who, in 1981, along with Peter Blake, RB Kitaj, Richard Hamilton and David Hockney.

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Works by David Inshaw: Trying on the Hat, 2022 , Ladder, Tree, Shed & Moon, 2021 , Sunset Robin Hood Hut, 2021 , Murmuration, 2020 , Stow Barton, 2020 , Landscape, 2019-2020 , The View, 2019-2020 , Bonfire Night, Hay Bluff I, 2019 , Bonfire Night, Hay Bluff II, 2019...

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Käthe Kollwitz, Self-Portrait, 1921; © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

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https://www.odaartgallery.com/artists/33-soji-adesina/overview/

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https://www.stephenarboite.com/metamorphosis

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Adeagbo [ah-DEH-ag-boh] (He brings royal honor)

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Contemporary art quilted portraits of people of African decent by Bisa Butler

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https://www.kenturah.com/

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https://blackboxpressstudio.com/about-delita

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https://awarewomenartists.com/en/artiste/adrian-piper/

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https://lsimpsonstudio.com/

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https://komikkatheseed.com/main-collection-1

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https://joshuamaysartstore.com/

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https://komiolaf.com/

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Kara Walker, artist: The well overfloweth its banks and changes course, away, away from this island fort, towards a new world, taking with her gods and dreams and men and women. We cross the Atlantic in many ways. We swim or we sink.

This is a piece about oceans and seas traversed fatally.

The Fons Americanus is an allegory of the Black Atlantic and really all global waters which disastrously connect Africa to America, Europe and economic prosperity.

My name is Kara Walker I'm an artist. I'm really interested in making work that explores the power struggles and history and mythologies that inform the way we perceive ourselves and the way we perceive others, particularly around race or gender. I'm interested in grand themes and small human frailties, the macro and the micro.

Well I first saw the Victoria Memorial at Buckingham Palace on a lark, I mean not on a lark, on the way to the airport. I saw the monument, I took some quick snapshots, moving snapshots out of the window of the taxi and then forgot about it promptly as one does with monuments and memorials.

I think that there's this very peculiar quality that they have of being completely invisible. The larger they are, in fact the more they sink into the background.

I'm not an actual historian, I'm an unreliable narrator. I sort of let characters or caricatures sort of emerge. Sometimes they are culled straight from pop culture, looking at the types of depictions of blackness or of slavery as they have emerged, you know, specifically in the 19th century moving through the 20th century and changed somewhat over time.

It's this kernel of experience that can never quite be told in art and I'm always fascinated by these paradoxes and problems.

Although slavery didn't exist on these shores, England was the beneficiary of the slave trade and its products and so you have this kind of institution that spans many hundreds of years and everybody's implicated in it.

I wondered how to return the gift of having come to be through the mechanics of finance, exploitation, murder, rape, death, ecological destruction, co-optation, coercion, love, seafaring feats, bravery, slavery, loss, injustice, excess, cruelty, tenacity, submission and progress, conceived in the U.S. to live in this time and place, with this opportunity, this ability.

So I was working in a different way than I normally work, although there's some common threads. I do tend to do a bit of writing beforehand, just to figure out where my head is. It took a while before I had a concept but the concept, when it came, came sort of flooding, let's say, quite literally flooding out of me so that it got very large and fluid and funny.

So I made these small clay models every day marvelling at the characters and caricatures who emerged. From there I scanned the figures and forms and worked with digital imaging, inserting them into a digital mock-up of the Turbine Hall space and changing and arranging things as needed.

It's very strange really to go from like the thumbprint to the digitised version to sort of back to this machine and then back to our hands again.

I think that with this piece I really wanted to make sure that my hand was still present in it and it wasn't something that was just easily machined and shipped off and moved into the Turbine Hall.

The Turbine Hall Commission functions as a one-person version of the 19th century World's Exposition. The World's Fair was a public entertainment exploiting the wealth and bounty of rich nations often literally carried on the backs of its colonised subjects.

As a one-woman World's Fair I have created a space for reflection, joy even, amid the miasma of conflicts racial, economic and cultural which still lodge themselves in our collective gullet, thanks to the rise of white nationalism, xenophobia, fundamentalist violence and a poisonous populism which has everyone mouthing off thoughtlessly at once.

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Kara Walker, artist: The well overfloweth its banks and changes course, away, away from this island fort, towards a new world, taking with her gods and dreams and men and women. We cross the Atlantic in many ways. We swim or we sink. This is a piece about oceans and seas traversed fatally.

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https://www.latinamericanmasters.com/exhibitions/arnaldo-roche-homage