Along with south Asian artists and curators they could manage to have their artwork in important museums or collections and have an important influence for the later generation of artists.

- They wanted to show their rage against racism
- They were bold and fearless
- Art as critic to Society (Issue-based art)
- History and the research as foundation of their work

Arthur Jafa imparts a personal touch to imagery usually taken from news media, television and the Internet, from photographs of civil rights leaders watermarked with "Getty Images" to helicopter views of the LA Riots to a wave of people dancing, .

"Love Is The Message" embodies the artist's desire to create a cinema that "replicates the power, beauty, and alienation of Black Music.

Johnson considers her work to be outside the realm of portraiture and believes it creates a 'presence' for her subjects that resists objectification. 

The intention of Johnson is to create images of Black women without distortion or caricature. 
 The arrangement of scale, composition, gesture and pose carve a place of humanity and personhood in representing subjectivity.

Johnson addresses Black visibility and the lived experience of seeing in-depth and detail through the individual's presence.  

I'm interested in giving space to Black women's presence. A presence which has been distorted, hidden and denied. I'm interested in our humanity, our feelings and our politics."


- Presented in an undefined context, Johnson calls for a reading of the Black figure that is beyond traditional portraiture conventions, focusing instead on the mere presence of the individual.

- Claudette Johnson offers a restorative correction to colonial histories of violence and erasure.

- The idea that stereotyping tends usually happens when one group has more power than the other.

- Use of signs-  Producing meanings through a system of signs/symbols. 
Signs are created by spoken language or through media language. 

- The relationship between concepts and signs is governed by codes. Codes are interpreted differently by everyone depending on gender and background.

It is crucial to raise awareness to these issues, create social change, and empower black women to overcome these obstacles. By acknowledging and addressing this ongoing discrimination and oppression, we can work towards creating a more equitable society where black women and other minorities can thrive and be treated with the respect and dignity they deserve. 

Furthermore, promoting diversity and inclusivity benefits everyone and strengthens our communities.

Throughout history, there has been an 'endlessly repeated show of dominance', where the events of history have arisen as the result of the overlapping of multiple and competing forces.

It is based on the premise that power is more radically dispersed than conventional thinking admits. The theories of Michel Foucault also focus on the connections between power and knowledge and how that power is used as a form of social control in societal institutions. 

- Hall, S. (1986) Gramsci's Relevance to the Study of Race and Ethnicity. Journal of Communication Inquiry.

- Hall, S. (2005) The Deluge – and After in: Bailey, D., Boyce, S. and Baucom, I. eds. Shades of Black: Assembling the 1980s' Britain, pp.1-20. New York: Duke University Press.

https://theconversation.com/explainer-the-ideas-of-foucault-99758 

It is from the graffiti that inspired him for a practice of destruction. It evolved him into a process of removing, decomposing, or destroying in order to work through the overlapping of historical and cultural layers that make up humanity, which he uses as a inspiration. Sculpting the walls directly was something he experimented with.

Site-specific work is part of his current practice, addressing issues such as identity or freedom, usually choosing the place where he sticks his art, but he has also been invited to make interventions in various places.

His work consists individuals’ faces, often-unknown beings within a community. He divides his carvings into layers of images and then begins by destroying to create. 

Sculpting the walls directly was something he experimented with, believing that destruction is a form of construction.

Site-specific work is part of his current practice, addressing issues such as identity or freedom, usually choosing the place where he sticks his art, but he has also been invited to make interventions in various places.

Among Vhils' works reflect current artistic themes, such as identity, representation, ephemerality, and the experience of the individual in consumer society. 

His work also includes screen-printing, installation, NFT’s, advertising posters, and working in found-objects collected from the streets.
As the artist faces his art as a personal and subjective expression, he establishes a dialogue with the city that reveals all the layers that have been lost by the city over time as it evolves and flows.

With various tools and materials, including hammers, drills, etching acid, bleach, and explosives, he carves faces into public spaces-on the sides of buildings.

 https://vhils.com/work/

https://vhils.com/exhibitions/trace-paris-france/

https://movart.co.ao/pt/fidel-evora-pt/

 https://boroughphotos.org/lambeth/vhils-artwork-cans-festival-leake-street-waterloo/

https://www.under-dogs.net/collections/fidel-evora

https://www.under-dogs.net/products/burst-vhils-screen-print-2021

https://soldart.com/shop/vhils-morphed-art-artwork-enhanced-screen-print/

Keith Piper is a prominent artist whose creative practice engages with social, political, and historical themes, as well as specific geographical sites. He was a key member of The BLK Art Group and the British Black arts movement. 

Piper's early works involved the use of media technologies like photocopiers and slide projectors to appropriate images and texts. 

In the late 1980s, he embraced digital technologies, creating videos, media installations, and CD-ROMs that explore subjects such as slavery, scientific progress, and society's fascination with Black athletes. 

His work challenges fixed notions of location, identity, and history, acknowledging the impact of gender and gender difference in the black diasporic experience.

 - His reflections on capitalism and consumerism lets him think on how we as artists, can apply more things that lets the viewer thinks about this same concepts. Working around the materiality of the work, how the subject appears in the surface and how the artwork can interact with the viewer.

- The artist sees how metaphorically Identity is merged and intertwined with the constant mutation and evolution of our Society. He reflects on the undergoing effects of globalisation and digitalization in our Society, and he sees the position towards abstraction in the faces on billboards and other forms of portraiture. His works is a testimony of our contemporary times and how we live in society now. 

The works emphasises the importance of recognising and documenting the stories of a working-class labour, particularly those of working women. 

Correia, A. (ed.) (2022) What is Black Art. 1^st edition. London: Penguin Books

Thompson, S. (2023) A Tall Order! Rochdale Art Gallery in the 1980s. Artforum. [Online] 

Touchstones (2023) A Tall Order! [Exhibition catalogue] Rochdale: Touchstones. 12 April. Available from: https://www.artforum.com/picks/a-tall-order-rochdale-art-gallery-in-the-1980s-90393. [Accessed 14 April 2023]

- This work indicates an ‘emblematic of the rejection of the presumed political “neutrality” and “universalism” of international modernism and its failure from the particularised perspective of the Black subject’.

- Chambers illustrates the uncertain position experienced by Black British citizens in Society. 

-  Using his art as propaganda, Chambers defended his rights as both a British citizen and a person of colour. 

Hence, it is important to reflect on these images in today's society, and how some of the issues that existed during colonialism are still ongoing. 

We must actively engage with these images to understand our past and present, in order to create a better, more equitable future. 
It should be recognised and celebrate the accomplishments of Black women, and stand against any and all forms of oppression and injustice.

Image - 30 seconds

- Some elements of the background faded
- Higher contrast in the characters and surrounded elements

Image - 30 seconds

- Higher contrast in the Black character
- The background and some other elements developed a texture in the plate

Image - 30 seconds

- The image is identical to the original without any alterations

Image - 30 seconds

- The image developed without alterations
- The background was more emphasized than in other plates.

Image - 30 seconds

- These plate has more texture than the previous one.

There should be an ample room for visitors to navigate and engage with the artwork without feeling constrained.

McMillan's installation is inspired by the front room of a politically active single woman from the 1970s.

Each of the objects, from doilies to wall hangings, has been chosen with a specific time and character in mind. These are supplemented by larger items, such as soft and large furnishings, furniture, fixtures, and appliances. These items speak to migration, religion, status, identity, as well as transitioning from the colonial to the postcolonial eras.

The series uses an allegorical mode of representation that takes advantage of historical precedent, the artist explores a diaspora aesthetics of ‘gathering and re-using’ and the ‘allegorical impulse’ as rescuing from historical oblivion what threatens to disappear.

Fusing African and Western elements, each muse in Zabat series embodies a different area of creativity. Conventionally presented in history of Western art as white women, they are portrayed by contemporary black women writers, activists, musicians and artists.

Zabat is a critical revision of colonial heritage, a reflection on the European gaze on Black bodies in the past, and a creative engagement with images and visual patterns that impact contemporary neo-colonial culture. 

It also reveals how Black feminist readings revive the Black figure and reveal her presence, emerging as a challenge to the invisibility of Black women in the canon of what galleries and exhibition spaces portray.

The artwork it is positioned in a corner with behind a upturned table as a defence, with her father’s two birth certificates—one that identifies him as white, the other as black. While the artist speaks through a video directly to the viewer.

This conceptual piece inspires me on how art can be a tool of communication, to address issues of race, class gender and identity, and think about how the gallery space can be a space of inclusion. 

It reflects how misogyny, racism and oppression controlled the main institutions of our Society, being this the key elements for my project. 

The video draws the viewer’s attention to their own biases and beliefs.

Piper is having a conversation about race and she uses the television and the gallery as a metaphor for conversation.
Cornered is configured or highlighted in a way that represents an architecture of power, by the way the artwork is protecting itself for exposing the artist’s truth. 

Her broader critique of social and culturally entrenched institutions is underlined by this subtle and conscious orchestration of space.

- Since my project consists in different artistic elements, an installation can be an engaging approach to have all my pieces together to create a narrative and connect the viewers to it.