Curator

  • Art Institute Chicago
  • Harvard art museum
  • My Exhibition
Jewel-toned landscape painting. A large green hill dotted with trees rises in the center; the sky is blue with white clouds. Faceless figures in hues of red, blue, yellow, and orange walk from left to right in front of the hill. In the foreground two figures pull a dark blue body from a pond of the same color, while others lay in twisted and disfigured shapes on the ground.

Death of the Infant Bethel, 1965

Bob Thompson

A work made of durst lambda print on paper, 2/5 limited edition.

Okavango Delta Spa, Botswana, Rendering, 1997

ROY

Sepia-toned photograph. A person with short, cropped hair wearing a fedora and formal riding gear stands in front of a brick wall, hands in their pockets, face cocked upwards and smiling. There is a small cutout photograph of a dog and a decorative metal gate with flowers in the background,

Riding Habit, 1939

James VanDerZee

A work made of gelatin silver print.

Refilwe Mahlaba, Thokoza, Johannesburg, from the series "Faces & Phases", 2010, printed 2014

Zanele Muholi

A work made of gold.

Feline Figurine, 250–550 CE

Moche

Seated Figure

Seated Figure, 16th/20th century

Sapi

A work made of painted leather and fabric.

Eshu (The Trickster), 1971

Betye Saar

A work made of deer hide, ermine tails, glass pony beads, hair, porcupine quills, and trade cloth.

War Shirt, 1830–40

Missouri

Terracotta sculpture of a woman of African descent's face: her hair is flattened against her skull, extending down to the figure’s neck, and its texture is delineated with small incisions. Her face possesses a prominent forehead, broad nose, and full lips. The sculpture is both highly individual yet also timeless and universal.

Head of a Black Woman, c. 1935

Sargent Claude Johnson

A work made of gelatin silver print.

3:15 a.m. Going to work: standing room only now, on the Wolwekraal-Marabastad bus, which is licensed to carry 62 sitting and 29 standing passengers, 1983, printed 2007

David Goldblatt

Black-and-white photograph of a dark-skinned woman wearing a headwrap and a fancy dress. She peers into a glass orb with an elk etched on it. Text at the bottom of the photograph reads “You will find him at the Elk’s Club."

You Will Find Him at the Elk's Club, c. 1927

James VanDerZee

Woman's Apron

Woman's Apron, Mid–20th century

Grasslands

A work made of gelatin silver print.

The Dunes, Indiana, 1963

Robert Earl Wilson

A work made of carbon pigment print, from the portfolio "harlem, u.s.a." (2005).

Deas McNeil, the Barber, 1976, printed 2005

Dawoud Bey

A work made of layers of cotton, plain weave; pieced and quilted; appliquéd with wool and wool and cotton plain weaves and wool twill weaves; embroidered with cotton in chain, cross, and a derivative of herringbone stitches; applied plied yarn edging; lined with cotton plain weaves; pieced.

Tunic (Jibbeh), 1885/99

Mahdist peoples

A dark-skinned man shouts and holds a sign that reads “No Vietnamese Ever Called Me a Nigger. Stop the War Now!”. He walks down the street surrounded by fellow protesters.

First Anti-Vietnam War March, 1967

LeRoy Henderson

Black-and-white photograph of a seated black man who is receiving medical care from two other individuals. The man has an anguished expression, with his mouth open in pain, and he wears a button-up shirt that is spattered with blood. The brown-skinned person on the man's right, whose back is to the camera, tends to the man's right eye. On the left a white-skinned person reaches into the frame, and holds the man's head steady.

Battered Man, 1948

Gordon Parks

A work made of terracotta and slip.

Water or Storage Container, Early/mid–20th century

Hausa

A work made of cotton thread, glass beads, and cowrie shells.

Woman's Apron, Mid–20th century

Grasslands

A work made of .1: pieced of 15 strips of cotton, warp striped plain weave with supplementary patterning and brocading wefts and self-patterned by bands of ground weft-floats .2: pieced of 12 strips of cotton, warp striped plain weave with supplementary patterning and brocading wefts and self-patterned by bands of ground weft-floats.

Woman's Kente Wrappers, Mid–20th century

Ewe

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