Tag: blackartists

Mavis Pusey

In 1946, eighteen-year-old Mavis Pusey moved to New York from Jamaica to study at the Traphagen School of Fashion and, later, at the Art Students League. By 1969, she had worked in London as a patternmaker for Singer for nearly a decade. She then returned to New York to work at Robert Blackburn’s printmaking workshop—an important collaborative studio where artists were encouraged to experiment and freely exchange ideas.

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Algernon Miller

Algernon (like Ellsworth) is a father of Afrofuturist art. Educated at the School of Visual Arts (1965-67) and The New School (1967-68) during America’s cultural revolution, Miller’s Downtown art world included happenings and Pop, Fluxus and Warhol films, the Beat poets and jazz. Uptown, he absorbed African drumming, African-American dance, and Afrocentric fashion.

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Ellsworth Ausby

Ellsworth (the subject of the recent show Ellsworth Ausby: Somewhere in Space,” paintings from the 1960s and 70s, at Eric Firestone Gallery) was a significant African American artist whose works were concerned with exploring the “infinite possibilities of two-dimensional space.” He experimented with supports and surfaces, creating multi-part shaped canvas constructions arranged directly on the wall.  His work is connected to Afrofuturism and the music of visionary Sun Ra.

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Jarvis Brookfield

Juxtapoz says that many people would argue that replicating the views of reality is a waste of paint as a medium, which I feel glad to say excludes me. Regardless you should (always) read their content and check out Jarvis whose abstracted images aren’t necessarily abstraction and worth the look.

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Evangeline Montgomery

Evangeline “EJ” Montgomery (born May 2, 1930 in New York, New York) is an American artist known primarily for her metal work. She has also worked as a printmaker, lithographer and curator. She received the Women’s Caucus for Art Lifetime Achievement Award in 1999. Art historian Floyd Coleman has said she “is an important figure in American art. She has a long career of participating and assuming leadership in progressive causes that promoted the arts and the development of community.

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Jamaal Peterson

First encountered Jamaal’s work in this article (featuring Patrick’s work also). He has developed a highly encoded language of abstraction that ricochets inside of, between, and beyond the frame of the image. In this new body of work Peterman depicts the world as a global simulation. Illusionistic framing devices transform each painting into a portal through which ominous glitches in time, place, and scale occur. These works describe an interlocking system of abstract macro structures—representing legal giants, multinational corporations, massive algorithmic flows, and the weapons of destruction that protect them—across which a superimposed human figure sequentially moves.

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