a safe place for art about and by artists of african descent. this tumblelog does not claim the rights to any of these images.this tumbelog is moderated by kimberly drew aka blackqueerdo and features posts by ranaa, lurkinglate, whitedevilsophistry, and whatastretch.
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BDGRMMR is a zine and collective comprised of and focused on the work of queer artists of color. To read more of our issues, visit our ISSUU page by clicking here.
wildcat: kahlil joseph (2013)
Muffled Drums, 2003- 2013
bass drums, mufflers
363 x 36.5 x 19 inches
Untitled (2000), David Hammons
LUCIEN SMITH USA
I’m so Tired of Being Alone, 2012
I Know You Like Fish and All, But This Is Just Soft, 2013
Acrylic, spray paint, cat hair, graphite, and collage on paper.
47.5 x 36 inches.
Don’t 2 Face In The Rain, 2013
Ink and glue on paper.
8.5 x 11 inches.
Hi Tumblr friends. Please watch Painting Toward Happiness, a new show about painting hosted by Franklin Vivray, another cousin of mine who’s super into art.
The Wayland Rudd Collection
A project organized by Yevgeniy Fiks
The Wayland Rudd Collection focuses on the representation of Africans and African-Americans in Soviet visual culture. A point of departure for this project is Fiks’ collection of over 200 Soviet images (paintings, movie stills, posters, graphics, etc.) of Africans and African-Americans spanning from the 1920s to the 1980s. Fiks invited contemporary artists as well as activists, historians, sociologists, political theorists, and specialist in cultural studies to select one or more images from this collection and asked them to respond to it either via artwork, performance, lecture, or other forms.
Wayland Rudd was an American actor who began performing in the Hedgerow Theater in Rose Valley, Pennsylvania under the directorship of Jasper Deeter. Rudd first received critical acclaim for his performance in Eugene O’Neill’s “Emperor Jones.” Frustrated over racism in the entertainment industry, Rudd moved to the Soviet Union in 1932 where he began a successful career in Soviet Theater and Film including work with the famed Russian Director Vsevolod Meyerhold. He later received a degree from the Theatrical Art Institute in Moscow and worked at the Stanislavsky Opera and Drama Theater. Rudd died in Moscow in 1952.
During Wayland Rudd’s twenty year-long career in the Soviet Union, he appeared in numerous films, theatrical performances, and plays. He was also used as a model for paintings, drawings, and propaganda posters and, in many respects, defined the image of the “Negro” for generations of Soviet people. Although only a small section of the assembled images in The Wayland Rudd Collection are of Wayland Rudd, the project is given his name to commemorate this American-Soviet actor’s personal story as a case in point of the complex intersection of 20th century American-Soviet narrative.
The images in The Wayland Rudd Collection present a very complex and often contradictory mapping of the intersection of race and Communism in the Soviet context. The participatory aspect of this project adds the needed dimensions to show this complexity—giving the viewers the capacity to digest this history. This project investigates the promise and reality of Communism vis-à-vis the issue of race in the 20th century through the Soviet experiment. It presents this issue as unresolved, revealing the Soviet legacy on race as a mix bag of internationalism, solidarity, humanism, Communist ideals as well as exoticization, otherness, racist stereotyping, and hypocrisy.
Participants: Suzanne Broughel, Maria Buyondo, Dread Scott, Jenny Polak, Michael Paul Britto, Nikolay Oleynikov, Ivan Brazhkin, Haim Sokol, Kara Lynch, Dr. Allison Blakely, Dr. Romy Taylor, and others
— Jean-Michel Basquiat, quoted in: Leonhard Emmerling, “Riding with Death: The Final Years,” in Jean-Michel Basquiat: 1960–1988 (Köln: Taschen, 2003), 75.