This work by Raheem Bellard shows a man, whose face is illuminated by the sun, wearing a green scarf. Cool colors are used throughout the piece, which enhance the tranquility of the composition.
This drawing combines elements of traditional African sculpture and futuristic motifs. The figures’ faces resemble Ashanti akuaba (fertility dolls). The seated mother with a child is also a common motif in African sculpture, as seen in some works from the University Museum’s collection. The figures’ hair textures suggest a more futuristic design.
Askia’s drawing depicts a weary woman at work, stooped over a woven basket. As a student, Askia made a series of drawings that highlight Black women and the different types of labor they perform. Feminist thinkers have long argued that unpaid, domestic labor performed by women is often rendered invisible in discussions of their contributions.
The work shows a group gathering for a libation ceremony in a field; as one member is pouring water into the ground, the other members are playing musical instruments. A libation ceremony is when liquid is poured into the ground as an offering to and in remembrance of a deceased loved one. This ceremony is practiced across the African Diaspora.
This drawing by Dr. John T. Biggers depicts a family, caught up in a wild storm that is swirling around them. Biggers appears to have later repurposed this sketch and added additional floral details to create his 1992 print Metamorphosis III.
Moe's work displays a joyous religious gathering, featuring a preacher, dancers, musicians, and others. The group appears to be performing a ring shout, or praise break, a characteristic tradition of some Black churches in the Southern US involving dancing, stomping, and singing.
Green's drawing depicts a central female figure, deep in thought, surrounded by faint, whispering figures. The scene is reminiscent of a queen's court, with the monarch encircled by attendants and advisors. Green teaches painting and printmaking courses at Texas Southern.
This drawing by Prinston Nnanna shows a Back baby sitting on a pile of books. Behind the baby, there are a collection of various political newspaper clippings and headlines, which may be provoking the child's saddened disposition.
This drawing by Vernon Simmons depicts a kuduo, vessels owned by kings in Akan kingdoms (modern-day Ghana), adorned by tortoises, a sign of longevity. The central figure seated under the umbrella is the asantehene, the ruler of the Ashanti people; he is surrounded by attendants.
In this drawing by Willie Moe, a group of children gather around an elderly man in a rocking chair to hear his stories. Oral storytelling is an essential part of preserving the past, particularly in communities that have been denied the opportunity to write their own histories.
This sketch by John Biggers is part of his planning process for his mural in Christia V. Adair Park, named for an iconic Houston civil rights activist. The mural design for Adair Park is based on the dogon house, and features several intricate patterns across its multiple panels.
This drawing by Oliver Parson shows a group of emaciated children seated on a checkerboard patterned floor. There is also a chick, just hatched from its egg, that seems to be struggling to survive. Parson has an incredible talent for conveying powerful emotions in his works.
