This collection showcases the rich legacies of HBCUs through artistic expression. Featured works include paintings, sculptures, murals, mixed media, prints, drawings, and fine art photography.
Date Modified
2025-09-13
About This Record
The HCAC public history focused digital archive cataloging is an ongoing process, and we may update this record as we conduct additional research and review. We welcome your comments and feedback if you have more information to share about an item featured on the site, please contact us at: HCAC-DigiTeam@si.edu
Elizabeth Catlett was an artist and educator from Washington, D.C., who repatriated to Mexico. Black is Beautiful: Mother and Son depicts a profile view of a Black woman and her child. Catlett captures the mother's grace and her son's curiosity as they look away from the viewer.
Taylor offers a snapshot of Houston’s Third Ward in the mid-20th century. Growing up in Third Ward, Taylor saw it grow and change. The scene is a busy one and depicts various storefronts and residents of the neighborhood. Taylor named the pool hall in the lower left corner after himself.
William Artis was a sculptor from Washington, NC. A Mother's Love is a limestone sculpture of a mother holding her daughter in her lap. The mother looks down affectionately as she cradles the child's head.
William Artis was a sculptor from Washington, DC. A Terra-Cotta Head is a bust of a woman with a solemn expression. The bust has a slight head tilt with an elongated neck.
Ware’s blue, abstract painting is created in landscape form. Curved shapes are layered over an oval-shaped form. The top layer is a slanted prism with cutout shapes that slightly imitate the forms floating around. Abstract art of this sort is not commonly featured in the permanent collection of Texas Southern University.
This is an abstract work featuring adornments like swirls, eyes, and pyramids. This blend of symbols suggests themes of hybridity and the fusion of cultures. Professor Carroll Harris Simms' terracotta tradition was inspired by the shrine sculptures of the Nok and Ife peoples of West Africa. In diasporic contexts, the sculptures' significance evolves.
Barbara L. Gallon was an artist from Tallahassee, FL. Abstraction is a depiction of two main shape forms painted in a light tan, paired with a bright red square in the left. They are boarded by black paint and layered on a surface of dark red, brown, black, and tan.
Walter Augustus Simon was an art historian, professor, and artist best known for his abstract oil paintings from Petersburg, VA. Abstraction—The City—No. 3 depicts a city scene in front of a set of brownstones with abstracted bricks. Several Black people are conversing, relaxing, and playing around the building.
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. As part of this project, Biggers also designed a pavilion to contain this mural, drawing inspiration from the homes of the Dogon people of Mali. The mural itself features scenes from Adair's life interspersed with Biggers's own Afrocentric iconography.
John Woodrow Wilson, a sculptor, painter, and printmaker from Roxbury, MA, was known for his creative portraits and stylistic approach to social justice. Adolescence is a sketch depiction of the social interiorities of urban life. A young boy faces the viewer in the foreground while groups of people socialize in the background.
Dr. Eddie Jordan, Sr., was a Southern artist from Wichita Falls, TX. African Decree is a metal sculpture of a human-like figure. It has two legs with feet that stand on stilts and a middle section of the body with vertically stacked bolts. Sculpted metal parts stretch out to mimic arms, and the head has spiraled hair.
Dr. Eddie Jordan, Sr. was a Southern artist from Wichita Falls, TX. African Female and Animal is a wooden assemblage of its namesake made from repurposed furniture.
Henri Linton was an artist and art professor from Tuscaloosa, AL. Alone depicts a melancholy woman sitting in a chair. The muted blue background emphasizes her solemnity as she rests her head in solitude.
Cornett's work shows Stokely Carmichael with angelic features amidst raised hands. He was a key civil rights activist, a leader of the SNCC, and popularized the term "Black Power." He spoke at Texas Southern one month prior to the TSU Invasion, when Houston police invaded the campus, fired 5,000 rounds into dormitories, and arrested 488 students.
Walter Washington Smith was an artist who often painted religious scenes and created city signs and posters from Clearfield, PA. April Blizzard is a painting of a neighborhood in a blizzard. The sidewalk, open street, and a house behind four barren trees are covered in blowing snow.
Lacy’s mural depicts houses from a variety of different civilizations and cultures, ranging from small circular huts to step pyramids. The center structure is a depiction of the terracotta sculpture she created under the instruction of Professor Carroll Harris Simms.
Lacy’s terracotta tower sculpture features cut-outs throughout the body. The top bears an abstract, smiling face with conical ears. The work is decorated with spirals and rolled balls of clay, both of which are among the signature embellishments used by students of Professor Simms. Lacy features this sculpture prominently in her Hannah Hall mural, where it appears as a building.
John Howard was an artist from Alcorn, MS. Arkansas Landscape shows a red house with a wooden gate, five posted signs, and six mailboxes in the foreground. The house is surrounded by dark green grass, leading to a mountaintop in the background. A sign pinned to a tree reads “For Sale” along with other titled signs throughout the landscape.
Johnny Jones’s sculpture, “Armadillo,” features decorative embellishments along the body of the animal, especially the shell. The spiral motif is often found on the sculptures of student artists taught by Carroll Harris Simms. Armadillos, which utilize their shells for protection, are commonly found in Texas.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. Dissipatation, the third panel in the Art of the Negro mural series, portrays the theft and disruption of African art and culture by Europeans through colonization.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. Influences, the fifth panel in the Art of the Negro mural series, conveys the role of traditional African art in the development of 20th-century Western art movements.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. Interchange, the second panel in the Art of the Negro mural series, depicts Africans exchanging knowledge of arts and sciences in antiquity.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. Muses, the sixth panel in the Art of the Negro mural series, presents a canon of seventeen male African diasporic artists from the 13th-20th centuries alongside their medium.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. Native Forms, the first panel in the Art of the Negro mural series, illustrates the range, diversity, and function of art in traditional African societies.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. Parallels, the fourth panel in the Art of the Negro mural series, shows the innate connection between non-European indigenous cultures despite geographic divisions.
Alvin Smith was an artist from Brooklyn, NY. As in an Arctic Sunrise is an abstract depiction of the sunrise in a frozen landscape. Muted yellows shine through an array of black, white, and muted blues.
Gregory L. Ridley, Jr., was an artist from Smyrna, TN. Asleep in Stone is a marble sculpture of a person asleep. The subject's face is subtly carved into the marble, giving the impression that the subject is not separate from the stone.
This Biggers print shows a person's head surrounded by animals and a checkerboard. Checkerboards and swirls are common motifs in Biggers' work, which he referred to as sacred geometry. The pictured animals are symbolic; for instance, tortoises represent longevity and rabbits represent bad omens.
