Selections of writing by the influential art critic and curator Kellie Jones reveal her role in bringing attention to the work of African American, African, Latin American, and women artists.

Named a Best Art Book of 2017 by the New York Times and Artforum In South of Pico Kellie Jones explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.'s housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.'s urban renewal, and restrictions on black mobility. Jones characterizes their works as modern migration narratives that look to the past to consider real and imagined futures. She also attends to these artists' relationships with gallery and museum culture and the establishment of black-owned arts spaces. With South of Pico, Jones expands the understanding of the histories of black arts and creativity in Los Angeles and beyond.

An authoritative guide to one of the world's most important collections of African-American art, with works by artists from Romare Bearden to Kehinde Wiley. The artists featured in Black Refractions, including Kerry James Marshall, Faith Ringgold, Nari Ward, Norman Lewis, Wangechi Mutu, and Lorna Simpson, are drawn from the renowned collection of the Studio Museum in Harlem. Through exhibitions, public programs, artist residencies, and bold acquisitions, this pioneering institution has served as a nexus for artists of African descent locally, nationally, and internationally since its founding in 1968. Rather than aim to construct a single history of "black art," Black Refractions emphasizes a plurality of narratives and approaches, traced through 125 works in all media from the 1930s to the present. An essay by Connie Choi and entries by Eliza A. Butler, Akili Tommasino, Taylor Aldridge, Larry Ossei Mensah, Daniela Fifi , and other luminaries contextualize the works and provide detailed commentary. A dialogue between Thelma Golden, Connie Choi, and Kellie Jones draws out themes and challenges in collecting and exhibiting modern and contemporary art by artists of African descent. More than a document of a particular institution's trailblazing path, or catalytic role in the development of American appreciation for art of the African diaspora, this volume is a compendium of a vital art tradition.

This comprehensive, lavishly illustrated catalogue offers an in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works.

A consideration of the African-American artist's searching, philosophical work.

A richly illustrated account tracing the full arc of contemporary painter Suzanne Jackson’s life and multifaceted artistic vision First and foremost a painter, Suzanne Jackson has worked for six decades in a dizzying array of genres, including drawing, printmaking, poetry, dance, and theater design. Suzanne Jackson: What Is Love reveals Jackson’s achievements as a leading and influential artist who has been in dialogue with her contemporaries, from Betye Saar and Emory Douglas to Senga Nengudi and Mary Lovelace O’Neal. This wide-ranging book illuminates Jackson’s work and its connections to nature, environmentalism, performance, feminism, and Black and Native traditions. It explores the way her innovative hanging acrylic works break the canvas; the role of dance and set design in Jackson’s practice; and her trailblazing Los Angeles art space Gallery 32, which she ran from 1968 to 1970, and which became a focus for a circle of fellow emerging artists. The book also features artist dialogues between Jackson and Nengudi, Saar, Fred Eversley, and Richard Mayhew, as well as a conversation between Jackson and SFMOMA painting conservator Jennifer Hickey. Exhibition Schedule SFMOMA, San Francisco September 27, 2025–March 1, 2026 Walker Art Center, Minneapolis May 14, 2026–August 23, 2026 Museum of Fine Arts, Boston September 26, 2026–February 7, 2027

Tashi tells Jack and his family about the time that he had to convince a phoenix to entertain the Warlord because of a promise his uncle made, and Jack describes how Tashi helped Princess Hoiti-Toiti avoid marrying the cruel Khan.

Tashi tells the story of when he had to destroy a monster created by an incompetent sorcerer, and then he recounts what happened when he used a truth potion to find out who had poisoned Soh Meen's carp.