University Libraries

The art world is a microcosm of the society we live in. It should come as no surprise then that structural racism and capitalism permeates how we look at art; it informs the work that gets prioritized as important and taught in the many classrooms that shape the arts for generations to come. This panel discussion will address the inherent issues of the structures in place at institutions of higher learning that seem content or complacent in continuing to teach an art history that is void of the intellectual and avant-garde contributions by artists of color.

Known for his vibrant reinterpretations of classical portraits featuring African-American men, New York-based painter Kehinde Wiley has turned the practice of portraiture on its head and in the process has taken the art world by storm. This film follows the artist as he embarks on an exciting new project: a series of classical portraits of African-American women-something he's never done before.

A weekly collection of news, developments, and stirrings in the art world with host Hrag Vartanian, cofounder and editor-in-chief of Hyperallergic.

A brand dedicated to honoring, uplifting, and celebrating Blackness and Brownness in the arts and culture sector.

The National Museum of the American Indian is the first national museum dedicated to the preservation, study, and exhibition of the life, languages, literature, history, and arts of Native Americans. Established by an act of Congress in 1989, the museum works in collaboration with the Native peoples of the Western Hemisphere to protect and foster their cultures by reaffirming traditions and beliefs, encouraging contemporary artistic expression, and empowering the Indian voice.

The Asian Art Museum is one of the largest museums in the Western world devoted exclusively to Asian art and culture. Home to more than 18,000 works of art from over 40 Asian countries, we strive to be a catalyst for discovery, dialogue, and inspiration. With Asia as our lens and art as our cornerstone, we spark connections across cultures and through time, igniting curiosity, conversation, and creativity.

Dr Surekha Davies delivering her paper 'Global Encounters and Art History, 1450-1750' as part of the 2018-19 Frank Davis Memorial Lectures, The Courtauld Institute of Art.

What are the politics of public monuments? This online panel discussion, which took place on 16 July 2020, examines the relationships between public space, British history and Black Lives Matter, with artist Yinka Shonibare CBE, art historian Dr Elizabeth Robles and Southwark Councillor Johnson Situ, hosted by art historian Dr Edwin Coomasaru.

The Berlin Biennale for Contemporary Art is celebrating its 10th anniversary under the title "We Don't Need Another Hero." Yvette Mutumba of the curatorial team speaks about postcolonialism and contemporary art.

Explore over 8,000 Documents of 20th and 21st⁠-⁠century art in Latin America, the Caribbean, and among US Latino communities

artasiamerica is a professional digital archive of Asian/Asian American contemporary visual artists. It is a historical image & document archive specialized in Asian American visual culture from 1945 to the present.

With one of the most valuable growing collections of material on the recent history of art from Asia, freely available from our website and onsite library, AAA builds tools and communities to collectively expand knowledge through research, residency, and educational programmes.

For many of us working within (and alongside) the discipline of art history, these calls have asked us to reckon with what we do as teachers, scholars and curators. In order to continue this conversation, we have asked a range of art historians, curators and artists to respond to a series of questions that consider some of the recent calls to ‘decolonize art history’. The responses vary in format, length and focus.

Recent discourses across disciplines have been concerned with the questions of if and how we can decolonize. Carolyn Dean points out the problematics of using the term “art” (2006), and scholars such as Eve Tuck and K. Wayne Yang have pushed us to consider the material imperatives of decolonization, rather than simply the metaphorical (2012). A (more) decolonized art history may be possible, if we are able to rethink both what we teach and how we teach it. How might this manifest through re-reading and reassessing the traditional canon? How might it manifest through challenging the traditional lecture format, inviting students to relate to each other and their own histories more closely?

From London to Lagos, Accra, Miami, Chicago, and more – here is an ongoing list of 85+ Black-owned/founded businesses which are bettering the arts

In a 2016 study on the demographics of the commercial art world, it was estimated that just 5.9% of artists represented by New York City’s top galleries are Black artists, while nearly 25% of the city’s population identifies as Black or African American. In 2019, another study addressed large-scale underrepresentation of Black artists in museum collections. After analyzing the permanent collections of 18 major museums in the United States, researchers found that only 1.2% of artists in those collections are Black. In comparison, 14.6% of the total U.S. population identifies as Black or African American, according to the 2018 U.S. census. Statistics like these are no accident. The art world, like many industries, has a long history of excluding and suppressing voices of color. Systemic change in the art world is long overdue and requires fundamental shifts in all aspects of the industry, from hiring practices to museum collections.

These bibliographies are an English-language resource for people investigating issues of race and ethnicity in art and visual culture. The subject headings are at once broad and restricting, reflecting the limitations of established scholarly categories.

The Schomburg Center for Research in Black Culture in Harlem, one of The New York Public Library’s renowned research libraries, is a world-leading cultural institution devoted to the research, preservation, and exhibition of materials focused on African American, African Diaspora, and African experiences.

The National Museum of African American History and Culture is the only national museum devoted exclusively to the documentation of African American life, history, and culture. It was established by Act of Congress in 2003, following decades of efforts to promote and highlight the contributions of African Americans.

A diverse and multifaceted cultural and educational enterprise, the National Museum of the American Indian (NMAI) is an active and visible component of the Smithsonian Institution, the world's largest museum complex. The NMAI cares for one of the world's most expansive collections of Native artifacts, including objects, photographs, archives, and media covering the entire Western Hemisphere, from the Arctic Circle to Tierra del Fuego.

The Arab American National Museum (AANM) is the first and only museum of its kind in the United States devoted to recording the Arab American experience. Since opening in 2005, AANM’s mission has been to document, preserve and present the history, culture and contributions of Arab Americans.

The mission of El Museo del Barrio is to present and preserve the art and culture of Puerto Ricans and all Latin Americans in the United States. Through its extensive collections, varied exhibitions and publications, bilingual public programs, educational activities, festivals and special events, El Museo educates its diverse public in the richness of Caribbean and Latin American arts and cultural history.

The Studio Museum in Harlem is the nexus for artists of African descent locally, nationally, and internationally and for work that has been inspired and influenced by Black culture. It is a site for the dynamic exchange of ideas about art and society.

Welcome! This is a crowd-sourced assemblage of materials relating to Confederate and other racist monuments to white supremacy; the history and theory of these monuments and monuments in general; and monument struggles worldwide. It was inspired by the resistance to fascism demonstrated at Charlottesville, VA and Durham, NC in August 2017.