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mattsnee.bsky.social
"Portrait Of Robert Colescott." Pastel and acrylic. #art #artsky #painting #blueskyart #painter

Born in 1925, Colescott was an African-American painter known for his sardonic interpretations of American history and cultural narratives.
11x14 pastel and acrylic painting on paper of portrait of American artist Robert Colescott.
August 29, 2025 at 6:34 AM
marcastro1111.bsky.social
Robert Colescott.

"Televisión a color", 1977.
November 24, 2024 at 11:23 PM
moma.bsky.social
Robert Colescott, Emergency Room, 1989
https://botfrens.com/collections/14377/contents/1134735
Jerry I. Speyer and the Millstream Funds
May 27, 2026 at 3:02 AM
moma.bsky.social
Robert Colescott, Emergency Room, 1989

https://botfrens.com/collections/14377/contents/1134735
Jerry I. Speyer and the Millstream Funds
February 18, 2025 at 3:01 PM
moma.bsky.social
Robert Colescott, Emergency Room, 1989 #artbots #moma
https://botfrens.com/collections/14377/contents/1134735
Jerry I. Speyer and the Millstream Funds
July 22, 2025 at 9:11 AM
sword-tree.bsky.social
In Birmingham Jail

Warrington Colescott

1963
In Birmingham Jail Warrington Colescott 1963
September 28, 2026 at 10:46 AM
mdstamper.bsky.social
“Les Demoiselles d’Alabama: Vestidas” by Robert Colescott (American) - Acrylic on canvas / 1985 - Seattle Art Museum (Washington) #WomenInArt #RobertColescott #Colescott #SeattleArtMuseum #SAM #FigurativeArt #BlackArt #art #arttext #AfricanAmericanArtist #AfricanAmericanArt #1980sArt #BlackArtist
American artist Robert Colescott made this painting late in a career devoted to recasting Western art history through Black presence, satire, and critique. Here he reworks Picasso’s "Les Demoiselles d’Avignon" and shifts the scene from Avignon to Alabama, moving the conversation from European modernism into the charged terrain of American race history. He once said he wanted to move back toward the African women at the source of Picasso’s borrowed forms and to imagine not “Africanism” as fantasy, but women as lived reality. The title word "Vestidas" (clothed) also plays against traditions of the female nude, suggesting costume, concealment, and social coding. Five women fill the canvas in a staged interior that feels crowded, theatrical, and knowingly artificial. Their bodies are large, angular, and exaggerated rather than naturalistic. At center and left, three Black women stand or recline in patterned dresses, their limbs and torsos broken into sharp, Cubist-like planes. At far right, a pale blonde woman with blue eyes appears partly turned toward the viewer, her body posed as spectacle. Another figure twists near the middle ground. A slice of watermelon sits at the front edge like an offering or warning. The palette is heated with pink, red, tan, black, cream, acid green, and blue all applied in loose, muscular brushwork. Faces are masklike expressions. No one seems relaxed. The women read less as individuals in a calm room than as figures inside a history of looking, desire, stereotype, and display. The blonde figure may embody a Eurocentric beauty ideal, while the watermelon transforms Picasso’s still-life reference into a racially-loaded symbol of anti-Black caricature. The result is potentially funny, abrasive, and unsettling on purpose to be a painting about who gets painted, who does the painting, and how modern art’s celebrated breakthroughs were entangled with colonial extraction and racialized desire.
March 31, 2026 at 10:51 PM
moma.bsky.social
Robert Colescott, Emergency Room, 1989
August 31, 2023 at 4:46 PM
mlobelart.bsky.social
Robert Colescott, Miss Liberty, 1980
Painting of a Black woman posed in a Miss Liberty/allegory of America pose & costume, in front of a multicolored American flag, with trash strewn beneath her
July 4, 2026 at 2:33 PM
lunazuna.bsky.social
Robert H. Colescott | From a Fragment Sargent, 1962, Oil on canvas
© 2021 The Robert H. Colescott Separate Property Trust / Artists Rights Society (ARS), New York
Courtesy of The Robert H. Colescott Separate Property Trust and Blum & Poe, Los Angeles/New York/Tokyo
August 26, 2026 at 2:13 PM
tate.bsky.social
Warrington Colescott, 1. High Noon for Hoot Gibson, 1968
https://botfrens.com/collections/14375/contents/1118296
Presented by Curwen Studio through the Institute of Contemporary Prints 1975
December 11, 2024 at 8:02 AM
designgeekatl.bsky.social
Warrington Colescott (American, 1921–2018)
Woodlot, State II, 1961
Color drypoint, aquatint, and screenprint
October 15, 2025 at 12:08 AM
mattsnee.bsky.social
Portrait of Robert Colescott. Born in 1925, Colescott was an American painter known for his colorful, darkly satirical depictions of African-American history. #art #artsky #painting #painter #traditionalart #robertcolescott
Pastel and acrylic painting on paper shows portrait of old green man with thick lavender hair and bear wearing glasses. He wears a red shit and jean suspenders. The background is a bright yellow.
January 30, 2026 at 11:37 PM
trahias.bsky.social
Robert Colescott (American, 1925-2009)
George Washington Carver Crossing the Delaware: Page from an American History Textbook, 1975
Acrylic on canvas
(199.4 x 249.6 cm)
Private collection

#art #painting #artist #BlueSkyArt
February 28, 2026 at 10:50 AM
rabihalameddine.bsky.social
Robert Colescott, Sunday Afternoon with Joaquin Murietta, 1980
April 27, 2026 at 11:20 PM
naylandblake.bsky.social
The One-Two Punch: 100 Years of Robert Colescott - Tacoma Art Museum share.google/I8nAuWnX1orc...
The One-Two Punch: 100 Years of Robert Colescott
The One-Two Punch: 100 Years of Robert Colescott celebrates the timeless work and centennial of artist Robert Colescott, examining his deeply critical art practice and the stylistic transformations ac...
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January 4, 2026 at 1:09 PM
trahias.bsky.social
Robert Colescott (American, 1925-2009), Les Demoiselles d'Alabama: Vestidas, 1985. Acrylic on canvas, 96 x 92 in. (233.6 x 233.6 cm). Seattle Art Museum.
#art #painting #artist #BlueSkyArt #HappyNewYear
January 1, 2026 at 2:28 PM
mdstamper.bsky.social
“Colored TV” by Robert Colescott (American) – Acrylic on canvas / 1977 – San Francisco Museum of Modern Art (California) #WomenInArt #art #artText #artwork #RobertColescott #Colescott #Neo-Expressionism #Blueskyart #AfricanAmericanArt #AfricanAmericanArt #SFMoMA #SanFranciscoMuseumofModernArt
A Black femme-presenting person sprawls in a scarlet armchair. Cigarette smoke curls upward and spells out the title “colored T.V.” across a hot-pink wall, while a flickering television glows with the busty blonde image of a prime-time starlet. The sitter seems to sit between relaxation and resistance. Behind them, a tidy fireplace radiates warmth, and a window frames the night sky with a shooting star, almost cartoonish in its wish-granting clarity. At the bottom edge, American artist Robert Colescott has literally written out the punchline: “WISHING ON A PRIME TIME STAR.” The scene is both cozy and uneasy, a living room where race, class, and desire collide. This painting is about longing, exclusion, and how television scripts identity. Colescott, known for wielding satire like a scalpel, described his method as “bait and switch” by drawing viewers in with humor, bright colors, and kitsch before cutting deep with social critique. The title itself is a double hit: “Colored TV” nods to the relatively-new color broadcasting technology, but also to the loaded racial label “colored.” The starlet on the screen is white, blonde, and unattainable; the viewer is Black, present, and excluded from the fantasy. Curators at SFMOMA underline the contrast: the work “asks us to notice the racial difference between the person who’s on the television and the person watching the television.” Colescott even added a gender twist, referring to the seated figure as a “colored transvestite,” which flips the lens back on how identity itself including race, gender, sexuality is performed, masked, and policed in American media. Colescott grew up on TV that erased or caricatured Black people, and he wasn’t shy about skewering the disconnect. The puff of smoke scrawling words, the melodramatic window star, and the campy set design doesn’t soften the blow; it sharpens it. It’s a reminder that for many in the 1970s, the American dream on-screen wasn’t built with them in mind.
October 2, 2025 at 3:51 AM
andrea82.bsky.social
Robert Colescott.
November 26, 2025 at 11:48 AM
trahias.bsky.social
Robert Colescott (American, 1925-2009)
Knowledge of the Past is the Key to the Future: St. Sebastian, 1986
Acrylic on canvas
84 x 72 inches
Private collection

#art #painting #artist #BlueSkyArt
June 21, 2026 at 9:43 AM
tate.bsky.social
Warrington Colescott, 4. Cowboys and Indians, 1968 #artbots #tate
https://botfrens.com/collections/14375/contents/1118293
Presented by Curwen Studio through the Institute of Contemporary Prints 1975
April 20, 2025 at 4:56 PM
roguearthistorian.bsky.social
Painting Resistance: The Political Power of Robert Colescott’s Satirical Art
Robert Colescott, an influential African American artist, transformed contemporary American art with his bold satirical reworkings of historical imagery.
#BlackHistoryMonth
Painting Resistance: The Political Power of Robert Colescott’s Satirical Art
Robert Colescott, an influential African American artist, transformed contemporary American art with his bold satirical reworkings of historical imagery.
open.substack.com
February 15, 2025 at 5:04 AM
mlobelart.bsky.social
Robert Colescott, Miss Liberty, 1980
Image of a Black woman dressed in an outfit resembling that of allegorical representations of the US or Liberty, with a sash of blue and white stars, and a US map behind her. The ground is scattered with refuse, including cigarette butts and a banana peel
February 10, 2025 at 3:57 PM
juliahagins.bsky.social
Warrington Colescott prints
January 22, 2025 at 6:18 PM
designgeekatl.bsky.social
Warrington Colescott (American, 1921–2018)
Woodblock for "Your Day in Court", 1971
Carved wood block
October 13, 2025 at 11:45 PM