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Hi everyone. I'm reposting my #commissions. Funds are tight, and any support I can get would greatly help. #blackartist #artist #art #commissionsopen

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NO! THIS IS NOT AN APRIL FOOLS DAY JOKE!!
I'm having a Spring sale for the entire month of April! That's right! Commissions are 20% off over on VGEN!
vgen.co/BlackGeekyGirl
#vgen #artcommission #blacksky #blackartist

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Bratz Girl Digital Collage
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#trendingart #bratz #blackartist #digitalart #procreate

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Star-Slingers Chapter 4 cover
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#blackartist #blackoc #digitalart #characterart #digitalsketch

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Saber’s drag persona, Lyonna King. He had every rib removed for an accurate Jessica Rabbit look

#oc #ocart #art #blackartist #arr0wsartocs

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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.

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.

“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

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Alt Black goth surrounded by their art work: a bug crawling out of someone’s mouth top left. Sci-fi specimens to right. Mind flayer bottom left Slime humanoid bottom right.

Alt Black goth surrounded by their art work: a bug crawling out of someone’s mouth top left. Sci-fi specimens to right. Mind flayer bottom left Slime humanoid bottom right.

Welcome to the Slime Real #horrorartist #blackartist

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"ROMERO"

I usually don't bother much with scenery or landscapes or...even backgrounds, really. LOL! But this one was just screeeeaming for a desert background.

#queerartist #queerart #blackartist #blackart #gayartist #gayart

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Putting it all Together
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#trendingart #art #blackartist #digitalart #collageart

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DR - Mr. Bubbles cover. Based on a sketchbook drawing, recreated as a vector in Affinity Designer.
#Art #Drawing #VectorArt #Illustration #Comics #ComicArt #AffinityDesigner #BlackArt #BlackArtist

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digital self portrait of a Black woman with long purple and blue ombre galaxy themed hair. soft fantasy illustration style with a celestial aesthetic.

digital self portrait of a Black woman with long purple and blue ombre galaxy themed hair. soft fantasy illustration style with a celestial aesthetic.

digital self portrait of a Black woman with long soft white and grey cloud themed hair. soft fantasy illustration style with a celestial aesthetic.

digital self portrait of a Black woman with long soft white and grey cloud themed hair. soft fantasy illustration style with a celestial aesthetic.

i'm jay. i make horror and fantasy illustrations, character design, and VTuber art ✩

this is my self portrait, two versions because i couldn't choose between cloud hair and galaxy hair ☽

#digitalart #fantasyart #characterdesign #blackartist #commissionsopen

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Stay tuned for more! 👽

#blacksky #artsky #alien #scifi #fantasy #blackart #blackartist #creativewildtrain444 #sketch #wip

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Artstyle test part 2
#drawing #ocartwork #digitalart #blackart #blackartist

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NON PON

“ I don’t think you’re ready for this jelly “ 🩷

(If you know the reference congrats on being old) 👴🏾

#slimegirl #monstergirl #nsfwart #art #blackartist

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My latest 🥰
#BlackArt #Acrylic #BlackArtist

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Pop mart like figurine that I tried to 3d model! 🌷🌷🌷

#3dmodel #nomadsculpt #blackartist #bskyart #smallartist #art

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Just a short "animatic" of an animation idea I have inspired by a moment I had in Resident Evil 9.

#oc #ocsky #blackartist #animatic #sketch #artist #artsky

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Art Story is a series where I share the story behind the art.

This piece is called I Didn’t Know Yet. It’s a self portrait of me back in college, in art school, when I was struggling and working hard, but still unsure if any of it would pay off.

#art #artist #blackart #blackartist #artlover

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Self Erasing
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#trendingart #art #blackartist #digitalart #procreate

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Cosmos Fae
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#trendingart #blackartist #digitalart #procreate #art

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Volume 4, Part 5 has officially been released on KoFi & PayHip! 🌈

So you can get your digital copy today! 🥳

KoFi: ko-fi.com/s/b4c9299499

PayHip: payhip.com/b/mMlzL

#yuri #yurisky #lesfic #sapphicbooks #blackartist #comic #lesbiansky #webcomic #comicbooks #wlw #GL #sapphic #author #lesficauthor

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Mariana and Pearl fanart
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#splatoon #fanart #digitalart #Mariana #Pearl #blackartist #cartoonist

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Moonshadow flies through the starry night sky on her ghostly arm skeleton. Singing a silly tune without a care in the world.

Moonshadow flies through the starry night sky on her ghostly arm skeleton. Singing a silly tune without a care in the world.

Night Flight

#art #artistsonbluesky #artwork #arte #artoftheday #artedigital #artsky #illustration #drawing #digitalart #characterart #blackartist #fantasy

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Inspired by Art with Flo on YouTube! Did it by memory with different color palette and added in some extra items for fun! #artwithflo #blackartist #digitalart #practice #cats

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Digital drawing.
Ethereal deer deity of Spring for webcomic project.

Digital drawing. Ethereal deer deity of Spring for webcomic project.

I had a quick vision of what my Deer of Spring would look like in my webcomic project so i had to quickly draw them.

Their name is too hard to pronounce or spell. But they more or less go by "The Deer-ity of Spring" 🦌✨🦋🌱

#queerartist #blackartist #digitalart #blossomingheartstrings#OCSky

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American artist Allan Rohan Crite described himself as an “artist-reporter,” and this painting shows that ethic clearly. Made in 1936, the year he finished his studies at the School of the Museum of Fine Arts in Boston and while he was working within the WPA era, the picture records children leaving the annex of Everett Elementary School in Boston’s South End, where boys and girls were taught separately. 

A wide city street opens in bright afternoon light as a crowd of schoolchildren pours out from a brick school building and fenced yard. Most of the figures are girls, joined here and there by adult women who seem to be mothers, older sisters, or caretakers. Crite arranges them in small clusters so the painting feels lively but never chaotic. Some children stroll shoulder to shoulder, some hurry ahead, some pause to talk, and one pair appears caught in a brief disagreement. Dresses, bows, hats, socks, and polished shoes vary from child to child, giving each girl her own presence rather than reducing the group to a pattern. The sidewalks are clean, the school and neighboring apartments are carefully kept, and the whole scene feels structured, observant, and full of motion. Although dozens of figures appear, the mood is intimate. This is not a spectacle but a neighborhood moment, seen with care from within community life.

The painting reaches beyond one place. Rather than portraying Black urban life through stereotype or hardship alone, Crite insists on dignity, order, individuality, and shared belonging. Even during the Depression, he paints a stable neighborhood whose strength comes from family, schooling, and mutual care. The women and girls are central to that meaning. They carry the rhythm of the scene and embody continuity between home, street, and school. The result is both documentary and quietly radical for a vision of Black everyday life as dignified, self-possessed, and worthy of lasting record.

American artist Allan Rohan Crite described himself as an “artist-reporter,” and this painting shows that ethic clearly. Made in 1936, the year he finished his studies at the School of the Museum of Fine Arts in Boston and while he was working within the WPA era, the picture records children leaving the annex of Everett Elementary School in Boston’s South End, where boys and girls were taught separately. A wide city street opens in bright afternoon light as a crowd of schoolchildren pours out from a brick school building and fenced yard. Most of the figures are girls, joined here and there by adult women who seem to be mothers, older sisters, or caretakers. Crite arranges them in small clusters so the painting feels lively but never chaotic. Some children stroll shoulder to shoulder, some hurry ahead, some pause to talk, and one pair appears caught in a brief disagreement. Dresses, bows, hats, socks, and polished shoes vary from child to child, giving each girl her own presence rather than reducing the group to a pattern. The sidewalks are clean, the school and neighboring apartments are carefully kept, and the whole scene feels structured, observant, and full of motion. Although dozens of figures appear, the mood is intimate. This is not a spectacle but a neighborhood moment, seen with care from within community life. The painting reaches beyond one place. Rather than portraying Black urban life through stereotype or hardship alone, Crite insists on dignity, order, individuality, and shared belonging. Even during the Depression, he paints a stable neighborhood whose strength comes from family, schooling, and mutual care. The women and girls are central to that meaning. They carry the rhythm of the scene and embody continuity between home, street, and school. The result is both documentary and quietly radical for a vision of Black everyday life as dignified, self-possessed, and worthy of lasting record.

“School’s Out” by Allan Rohan Crite (American) - Oil on canvas / 1936 - Smithsonian American Art Museum (Washington, District of Columbia) #WomenInArt #art #artText #AllanRohanCrite #Crite #SmithsonianAmericanArtMuseum #SAAMuseum #AmericanArt #BlackArtist #AfricanAmericanArt #BlackArt #1930sArt

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firesonicluc accidentally scratch the ball new year 2026

firesonicluc accidentally scratch the ball new year 2026

Title art: late 2026 new year

i know the new year of 2026 is 3 month ago, but im so happy i just finish this art piece and hope i can show some more art in 2026 maybe if my stress doesn't explode 💀

#art #drasterfireart #drasterart #late2026 #latenewyear #blackartist #character #oc #character/oc

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man i'm on fire today
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#blackartist #oc #digitalart

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Now vs. 2024. Learned a lot about procreate since then.

#oc #originalcharacter #vampire #procreate #digitalart #blackartist #thenvsnow

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Hijo sketches
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#blackartist #blackoc #blackart #digitalart #digitalsketch #blackcharacter #sketch

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