Kenyan artist Wangari Mathenge places this canvas within The Ascendants, her series on African diasporic life of interiors where objects mark time, place, and culture. Identity forms through surroundings like textiles, plants, books, and a headscarf set in place. Her family moved from Nairobi to London when her father worked for the Commonwealth Secretariat. Painted in 2021 and shown in her solo exhibition “You Are Here,” the work is both declaration and refuge. A Black woman sits in on a teal armchair patterned with lime-green leaves, her deep brown skin warmed by soft highlights. She lifts both hands to adjust a rust-orange hair braids, her gaze turned to the side as if listening to her own thoughts. Her dress is a bold patchwork of white, black, yellow, and red blocks, paired with red-and-black plaid tights that stretch across long, angled legs. Behind her, a dark teal curtain repeats tiny motifs like stitched signatures. To the left, a pale round side table holds a light-green mug, a small dark figurine, and a thick book titled “The African Lookbook.” A turquoise lamp rises behind the table, and a spray of magenta orchids climbs upward, surrounded by broad green leaves. A white brick fireplace peeks in at the far left. Potted plants anchor both edges of the room with cool greens on the left, purple-toned foliage on the right while a flowing rug below turns into a map of amber, green, and sea-blue forms. The scene feels domestic and ceremonial at once vis a private room made vivid through pattern, color, and careful presence. Nothing here is accidental: each object, cup, lamp, flowers, book, and sculpture are a chosen companion like a small archive of taste and belonging. Mathenge often critiques how “immigrant” is applied to some people while “expat” is reserved for white Western migrants, so she seeks “reclaiming and propagating” the term for African migrants. Color and composure do the rest for a presence insisting on dignity and home.

“The Ascendants XIV (She is Here)” by Wangari Mathenge (Kenyan) - Oil on canvas / 2021 - Nasher Museum of Art at Duke University (Durham, North Carolina) #WomenInArt #WomensArt #WomanArtist #WomenArtists #WangariMathenge #Mathenge #art #BlueskyArt #KenyanArtist #NasherMuseumOfArt #WomenPaintingWomen

In "Flux" by American artist Robert Pruitt, an unidentified pregnant woman in bright red top and black pants sits on a boombox, her body adorned with timekeepers and talismans, as if ready and waiting to embark on a journey. The devices around her neck—including a circular clock and an African drum—relate to time, alluding to Pruitt’s fascination with time travel and a people’s ability to journey to a better place. On her right arm is an Akan Sankofa bird from Ghana, which symbolizes the need to look to the past to borrow what can help you make progress in the present and future. Pruitt lives and works in Houston, Texas. He creates artwork that examines Black identity, and, more specifically, notions of African American liberation from social, economic, and psychological constraints. He explores self-determination and the notion of an idealized Black reality—an Afrofuturistic, utopian existence. Pruitt’s influences are vast, drawing from science fiction, comic books, Black power ideology, and a romanticized notion of pre-colonial Africa. He also pays homage to pioneering visual artists like Charles White and Barkley L. Hendricks, and the cosmic philosophy of musicians such as Sun Ra and Parliament-Funkadelic. While using many different mediums, Pruitt connects all of his pieces with the allusion to the historical and contemporary examples of the African American experience.

Flux by Robert Pruitt (American) - Conté, charcoal, and gold leaf on hand-dyed paper / 2011 - Nasher Museum of Art (Durham, North Carolina) #womeninart #art #RobertPruitt #womensart #AmericanArtist #portraitofawoman #AmericanArt #NasherMuseumofArt #Pruitt #AfricanAmericanArt #AfricanAmericanArtist