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Jamaican artist Wayde McIntosh builds “legacy” through objects as much as likeness and depicts American painter Jordan Casteel in a room that reads like a personal archive where family history, community responsibility, and artistic practice are inseparable.

The medium-brown skin of Casteel almost glows she turns slightly towards us from her seat on a couch. She rests her head on one hand in a relaxed but guarded pose, meeting us with a steady, thoughtful gaze. Her short, dark curls frame her face as large, round black tinted eyeglasses catch the light. She wears a black zip-front graphic hoodie with printed text and figures partially visible on the chest. The couch is layered with patterned fabric and cushions, including a bright red pillow and a soft, gray, furry throw at the right edge. Behind her, a tall tapered wooden bookshelf rises like a backdrop with book spines stacked tightly, while long green plant vines cascade down. Pinned or leaning near the shelves are visual signs of public life including a prominent a bold “Black Lives Matter” magazine cover alongside a small flag with red-and-black striping. On the wall to the right, a framed black-and-white photograph shows two men standing with their hands over their hearts, adding a sober, documentary note to the intimate interior.

The civil-rights references (including the photo connected to Jordan Casteel’s grandfather (Whitney Young Jr.) and Dr. Martin Luther King Jr.), Black Lives Matter, and David Hammons’s African American Flag link past and present activism without turning Casteel into a symbol alone. She remains a person at home, choosing how much to reveal.

Born in St. Catherine, Jamaica, McIntosh, was trained at MICA and Yale before working in New York. He approaches portraits as a collaborative truth-telling so the setting “reinforces the sitter’s history and character,” honoring how Casteel’s own portrait practice insists on dignity, attention, and the right to be seen on one’s own terms.

Jamaican artist Wayde McIntosh builds “legacy” through objects as much as likeness and depicts American painter Jordan Casteel in a room that reads like a personal archive where family history, community responsibility, and artistic practice are inseparable. The medium-brown skin of Casteel almost glows she turns slightly towards us from her seat on a couch. She rests her head on one hand in a relaxed but guarded pose, meeting us with a steady, thoughtful gaze. Her short, dark curls frame her face as large, round black tinted eyeglasses catch the light. She wears a black zip-front graphic hoodie with printed text and figures partially visible on the chest. The couch is layered with patterned fabric and cushions, including a bright red pillow and a soft, gray, furry throw at the right edge. Behind her, a tall tapered wooden bookshelf rises like a backdrop with book spines stacked tightly, while long green plant vines cascade down. Pinned or leaning near the shelves are visual signs of public life including a prominent a bold “Black Lives Matter” magazine cover alongside a small flag with red-and-black striping. On the wall to the right, a framed black-and-white photograph shows two men standing with their hands over their hearts, adding a sober, documentary note to the intimate interior. The civil-rights references (including the photo connected to Jordan Casteel’s grandfather (Whitney Young Jr.) and Dr. Martin Luther King Jr.), Black Lives Matter, and David Hammons’s African American Flag link past and present activism without turning Casteel into a symbol alone. She remains a person at home, choosing how much to reveal. Born in St. Catherine, Jamaica, McIntosh, was trained at MICA and Yale before working in New York. He approaches portraits as a collaborative truth-telling so the setting “reinforces the sitter’s history and character,” honoring how Casteel’s own portrait practice insists on dignity, attention, and the right to be seen on one’s own terms.

"Legacy" by Wayde McIntosh (Jamaican) - Oil on Dibond / 2017 - National Portrait Gallery (Washington, DC) #WomenInArt #WaydeMcIntosh #McIntosh #JordanCasteel #BLM #BlackLivesMatter #Casteel #SmithsonianNPG #artText #art #BlueskyArt #portrait #NationalPortraitGallery #PortraitofaWoman #Smithsonian

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This self-portrait shows American artist Jordan Casteel seated in a vinyl hospital-style chair, body angled slightly toward us while her gaze meets ours head-on. Her medium-brown skin is modeled with saturated strokes of orange, crimson, plum, and purple, giving her face a restless, shifting light. White glasses frame the artist’s steady eyes. A simple shirt and hospital IV emphasize vulnerability more than fashion as an IV line snakes from the upper edge of the image to her exposed forearm, where tape fixes the needle in place. Around and behind her, collaged drawings and handwritten notes from children crowd the wall with things like dinosaurs, hearts, and portraits labeled “Ms. Casteel” to create a halo of student voices. A patterned blanket spills across her lap, its concentric circles and bright yellows, reds, and greens echoing the layered textures of her paint. One parch of the blanket spells the word “hope” no lowercase.

This self portrait chronicles a period when Casteel was managing a chronic health condition while teaching in Denver, Colorado just before going to graduate school at Yale. The medical setting makes illness visible, but the composition refuses to reduce her to a patient as she sits upright, centered, and monumental, surrounded by evidence of care from her students. 

Those collaged letters turn a clinic into a temporary classroom, insisting that her identities as artist, teacher, and Black woman remain intact even under fluorescent hospital lights. The thick, gestural brushwork and unconventional skin tones anticipate the portraits of family, neighbors, and Harlem community members that later made her well-known. 

Here, she tests that language on herself. By inviting us into an intimate, unglamorous moment, Casteel “returns the gaze” long before her breakthrough museum shows, asserting that Black women’s everyday struggles, tenderness, and resilience are worthy subjects for a large-scale contemporary painting.

This self-portrait shows American artist Jordan Casteel seated in a vinyl hospital-style chair, body angled slightly toward us while her gaze meets ours head-on. Her medium-brown skin is modeled with saturated strokes of orange, crimson, plum, and purple, giving her face a restless, shifting light. White glasses frame the artist’s steady eyes. A simple shirt and hospital IV emphasize vulnerability more than fashion as an IV line snakes from the upper edge of the image to her exposed forearm, where tape fixes the needle in place. Around and behind her, collaged drawings and handwritten notes from children crowd the wall with things like dinosaurs, hearts, and portraits labeled “Ms. Casteel” to create a halo of student voices. A patterned blanket spills across her lap, its concentric circles and bright yellows, reds, and greens echoing the layered textures of her paint. One parch of the blanket spells the word “hope” no lowercase. This self portrait chronicles a period when Casteel was managing a chronic health condition while teaching in Denver, Colorado just before going to graduate school at Yale. The medical setting makes illness visible, but the composition refuses to reduce her to a patient as she sits upright, centered, and monumental, surrounded by evidence of care from her students. Those collaged letters turn a clinic into a temporary classroom, insisting that her identities as artist, teacher, and Black woman remain intact even under fluorescent hospital lights. The thick, gestural brushwork and unconventional skin tones anticipate the portraits of family, neighbors, and Harlem community members that later made her well-known. Here, she tests that language on herself. By inviting us into an intimate, unglamorous moment, Casteel “returns the gaze” long before her breakthrough museum shows, asserting that Black women’s everyday struggles, tenderness, and resilience are worthy subjects for a large-scale contemporary painting.

“Self-Portrait” by Jordan Casteel (American) - Oil & paper collage with ink, graphite, and colored pencil on canvas / 2012 - Jordan Casteel: Returning the Gaze, Denver Art Museum (Colorado) #WomenInArt #art #artText #DenverArtMuseum #SelfPortrait #BlackArt #BlackWomenArtists #Casteel #JordanCasteel

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Coming Sept 2025. #ThePrimalOfBloodAndBone. Book 6 in the #BloodAndAsh series by #JenniferArmentrout. Is this the last #book in #Poppy, #Casteel and #Kieran's story? I found 1 hint for an unnamed book 7 coming Spring of 2026. #booksky

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Included in Jordan Casteel’s first institutional solo exhibition at the Denver Art Museum between 2019 and early 2020, “Mom” is a poignant tribute to the artist’s mother, Lauren Young Casteel. Painted in 2013, at the dawn of Jordan’s practice, it demonstrates the rich, sensual painterly language for which she has achieved widespread critical recognition. 

With intuitive brushwork and deep, warm colors, Casteel captures a moment of peaceful solitude, registering the play of light and shadow across her mom’s face, clothes and hands. It is a rare example of a female portrait in Casteel’s early practice; a testament, perhaps, to the inspiration her mother had on her outlook. As President and CEO of the Woman’s Foundation of Colorado, as well as a noted philanthropist and activist, Lauren Young Casteel became the first Black woman in the state to head a foundation. 

Saturated with glowing familial warmth, this work is a tender celebration of the woman who helped to shape the artist’s social and artistic values. Indeed, her mother’s devotion to social justice resounds throughout Casteel’s artwork, which focuses on highlighting figures who might otherwise remain unseen.

Casteel recalled, “The thing that my mother always instilled in us coming of age was that it’s not necessarily about being the ‘granddaughter of’ or the ‘daughter of’ … it’s about living the values through the work that you’re doing … Long before I became Jordan Casteel the painter, I was Jordan Casteel who understood the value of everyday stories and people and creating voices for people and room for people who might otherwise feel that there’s no room for them.”

Included in Jordan Casteel’s first institutional solo exhibition at the Denver Art Museum between 2019 and early 2020, “Mom” is a poignant tribute to the artist’s mother, Lauren Young Casteel. Painted in 2013, at the dawn of Jordan’s practice, it demonstrates the rich, sensual painterly language for which she has achieved widespread critical recognition. With intuitive brushwork and deep, warm colors, Casteel captures a moment of peaceful solitude, registering the play of light and shadow across her mom’s face, clothes and hands. It is a rare example of a female portrait in Casteel’s early practice; a testament, perhaps, to the inspiration her mother had on her outlook. As President and CEO of the Woman’s Foundation of Colorado, as well as a noted philanthropist and activist, Lauren Young Casteel became the first Black woman in the state to head a foundation. Saturated with glowing familial warmth, this work is a tender celebration of the woman who helped to shape the artist’s social and artistic values. Indeed, her mother’s devotion to social justice resounds throughout Casteel’s artwork, which focuses on highlighting figures who might otherwise remain unseen. Casteel recalled, “The thing that my mother always instilled in us coming of age was that it’s not necessarily about being the ‘granddaughter of’ or the ‘daughter of’ … it’s about living the values through the work that you’re doing … Long before I became Jordan Casteel the painter, I was Jordan Casteel who understood the value of everyday stories and people and creating voices for people and room for people who might otherwise feel that there’s no room for them.”

“Mom” by Jordan Casteel (American) - Oil on canvas / 2013 - Cantor Arts Center (Stanford, California) #womeninart #art #mother #oilpainting #womanartist #womensart #femaleartist #ArtText #JordanCasteel #Casteel #CantorArtsCenter #fineart #mom #womenartists #AfricanAmericanArt #AfricanAmericanArtist

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Painter Jordan Casteel Joins Thaddeus Ropac Gallery She will be co-represented by New York–bas...

www.artnews.com/art-news/news/jordan-cas...

#ARTnews #News #Casey #Kaplan #Jordan #Casteel #Thaddeus #Ropac

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Painter Jordan Casteel Joins Thaddaeus Ropac Gallery She will be co-represented by New York–ba...

www.artnews.com/art-news/news/jordan-cas...

#ARTnews #News #Casey #Kaplan #Jordan #Casteel #Thaddeus #Ropac

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One of Casteel Da’Neer’s greatest quotes, made with watercolor and hand embroidery 💜

#frombloodandash #bloodandash #casteel #cas #watercolor #handembroidery #embroidery #poppy #queen #atlantian #primal #kingdomoffleshandfire #artist #fiberartist

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‼️NO AI software was used in the creation of this artwork.

#mariaselto #jenniferlarmentrout #frombloodandash #ashadowintheember #fbaa #asite #nyktos #nektas #seraphena #dragon #draken #dagger #weapondesign #digitalart #noai #jla #fanart #fantasy #bookstagram #romance #casteel #bookbox

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Idc what people say about Casteel, I love him. And no, I’m not finished with the books yet. I hope when I’m done they don’t ruin me on my favorite book man #Casteel #books #frombloodandash #kingdomoffleshandfire

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Twelve year old me:

(Shadowdaddy nation, how we doin?)

#shaddowdaddy #acotar #fourthwing #frombloodandash #rhysand #xanden #casteel

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Kolkata: Race 6

1️⃣ CASTEEL *

J: Suraj Narredu
T: Satish Narredu
.
2️⃣ Global Influence
3️⃣ Aeropoli
4️⃣ Mysteriousstranger
.
.
#RaceMirror
#Casteel #SurajNarredu #SatishNarredu #Calcutta #CalcuttaRaces #RCTC #RoyalCalcuttaTurfClub #Kolkata #Calcutta2000Guineas

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#CASTEEL ”Your heart, Poppy? It is a gift I do not deserve. But it is one I will protect until my dying breath.” ❤️‍🔥

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Hawke e Poppy - De Sangue e Cinzas

Hawke e Poppy - De Sangue e Cinzas

— Eu sou a Donzela, Hawke — lembrei a ele, ou a mim mesma; não sabia muito bem.
— E eu não me importo.
— Eu não acredito que você disse isso.
— Mas eu disse. E repito. Não me importo com o que você é.— Eu me importo com quem você é.
🎨:Mftfernandez
#poppy #casteel #desangueecinzas

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#CASTEEL: “I need to feel your lips on mine. I need to feel your breath in my lungs. I need to feel your life inside me. I just need you. It's an ache. This need. Can I have you? All of you?”

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