Terry Adkins, Omohundro, 2002. Brass and copper; 29 x 60 x 8 inches (73.7 x 152.4 x 20.3 cm). Private collection. Image courtesy of the estate of Terry Adkins and Salon 94, New York, New York. © Estate of Terry Adkins.
Romare Bearden, Watching the Good Trains Go By, 1964. Collage on paper; 13.75 x 16.875 inches (34.9 x 42.9 cm). Collection of the Columbus Museum of Art, Ohio. Museum purchase, Derby Fund, from the Philip J. and Suzanne Schiller Collection of American Social Commentary Art 1930–1970; 2005.012.008. © Romare Bearden Foundation / Licensed by VAGA, New York, New York.
Sanford Biggers, Quilt #15, Harmonics 2, 2012. Fabric-treated acrylic, spray paint, and cotton on repurposed quilt; 79.5 x 80.75 inches (201.9 x 205.1 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Gift of Paula Cooper in honor of Patsy R. and Raymond D. Nasher, 2015.1.1. Image courtesy of the artist and David Castillo Gallery, Miami Beach, Florida. © Sanford Biggers. Photo by Peter Paul Geoffrion.
Mel Chin, Terrapene Carolina (Hillbilly Armor), 2005. Repurposed, custom-fit found or discarded materials from North Carolina and Tennessee, scaled to fit as “armor” for the underbelly of a US Army Humvee; 180 x 96 x 30 inches (457.2 x 243.8 x 76.2 cm). Courtesy of the artist. © Mel Chin. Photo by John Lucas.
William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991. Digital pigment print on Hahnemühle, edition 6/25; 20 x 24 inches (50.8 x 60.96 cm). Courtesy of the artist; Jackson Fine Art, Atlanta, Georgia; and Pace / MacGill Gallery, New York, New York. © 2016 William Christenberry.
Thornton Dial, Monument to the Minds of the Little Negro Steelworkers, 2001–2003. Steel, wood, wire, twine, artificial flowers, ax blade, glass bottles, animal bones, cloth, tin cans, paint-can lids, and enamel; 38 x 76 x 46 inches (96.5 x 193 x 116.8 cm). Courtesy of the artist and William S. Arnett Collection of the Souls Grown Deep Foundation, Atlanta, Georgia. © Estate of Thornton Dial. Photo by Stephen Pitkin.
Sam Durant, Southern Hospitality, 2010. Gray military surplus blanket, ax handle, and Southern Comfort bottle; dimensions variable. Collection of the Museum of Contemporary Art, San Diego, California. Museum purchase. Image courtesy of the artist and Paula Cooper Gallery, New York, New York. © Sam Durant.
Minnie Jones Evans, Untitled (Night with angel wings surrounded by eyes), 1963. Ink, wax crayon, oil pastel, and graphite on paper; 12 x 8.875 inches (30.48 x 22.54 cm). Collection of the Cameron Art Museum, Wilmington, North Carolina. Gift of William Banks Hinshaw, Jr.; 2013.14.3. © Estate of Minnie Jones Evans.
Jeffrey Gibson, I PUT A SPELL ON YOU, 2015. Re-purposed punching bag, glass beads, artificial sinew, and steel; 40 x 14 x 14 inches (101.6 x 35.6 x 35.6 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Museum purchase, 2015.11.1. © Jeffrey Gibson Studio. Photo by Peter Paul Geoffrion.
Deborah Grant, In the Land of the Blind the Blue Eye Man is King from the series By the Skin of Our Teeth, 2007. Oil, archival ink, paper, Flashe paint, and enamel on five birch panels; 72 x 180 x 2 inches (182.9 x 457.2 x 5.1 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Museum purchase with additional funds provided by JoAnn and Ronald Busuttil, 2013.13.1. © Deborah Grant. Photo by Peter Paul Geoffrion.
Barkley L. Hendricks, Down Home Taste, 1971. Oil and acrylic on linen; 48 x 48 inches (121.92 x 121.92 cm). Courtesy of the Office of the Dean of Students, Cornell University, Ithaca, New York. Gift of Michael Straight to the Willard Straight Hall Collection. Image courtesy of the artist and Jack Shainman Gallery, New York, New York. © Barkley Hendricks.
Richard Misrach, Untitled (T & E, we love what you’ve done with the place!) from the series Destroy This Memory, 2005 (printed 2016). Pigment print; 10.875 x 14.5 inches (27.62 x 36.83 cm). Courtesy of Fraenkel Gallery, San Francisco, California; Pace / MacGill Gallery, New York, New York; and Marc Selwyn Fine Art, Los Angeles, California. © Richard Misrach.
Dario Robleto, A Defeated Soldier Wishes to Walk His Daughter Down the Wedding Aisle, 2004. Cast of a hand-carved wooden and iron leg that a wounded Civil War soldier constructed for himself, made from The Shirelles’ “Soldier Boy” melted vinyl records and femur bone dust, fitted inside a pair of W.W.I military cavalry boots made from Skeeter Davis’s “The End of the World” melted vinyl records, oilcan filled with homemade tincture (gun oil, rose oil, bacteria cultured from the grooves of Negro prison songs and prison choir records, wormwood, golden rod, aloe juice, resurrection plant, Apothecary’s rose, and bugleweed), brass, rust, dirt from various battlefields, ballistic gelatin, white rose petals, white rice; installation: 21 x 80 x 20 inches (53.34 x 203.2 x 50.8 cm). Collection of the Los Angeles County Museum of Art, California. Purchased with funds provided by Tina Petra, Ken Wong, and Gibson Dunn; M.2005.18a-c. Courtesy of the artist and Inman Gallery, Houston, Texas. © Dario Robleto. Photo by Robert Wedemyer.
Xaviera Simmons, Session Three: Player from the project Thundersnow Road, North Carolina, 2010. Chromogenic print, edition 1/3; 40.125 x 50 inches (101.92 x 127 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Museum purchase; 2010.6.2. Image courtesy of the artist and
David Castillo Gallery, Miami Beach, Florida. © Xaviera Simmons.
Kara Walker, Cottonhead, a Mouthful of Teeth and Spitting Seeds, 1994. Paper on canvas; 61.875 x 61.875 inches (157.16 x 157.16 cm). Nancy A. Nasher and David J. Haemisegger Collection, Dallas, Texas. Image courtesy of the artist and Sikkema Jenkins & Co., New York, New York. © Kara Walker. Photo by Jason Wyche.
Andy Warhol, Dolly Parton, 1985. Synthetic polymer paint and silkscreen ink on canvas; 42 x 42 inches (106.7 x 106.7 cm). Collection of Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2010.11. Image courtesy of the Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York, New York. © 2015 The Andy Warhol Foundation