Good Black Art (@goodblackart)

𝘚𝘯𝘢𝘬𝘦𝘴 𝘏𝘢𝘷𝘦 𝘉𝘰𝘯𝘦𝘴 has arrived. The first monograph by Julian Adon Alexander ( @snakebone_),𝘚𝘯𝘢𝘬𝘦𝘴 𝘏𝘢𝘷𝘦 𝘉𝘰𝘯𝘦𝘴, opens a door into his world of wonder. The book is part of A Good Pace, a program by co-publishers Good Black Art ( @goodblackart) and Parallel Press ( @parall.e.l) dedicated to preserving the stories and work of emerging Black artists through the medium of books. With over 200 illustrations spanning five years, Julian blends comic book and anime influences to explore vulnerability, anxiety, and identity through self-portraits and youthful Black figures—encouraging readers to expand how they see themselves and their place in the world. Edited by Jasmin Hernandez ( @gallerygurls), with essays and interviews by KAWS ( @kaws), Alvin Armstrong ( @eyesrevive), Marcos Chin ( @marcoschinart), Julian Alexander ( @slanginc), and Phillip Collins ( @phillipmichaelcollins), 𝘚𝘯𝘢𝘬𝘦𝘴 𝘏𝘢𝘷𝘦 𝘉𝘰𝘯𝘦𝘴 is a bold conversation about creativity, preservation, and community—a conversation we’d love for you to join. The official book launch of 𝘚𝘯𝘢𝘬𝘦𝘴 𝘏𝘢𝘷𝘦 𝘉𝘰𝘯𝘦𝘴 will be held on Tuesday, May 13th at the Brooklyn Public Library’s ( @bklynlibrary) Library for the Arts & Culture. Mark your calendar and stay tuned for more details soon. Only 500 copies available—order yours today via the link in bio. Photographed by Corey Danieli ( @coreydanieli)

The first look at 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮, an exhibition from Good Black Art in partnership with Creative Legion ( @creative.legion), opening during Upstate Art Weekend (UAW) in Hudson, NY. Co-curated by artist and designer Braden A. Hollis ( @bootlegballerina) and brought to life by spatial designer Pablo Olguin ( @eyypablo), the exhibition moves from the external world into the home—asking how domestic spaces can spark creativity, reflection, and transformation. Visit us from July 17–21 for UAW, Thursday through Monday, from 10 AM to 4 PM. The opening reception will be held on Saturday, July 19, from 4–7 PM. To collect a piece, DM us or email info @goodblackart.com. Come inside—our door is open. Captured by William Kaner ( @william.kaner) Located at Creative Legion, 7 Fairview Avenue, Hudson, NY (#58 on the UAW Map)

Before the apex, before the spectacle and sponsorships, there was heritage in the asphalt. Ahead of the F1 Miami Grand Prix, multidisciplinary artist Mark Delmont unveils a new body of work that mirrors the spirit of his community, Carol City, on the big screen and in the gallery. Created in collaboration with Good Black Art and Esses Magazine, these works don’t just celebrate the pageantry of motorsport, they interrogate what gets erased when global industries descend on local histories. What does it mean for Formula 1 to arrive in Miami Gardens, when Carol City was always in motion? Rooted in a deep automotive legacy passed down through family and community, Mark’s work centers the voices, vehicles, and vernacular that shaped a generation. “Carol City was rich soil for Formula 1 because the car culture was indigenous to the space,” he says. Don’t miss the premiere of the documentary “South Florida Chariots: A Legacy of Cars and Collecting That Shaped A Grand Prix,” alongside the debut of this powerful exhibition. RSVP now. To collect a piece, DM us or email info @goodblackart.com. Artwork 1: #MarkDelmont: ‘Two worlds could collide’, 2025, Acrylic paint on wood, 40”x 40” Artwork 2: #MarkDelmont: ‘The champ is here’, 2025, Acrylic paint on wood, 40”x 40” Artwork 3: #MarkDelmont: ‘Always wanted a Box Chevy, 2025, Acrylic paint on wood, 40”x 40” Captured by Zachary Balber ( @zacharybalber)

We were honored to join @snakebone_ ’s Creative Session during @upstateartweekend, hosted at @creative.legion. In this intimate keynote on his “gumbo career”—a blend of art, music, books, food, and more—Julian shared, for the first time, insights into his creative process and his latest project with Good Black Art and Parallel Press: 𝘚𝘯𝘢𝘬𝘦𝘴 𝘏𝘢𝘷𝘦 𝘉𝘰𝘯𝘦𝘴. Learn more about Julian and and purchase a copy 𝘚𝘯𝘢𝘬𝘦𝘴 𝘏𝘢𝘷𝘦 𝘉𝘰𝘯𝘦𝘴 at the link in bio. Captured by Danté Maurice ( @donteze)

𝘞𝘩𝘪𝘤𝘩 𝘞𝘢𝘺 𝘐𝘴 𝘍𝘰𝘳𝘸𝘢𝘳𝘥 by Yomi Orimoloye ( @orimsyomi) featured in 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 is on view at @creative.legion through Sunday, September 14. Acrylic on canvas 32” x 40” 2025 Tap the link in our bio or DM for inquiries. Photographed by William Kaner ( @william.kaner)

Brandon Foushée’s ‘Acts of care (oh okay, bye)’ weaves together intimate family moments to explore tenderness, transition, and the quiet gestures that shape our relationships. The work presents two scenes in dialogue: a portrait of the artist’s father mid-haircut, eyes closed in calmness, and the sunlit red bathroom of his grandmother on the eve of her surgery. Though distinct, these images are bound through mirrored surfaces and shared atmosphere, suggesting an intangible connection across generations. The juxtaposition of renewal—a haircut as ritual care—and the vulnerability of impending medical transformation creates a meditation on change, growth, and the cycles of life. Subtle details, like the cherubic figures bathed in red light, deepen the symbology of resilience. The title, ‘Acts of care (oh okay, bye),’ reinforces the beauty of tenderness expressed in fleeting, everyday exchanges—seemingly casual words that conceal deep love. In this way, the work becomes a meditation on intimacy and brevity while underscoring how affection circulates in small, imperfect gestures. Within 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮, Foushée’s work resonates as both a personal narrative and a communal reflection. It is a reminder that acts of care are not always grand or declarative—they emerge quietly, layered in ritual, memory, and presence, enduring long after the moment has passed. To inquire, message us @goodblackart or email info @goodblackart.com. Artwork: #BrandonFoushée ‘Acts of care (oh okay, bye),’ 2024, Assemblage with archival pigment print, spray paint and plexiglass, 24” x 60” Captured by William Kaner ( @william.kaner)

“We deserve to be in beautiful homes,” says designer @eyypablo of 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮. That idea sits at the heart of the exhibition. For Pablo, that means creating spaces that feel accessible, and lived in.  Layered with artworks and objects, accented with select furniture, and grounded in @farrowandball’s rich Bamazzole, Pablo shows how art can heighten design and how collaboration fosters inquiry, reflection, and quiet transformation.  Working with artist and co-curator @bootlegballerina, their partnership bridges the art and design worlds, demonstrating what is possible when the two move fluidly together. Color, form, and texture echo the rhythms of the natural world, while the gallery becomes a living environment: a place to sit with beauty, rest among ideas, and consider how space shapes life.  𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 reminds us that art is inseparable from daily life, offering a deeper way of living rooted in beauty, community, and connection. 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 is on view at @creative.legion through Sunday, September 14. Captured by Danté Maurice ( @donteze)

“I think sometimes visibility and vulnerability work hand in hand for me to get the message across, but there are also times when one has to forgo the other for the work to simply feel good.” — Oluwaseni Akinyemi 𝗕𝗘𝗬𝗢𝗡𝗗 𝗧𝗛𝗘 𝗕𝗢𝗥𝗢𝗨𝗚𝗛𝗦 spotlights rising artists forging their own paths in New York City’s art world. Nigerian American visual artist Oluwaseni (Seni) Akinyemi ( @bonzse) uses acrylics, charcoal, and collage to explore the human form as a storyteller—capturing themes of love, family, isolation, and the complexities of intimacy. Born in Baltimore and based in The Bronx, the Cooper Union graduate’s practice reflects a deep interest in the ways emotion and expression shape narrative. Akinyemi balances his studio practice with work as an educator and mentor for middle school students in Brooklyn and Harlem. His work has been presented in exhibitions both nationally and internationally, marking him as a rising voice in contemporary figurative art. In his interview with Good Black Art (tap the link in bio), Oluwaseni reflects on how understanding his identity shows up in his work, recognizing how creating art is deeply connected to how one navigates the world, and discusses the misconceptions his practice aims to challenge. Portraits photographed by Dante Maurice ( @donteze) BTS photography by Alverson Layne (alversonlayne) Captured at The Malin ( @themalin)

𝘏𝘰𝘶𝘴𝘦 (2023) by Marcelline Mandeng Nken is a monolithic sculpture cast in colored resin, its weight and presence evoking the permanence of a stone tablet. Part of a larger installation that reimagines the myth of Isis and Osiris through abstraction, the work stands as an emblem of communal grieving — a vessel for memory, ritual, and loss. Drawing on the role of heirlooms as living documents within the domestic sphere, 𝘏𝘰𝘶𝘴𝘦 carries both utility and psychic resonance. It anchors itself in the space between the functional and the spiritual, where objects become sites of remembrance and care. Within the mythic frame, it becomes the grief-stricken home of Isis, a tombstone for the disappeared, fragmented, and adorned body of her lover Osiris. In the context of 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮, 𝘏𝘰𝘶𝘴𝘦 is both a monument and a mourning place — holding the weight of absence while affirming the endurance of love, lineage, and ritual. To inquire, message us @goodblackart or email info @goodblackart.com.   Artwork: #MarcellineMandengNken ‘House,’ 2023, Cast resin, 20.5” x 12.5” x 2” Captured by William Kaner ( @william.kaner)

Audrey Lyall’s 𝘖𝘣𝘫𝘦𝘤𝘵 𝘗𝘦𝘳𝘮𝘢𝘯𝘦𝘯𝘤𝘦 (𝘊𝘢𝘯𝘢𝘭 𝘚𝘵) is a quiet excavation of memory, place, and emotional residue. Rooted in the psychology of attachment and loss, the work explores the tension between what remains and what disappears — physically, emotionally, and spatially. Through layered textures, soft color fields, and subtle material shifts, Lyall transforms the everyday into a site of reflection. Referencing Canal Street as both a literal and symbolic location, the piece draws from the city’s churn — its rhythms of exchange, abandonment, and reinvention. “Object permanence” becomes more than a developmental concept; it is a metaphor for love, identity, and the ache of impermanence. Within 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮, Lyall’s work operates as a quiet rupture. It invites viewers to sit with the uncertainty of what we carry and what we lose. It is a meditation on presence in absence, and on the delicate architecture of holding on. To inquire, message us @goodblackart or email info @goodblackart.com.   Artwork: #AudreyLyall ‘Object Permanence (Canal St),’ 2025, Acrylic paint, watercolor, collaged paper, gel pen, rhinestones, faux pearls on canvas, 20” x 24” Captured by William Kaner ( @william.kaner)

We’re excited to share that 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮, co-curated by artist Braden A. Hollis and designed by Pablo, has been 𝘦𝘹𝘵𝘦𝘯𝘥𝘦𝘥 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘚𝘦𝘱𝘵𝘦𝘮𝘣𝘦𝘳 14𝘵𝘩 in Hudson, NY. Presented in partnership with Good Black Art and Creative Legion, 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 transforms home and personal space into places of memory, reflection, and transformation—inviting you to linger in the beauty of pause. If you haven’t stepped inside yet, now’s the time. And if you have, come back—there’s always more to uncover in the waiting. Captured by Dante Maurice ( @donteze)

During @upstateartweekend, we partnered with Black Girls in Art Spaces’ ( @blackgirlsinartspaces) Hudson Valley chapter—a community dedicated to connectivity, accessibility, and education in the arts through both in-person and digital programming—for a special tour of 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮. The tour was organized by Destinee Swindell ( @chasingdestinee) with special guest, artist, and Beacon resident featured in the exhibition, Kyra Husbands ( @400yearcommitment). Together, we explored the layered themes of care, rest, and collective healing that anchor 𝘞𝘢𝘪𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮, reflecting on how art can hold space for both personal reflection and community dialogue To learn more about Black Girls in Art Spaces and the movement founded by Kaci Merriwether-Hawkins ( @kacimerriwetherhawkins), follow @blackgirlsinartspaces. Captured by Dante Maurice ( @donteze)