• Spelman College Museum of Fine Art


    The Spelman College Museum of Fine Art is the only museum in the nation that emphasizes art by and about women of the African Diaspora.

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Maren Hassinger, for Oncena Bienal De La Habana, 2012.
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Kimberly Becoat: ‘Soon Henrietta Come Hela’, sumi inc, acrylic, photo images and text on canvas , 4ft X 6ft
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2013 Guggenheim Fellow, Deana Lawson: Diane 2005, C-print, 24”x20”
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Classic Phylicia Rashad and Debbie Allen.
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→Southern Cosmology: Love Letter to Atlanta

I moved to Atlanta from Brooklyn in March 2011 as a part of a Great (Re) verse Migration. Since being here I’ve been inspired by the calm of the breeze, the soul of the people and the movement on the dance floor. In circles we dance to house music, fed by rhythms that translate ancestral languages. Bass. With this mix I want to give back to ATL the love I’ve received, the creativity that’s swinging from the history of these trees…and this dirt. Red Clay. My ancestors, my future. Take a musical journey with me as I mix some of my favorite songs from the past 3 months, some of it South African and all of it soulful and deep. I write you now from an airplane on my way to Aruba to teach babies what it is to be rooted in Music and versed in Technology. Arts Rules Aruba 2012. From the people who bring you The Chitlin Circuit: Deep House in the Deep South, we now offer to the space Southern Cosmology: Love Letter to Atlanta. Now Dance. DJ Lynnee Denise
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From the site-specific installation, Red Time at Roberts & Tilton, (2011) by legacy artist, Betye Saar.
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Dr. Georgia Dwelle, the first alumna to attend medical school. Dr. Georgia Dwelle went on to establish Georgia’s first general hospital for African Americans and its first obstetrical hospital for African American women.
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Anonymous: Spelman Students, 1895.
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Valerie Raimondi on Pinar Yolacan’s Maria project (2011): A series of 22 portraits of women – Yolaçan flew to the Brazilian island of Ithaparica: inspired by the typical baroque, opulent style of Portuguese architecture, the artist took innards and tied them together, sewing them as if they were pieces of cloth. She then transformed them into belts, waistcoats or dramatic necklaces, joining them with iridescent fabrics, precious silks and velvets: «I wanted to work with a material that resembled skin, but at the same time our more internal, hidden part», explains Pinar. Another very strong element of this series is the connection to the maternal figure that these subjects – all of whom are Afro-Brazilian and whose ages range from 27-90 – so forcefully represent: not only through the name of the project, but also in the photographer’s choice to use such an unexpected element as the female placenta.
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