In Honor of Black History Month

According to the Association for the Study of African American Life and History (ASALH), the founders of Black History Month, 2026 marks “a century of Black history commemorations.” The group was established in 1915, and in 1926 Dr. Carter Godwin Woodson introduced the inaugural Negro History Week. By the Forties some communities had begun celebrating a full month of Black historical past, and within the late Nineteen Sixties Black History Month grew to become extra widespread.

In honor of Black History Month, Glasstire is sharing latest and previous articles that includes Black artists, arts professionals, and organizations throughout Texas.

The Texas African American Photography Archive in Dallas Expands Photo History

Last month, Cammie Tipton-Amini wrote an in depth profile concerning the Dallas-based Texas African American Photography Archive (TAAPA). Her article introduced focus to the essential work of TAAPA, which is the primary archive to focus solely on Black photographers in Texas.

“In 1984, after Govenar received a commission from the Dallas Museum of Art, he began researching Black photographers in Texas, because none were included in a two-volume history of photography in the state that was being published at the time by Texas Monthly Press. A decade later, Govenar and artist Kaleta Doolin founded TAAPA…”

“So, This is Love”: A Lesson in Taking Black Worlds Seriously

Also in December, first-time Glasstire contributor Chelsea Lynn Jones reviewed Tomashi Jackson: Across the Universe on the Contemporary Arts Museum Houston (on view by way of March 29, 2026). On social media, the artist known as the evaluation “one of the most moving pieces I’ve ever read about what I’m trying to do.” In July 2025, photographer Emily Peacock interviewed Jackson about her artwork apply.

“With significant observation of community activism and American governance, Across the Universe is a timely dialogue for the work it takes to see people and their histories honestly — to shift narratives or even save lives by showing up with love.”

Review: “Figurative Histories” on the Moody Center For the Arts, Houston

Last summer season, Vicki Meek, a powerhouse artist and neighborhood advocate in her personal proper, reviewed an exhibition that includes 4 Texas artists whose work explores dialogues across the Black physique. Meek captures the connections and divergences in works by David McGee, Earlie Hudnall Jr., Delita Pinchback Martin, and Letitia Huckaby.

“Taking the work beyond a prescribed frame and giving it a sculptural embodiment makes so much sense for Martin as she doubles down on a visual conversation about the spiritual nature of Black sisterhood.”

Jazz & “Joe Overstreet: Taking Flight” on the Menil Collection, Houston

Last May, Michele Brangwen walked by way of the Joe Overstreet: Taking Flight exhibition on the Menil with saxophonist and composer James Brandon Lewis and trumpeter and composer Tim Hagans. The trio mentioned the work on view, in addition to their very own creative practices, offering perception into multidisciplinary approaches.

“One of my favorite philosophers, Henri Bergson, talks about intuition, and I think about this when it comes to melody. A person who is analyzing something, like we are analyzing this piece, knows all the dimensions and everything, but they are outside of the object. He said a person who is using their intuition becomes the object. It is not enough to play the melody and analyze it; you have to become it, which is an entirely different way of thinking.”

A Monument Project in Tumultuous Times

In February 2025, Jessica Fuentes wrote about Christopher Blay’s East Rosedale Monument Project, a brand new Fort Worth Public Art work that highlights the importance and historical past of buses within the Civil Rights motion. The piece speaks to each nationwide and native voices and tales.

“Public art can be a long process; it necessarily involves collaboration at every level. When done well, the end result is more than a physical work of art, it brings a community together in celebration.”

Powerful Craft: a Review of “Woven Together” at Kinfolk House

In April 2023, Megan Wilson Krznarich reviewed an exhibition that includes Kandy Lopez and Deyjah Stewart at Kinfolk House, a collaborative artwork area based by Sedrick and Letitia Huckaby. While detailing the person artists’ practices, Krznarich spoke to the historical past of textile work and the facility it has to deliver individuals collectively.

“Quilting is a tradition often passed down through families, from mothers, grandmothers, and aunties. It has a long tradition in the African American community as well. Historically, it was an opportunity for creative expression and leisure, in times when Black women were not readily afforded either.”

Update: 101 Black Artists Living and Working in Texas

In 2021, Christopher Blay, who was then News Editor at Glasstire, revealed a listing of 101 Black Texas artists. The intention was to start out a dialog concerning the restricted consideration that many museums and establishments give to Black artists by making a reference record that could possibly be “referred to the other 11 months of the year.” The piece was a follow-up to his 2020 article “Black Artists Should Sit Out Black History Month.”

“As this overall list continues to grow, please come back often, and visit the artist websites we have listed below, as well as the comments section of this article (and on our social media accounts) for the names of even more Black artists living and working Texas.”

Whites Only: Diversity and the Contemporary Art Dealers of Dallas

In March 2014, Darryl Ratcliff introduced knowledge concerning the lack of illustration of Black artists by galleries that had been a part of the Contemporary Art Dealers of Dallas (CADD). Speaking to a bigger dialog about whiteness within the artwork world, Ratcliff pointed to unsurprising, however irritating numbers.

“To put it in terms of percentages: 50% of shows went to white guys, 38% of shows went to females, and 15% went to racial minorities. Only 2% of shows during this time period went to Black people.”

The Black Guys: Dish it Out

In December 2014, Betsy Huete wrote about Robert Hodge and Phillip Pyle II’s performances, by which they remade works by The Art Guys. Huete wrote about her authentic cynicism concerning the thought, but additionally got here to know how the work, now introduced by two Black males, was modified.

“As I looked around, I noticed a community of people genuinely enjoying each other’s time. It became clear then that The Black Guys isn’t a two-man show: it’s a community effort.”