Art

Forgeries of African American Art on the Rise

NNPA NEWSWIRE — Today, the recent boom in museums has revealed a devotion to African-American artists and the increasing amount of attention paid to these artists has led to a significant rise in forgeries, according to a new report.

Published

8 years ago

January 13, 2019

Oakland Post

By Stacy M. Brown, NNPA Newswire Correspondent
@StacyBrownMedia

For African American artists, prior to 1980, exhibition venues were few, museum opportunities rare and there wasn’t concrete infrastructure for Black art.

“Before that time, the primary infrastructure for African American art lay in the hands of academia,” said Larry “Poncho” Brown, one of Maryland’s most prolific artists.

Brown noted that such talented individuals as Charles White, Elizabeth Catlett, Jacob Lawrence, Romare Bearden and others stood above the industry prior to the 1980s while the Harlem Renaissance, AfriCOBRA, and other black art movements were the last of the noted revolutions in African American art.

Today, the recent boom in museums has revealed a devotion to African-American artists and the increasing amount of attention paid to these artists has led to a significant rise in forgeries, according to a new report.

The ART Newspaper reported that, in the past few weeks alone, there have been many fakes purporting to be the work of Alma Thomas, Beauford Delaney, Charles White, Romare Bearden and Bob Thompson.

“It’s a whole generation: you could go from A to Z through the list, from Charles Alston to Charles White. I am seeing fakes attributed to all of them,” New York-based gallerist Rosenfeld told the newspaper.

Propelling the fakes market is the fact that many of these artists were overlooked or undervalued in their lifetimes, so scholarship and expertise in their work is limited. “You simply can’t go back to the source any more, and there is only a handful of people who worked first-hand with a lot of these artists while they were alive,” Rosenfield said.

“Forgers know they can capitalize on that.”

For artist Jonathan Green, who owns the popular Jonathan Green Studios in Charleston, S.C., forgeries are of little surprise. “In my 40-year career, I’ve run into more fraud than you can shake a stick at,” Green said. “Fraud has been around since the beginning of time.”

Because African American artists are now appreciated, there’s a high-value placed on their work and that keeps the fraudsters working overtime, Green said. Also, because black artists have historically been overlooked, so-called art experts are ignorant to many great originals, he said.

“A lot of people are capitalizing on this and, in some cases, the fault lies with the museums and the cultural centers because they’re not sophisticated enough to know about these artists,” Green said.

Additionally, as noted in The ART, some of the artists whose works are being forged, like Jacob Lawrence, have estates and foundations which should make it easier to authenticate the works.

However, foundations just aren’t doing this work anymore because they can’t afford to, said Bridget Moore of New York’s DC Moore gallery, which represents African-American artists including David Driskell, and Lawrence. For this reason, Moore says she has always kept detailed “fake files” on all of her artists.

Some of the recent forgeries include a 2011 case where Louisiana artist William Toye and his wife, Berry, pleaded guilty to charges of fraud after conspiring with a New Orleans-based dealer over the course of nearly 40 years to sell dozens of works painted by Toye and fraudulently signed as Clementine Hunter, an African-American artist who died in 1988. Hunter was self-taught and arguably one of the most significant artists to come out of Louisiana, according to the FBI special agent Randy Deaton, who led the three-year-long investigation.

“It was a remarkable case because she was a folk artist,” Deaton told The ART. “She was well known, but there wasn’t an authoritative archive on her career,” which made it easier for Toye to pass off his own paintings as hers.

One of the things that gave away the forgeries was the presence of cat hairs on some canvases, the conservator and forgery specialist James Martin, who consulted on the case, told the newspaper.

Currently the director of scientific research at Sotheby’s, Martin is the founder of Orion Analytical, which was acquired by the auction house in 2016.

“Cat hairs, the same discrepancies in under-drawing and signatures, and dirt wiped on to [the works] to impart a false appearance of age linked the fakes I examined to a common source,” he said.

Ultimately though, it was the sheer number of forged works attributed to Hunter by the Toyes that gave Martin a substantial sample size, enabling him to find the forgeries. “Generally speaking, problems with forgeries become easier to spot when seen in large numbers,” he said.

Concerns about the authenticity of several works by Charles White were raised when the Art Institute of Chicago was organizing the artist’s first major survey show, according The ART.

The exhibition, seen in Chicago last summer, is currently at the Museum of Modern Art in New York and is due to travel to the Los Angeles County Museum of Art next month.

According to FBI special agent Timothy Carpenter, who manages the agency’s art crimes division, “it’s not the first time this issue has come up,” but he adds that the fake works that are surfacing are likely to be small or not of very high value, which may make dealers disinclined to formally report them.

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Misty Copeland Shapes Ballet’s Tomorrow

THE POSITIVE COMMUNITY — Misty Copeland will curate the 2026 Joyce Ballet Festival, a two-week event in New York City from August 4-16. This role allows her to influence the future of ballet by showcasing a wide range of dancers, choreographers, and companies. The festival will present both established and contemporary works, blending classical traditions with new artistic expressions.

Published

1 month ago

August 9, 2026

Post News Group

Misty Copeland at the 2026 Met Gala, wearing fashion in theme of "Costume Art" Date 4 May 2026, 19:39:21

This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.

Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.

That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.

Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.

The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.

The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.

The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.

For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.

Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.

The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.

Based on reporting by The Positive Community.

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Art

BOOK REVIEW: Never Tell a Black Girl How to Black Girl: Essays

Growing up in North Carolina, she Black Girled her hair her entire life. Her grandma made her sit for box braids when she was small, telling Brown that she was “tenderheaded.” Later, Brown had relaxed hair until she “went broke” and couldn’t afford the process anymore. That was when she got acquainted with her natural hair – although she returned to box braids at least once, and loved them all over again.

Published

2 months ago

July 19, 2026

Post News Group

Author: Amena Brown, Copyright: c.2026, Publisher: Tiny Rep Books, SRP: $30.00, Page Count: 320 pages

Some things can really make you cross.

People telling you your business, for instance. People asking questions they have no reason to know the answers to. Folks who criticize your hair or clothes or life. These things would set anyone off; they’d be the last straw for anybody. As in the new book, “Never Tell a Black Girl How to Black Girl” by Amena Brown, some folks just cross the line.

In a way, it’s a matter of grammar.

Depending on how you say it, “Black Girl is a noun and a verb,” says Brown. A Black Girl can be a Black Girl… and she can Black Girl. Brown herself has done it “in six countries.”

As the child of a strict Pentecostal mother, Brown was a “late bloomer.” She didn’t drink alcohol until she was in her twenties. She was chaste while dating and a better church girl than a party girl. After she left the church, she began experimenting with wine first, then cocktails. She learned to cook, reasoning that the path to finding love started in a kitchen, one that happened to be her grandmother’s. And yes, love did eventually come in the form of a red-headed White man who was her friend before he became her boyfriend — and before he became her mother-sanctioned, grandma-approved husband.

Overall, says Brown, there is no single right method for doing this.

“There are so many ways to Black Girl, which means the way you Black Girl is beautiful, and the way I Black Girl is beautiful too.”

Looking for a collection of addictive, can’t-read-just-one essays that’ll make you laugh but that also feel like author Amena Brown is peeking at your life? Want a book that speaks to every corner of your existence?

Yeah, then you want “Never Tell a Black Girl How to Black Girl.”

You know how it is when you spot something so profound, so right, that you just have to call your friends and read it out loud to them? That’s what you’ll find here: truth told with humor that’s also oozing with warmth. Add honesty that’s smart and bold and practically begging for a “Heck, YES!” and you’ve got your new favorite book.

The essays here are short enough to read in a few minutes, but compelling enough to make you want more, so give yourself room.

This is a book for twenty- and thirty-somethings, but also for their mothers and grandmas who can handle respectful irreverence and surefooted playfulness. Can men enjoy “Never Tell a Black Girl How to Black Girl”? Sure, but it’s more for women, cross your heart.

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Art

Eric Murphy’s ‘City of Stars’ Honors Culture and Community

Murphy’s artistic journey is grounded in a lifelong passion for storytelling through visuals. Beginning as a child sketching celebrities, he later expanded into collage, blending illustration with found imagery and photography.

Published

2 months ago

July 19, 2026

Post News Group

Artist Eric Murphy celebrates his birthday at the AAMLO, African American Museum and Library of Oakland with his exhibit City of Stars: From the Archives in downtown Oakland. Photo courtesy of Judah

Eric Murphy’s latest exhibition, “Oakland City of Stars: From the Archives,” on view through Aug. 31, offers more than a visual tribute to Oakland; it presents history and a global connection rooted in the city’s cultural legacy.

Curated by Veda Silva at the African American Museum and Library at Oakland (AAMLO), the mixed-media solo show builds on Murphy’s evolving “Oakland All-Stars” series, highlighting figures rooted in community history.

His formal training at Laney College sharpened his photography skills, while his early career as a fashion photographer exposed him to broader creative networks. At the same time, his decade-long work with Pro Arts Gallery in Oakland expanded his artistic journey.

These experiences converge in “City of Stars,” where Murphy combines photography, digital collage, and graphic design into distinctive portraits. Each subject is embedded within a stylized map of Oakland, marked by district lines, and layered with visual references tied to their personal and cultural narratives.

Presented in a ‘playing card’ format, the works replace traditional suits with the City of Oakland logo, while multilingual elements and hand-painted details deepen the storytelling. The result is a series that feels both archival and contemporary, an artistic documentation of Oakland’s influence across generations.

The exhibit’s opening reception was also Murphy’s birthday celebration. “I’m celebrating my birthday, Oakland history, cultural ties, and art.”

About 50 guests attended the exhibit, including Joyce Gordon of Joyce Gordon Gallery, entertainer Zina Escovedo, and activists Alan Banks and Inez Banks. “We loaned one of our pieces to the exhibit,” said Alan Banks proudly.

Murphy credits much of his inspiration to his deep interest in Oakland history and its global intersections. Murphy also created a line of Oakland International language shirts. The concept originated in 2012 during a cultural exchange exhibition he managed between Oakland and its sister city, Fukuoka, Japan, celebrating their 50th anniversary.

Working with artists such as Emmy Award-winner James Gayles and photographer Hiroko To, Murphy began exploring language as a bridge between cultures. After studying Japanese at Laney College, he became fascinated with how “Oakland” could be expressed across languages.

That curiosity evolved into a design series beginning in 2019 with “Oakland” translated into Japanese as “Okurando.” From there, Murphy collaborated with community members and translators to create versions in multiple languages. By incorporating archival materials, cultural symbols, and historical references, Murphy transformed each shirt into a narrative artifact rather than a simple translation.

“Each design allowed me to show how rich our history is and how connected Oakland is to the world,” said Murphy.

This same philosophy drives the “Oakland All-Stars” series. Inspired by a moment of pride watching actor Shemar Moore acknowledge his Oakland roots on national television, Murphy began researching other successful people connected to the city. The series now includes former U.S. Vice President Kamala Harris, actress Zendaya, and the late comedian Paul Mooney, among others linked to Oakland.

“I am proud to feature Oakland in my artwork,” said Murphy. “Oakland is a special place, and art is a great way of showing the world what we are about.”