Introduction…………………..2

Conclusion……………………..8

Biography……………………….9

Photo copies of required artworks.10

This paper is about two brilliant different artists, Robert Colescott and Lois M. Jones and their selective art work. Colescott lives in Tucson, Arizona, and has devoted himself full time to painting since his retirement from teaching at the University of Arizona in 1995. He taught for many years in the Pacific Northwest and then in the Bay Area (from 1974 to 1979 at UC Berkeley), before moving to Tucson in 1985. Colescott will be a Regent‚s Lecturer in the Department of Art Practice during May. Colescott has endured criticism for his use of racial and sexual stereotypes that many people, black and white, regard as demeaning and dangerous. Colescott, however, is engaging in a variety of shows in order to challenge, not perpetuate, stereotypical racial imagery. In his refusal to pull punches, he has been an important example to a younger generation of African American artists, including Carrie Mae Wee

Lois Mailou Jones was a pioneering artist of the Harlem Renaissance. Born in New England, her life was still clouded by the prejudices of an everyday African American life. Jones supported her fine arts ambition through teaching. She created an art department at Palmer Memorial Institute, a junior college in Sedalia, North Carolina in 1929, before being recruited by James Vernon Herring, chairman of the Fledgling Department of Art at Howard University in Washington, D.C., the following year. Teaching provided more time for her painting. Her early success as an anonymous textile designer for the F.A. Foster Company and Schumacher's of New York triggered a desire to be recognized as a painter. To avoid the humiliation of having her work rejected outright because of her race, Jones began entering competition under another name by shipping her paintings or by having white friends drop off her work. Having experienced several awards being retracted when arriving to claim them, Lois Mailou Jones kept secret her background while gathering competitive awards from the National Academy of Design, the Philadelphia Academy and the Corcoran Gallery. While painting a scene along the Seine River, Jones met and befriended Emile Bernard, co-founder of the French Symbolist school of painting, who provided constructive criticism and encouragement. Much of her Paris work was traditional landscapes, portraits and experiments with impressionism, she surprised her academy instructors with an abstract portrayal of African masks, Les Fetiches, a brilliant presage of African-based imagery, she would explore later in her career. Her success in Paris competitions steeled her resolve to tr

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