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    Open a larger version of the following image in a popup: Deborah Roberts, Huddle Masses, 2023
    Open a larger version of the following image in a popup: Deborah Roberts, Huddle Masses, 2023
    Open a larger version of the following image in a popup: Deborah Roberts, Huddle Masses, 2023
    Open a larger version of the following image in a popup: Deborah Roberts, Huddle Masses, 2023
    Open a larger version of the following image in a popup: Deborah Roberts, Huddle Masses, 2023

    Deborah Roberts Austin, Texas, b. 1962

    Huddle Masses, 2023
    Acrylic, graphite, pastel, ink and collage on canvas
    210 x 210 cm
    82 5/8 x 82 5/8 in
    © 2023 Deborah Roberts / Courtesy Fundación AMMA

    Further images

    • (View a larger image of thumbnail 1 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    • (View a larger image of thumbnail 2 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    • (View a larger image of thumbnail 3 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    • (View a larger image of thumbnail 4 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    • (View a larger image of thumbnail 5 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    View on a wall
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    A semi-profile portrait of a girl wearing a flamingo-print fabric, with her hand resting on her chest. Photographs cover her left eye and half of her mouth. Notable features include the girl's serious expression, the combination of techniques, and the work's dark tones.
    Roberts’ painting engages in social commentary and critiques perceptions of ideal beauty. The artist questions stereotypes and myths, creating a dialogue around concepts of inclusion, dignity, consumerism, and subjectivity by addressing beauty through the figure of the ideal woman—Venus. By challenging the figure of Venus, the work defies the notion of universal beauty, making space for Black women who are excluded from that definition.
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