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A dynamic painter and masterful colorist, her work interrogated the art-historical status quo through a vibrant and intellectually rigorous practice. Influenced by Abstract Expressionism, the Civil Rights movement, and feminism, Amos explored racism, sexism, and ethnocentrism in her art. “It’s always been my contention,” she once said, “that for me, a Black woman artist, to walk into the studio is a political act.”",[],"normal",{"_key":92,"_type":82,"children":93,"markDefs":98,"style":90},"cdd103f77853",[94],{"_key":95,"_type":86,"marks":96,"text":97},"11f72300e0ac0",[],"Amos joined Spiral, an important African-American collective, in 1964, but found that the push for Black representation in the art world often omitted women. She went on to join feminist collectives including Heresies (1982–1993) and the Guerrilla Girls, and as one of the few Black members of Heresies, contributed to the journal’s landmark 1982 issue on race within feminism. Her vivid paintings celebrate the Black body, consistently asserting the presence of Black and female figures so often overlooked by the art world.",[],{"_key":100,"_type":82,"children":101,"markDefs":106,"style":90},"169a1ee12986",[102],{"_key":103,"_type":86,"marks":104,"text":105},"226eeac19a010",[],"Her practice evolved from colorful abstract Attitude paintings in the 1960s to her Athletes and Animals series of the early 1980s, which reframed racist comparisons between Black athletes and wild animals. Her Falling series addressed the erasure of history and the anxieties of the Reagan era, depicting figures tumbling through abstracted spaces filled with architectural and musical imagery. Throughout her career, Amos incorporated traditional African fabric borders and her own weavings into her paintings, blurring the gendered lines between craft and fine art.",[],{"_key":108,"_type":82,"children":109,"markDefs":114,"style":90},"6d545ebc6a7d",[110],{"_key":111,"_type":86,"marks":112,"text":113},"df33c018c55e0",[],"Born in segregated Atlanta, Amos studied at Antioch College and the Central School of Art in London before settling in New York City, where she worked alongside artists including Romare Bearden and Norman Lewis. 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