https://www.markdoox.com/contact daily 0.75 2026-07-30 https://www.markdoox.com/new-page-2 daily 0.75 2024-08-13 https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/0e823a15-2610-4fd8-b0d6-2add3c356946/JLP-show-AMALGAM-MAN-AND-RED-HORSE-fbJLP.jpg https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/3b04d208-a0a9-4d3f-b042-fc4c2049551e/JLP-show-MADONNA-AND-CHILD-OF-THE-APOCA-LIPS-AND%2B-THE-SERPENT%27S-TONGUE-%28TAKING-CARE-OF-MS.-ROSEMARY%27S-BABY%29-fbJLP.jpg https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/e2ee3217-2729-4f34-8344-87e12b7553e0/JLP-show-SON-OF-MAN%2B%28AFTER%2BMAGRITTE%29-fbJLP.jpg https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/0390e270-6ba4-4bf7-b0ab-a3f80469ab44/IMG_1942.jpg https://www.markdoox.com/terms-of-service-3 daily 0.75 2026-07-03 https://www.markdoox.com/faqs-2 daily 0.75 2024-12-10 https://www.markdoox.com/general-6 daily 0.75 2023-01-02 https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/bf987878-1823-499f-a9ff-e1f984e0908d/Con-Art-BLACK-THE+PERSISTENT+ILUSION+OF+BLACK+copy+2.jpg https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/fd12c152-ab27-4d06-bfef-0ebc7a2c7f68/Con-Art-BLACK-Something+to+know+about+Black+People+copy.jpg https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/d540e1c3-aa93-45b3-b503-66b16113f9ab/B-W-People-pge%231-FB-IG.jpg https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/b698c055-adf6-4bf3-b990-26da42a6e2b4/master-pnp-gtfy-02600-02624a+copy+4+%281%29+copy+2.jpg https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/cfd645e3-1ada-440a-bd34-464085e3a996/B-W-pge%230-COVER%21%21.jpg https://www.markdoox.com/work daily 1.0 2026-09-14 https://www.markdoox.com/work/project-five-amrgs monthly 0.5 2026-09-13 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1618511387030-5LI1E5QMVTQ2RY9S00A4/20140228_Trade+151_0046+1.jpg Dooxology - Gallery https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/df271bec-6589-4c99-99bc-b6070454c26d/28b-IG%21.jpg Dooxology - Gallery - MARK DOOX You Are Not Victims, 2025 Acrylic collage painting with gold metal leaf, paper, and pigmented ink on red-painted cradled wood panel 16 × 12 in. Direct studio price: $1,500 — shipping additional Selected works in this limited release are available directly from the artist at the studio price. The gallery price is the established retail price when the work is sold through a gallery; the direct studio price reflects a purchase without a gallery commission. Sold In You Are Not Victims, the traditional Byzantine image of the Virgin and Child is recast through the visual language of Christian nationalism, race in America, violence, resistance, and national identity. The declaration passes from mother to child: “You are not victims. We are.” Weapons, flags, blackface, and sacred symbols transform the icon into a vision of imagined holiness, claimed oppression, entitlement, and manufactured victimhood. https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/5fc8239e-db83-446a-9f56-950bf2698759/24a-IG.jpg Dooxology - Gallery - MARK DOOX Make America Great Again (Our Lady of the Apoca-Lips and Watching Miz’ Rosemary’s Baby), 2025 Acrylic collage painting with gold metal leaf, paper, and pigmented ink on red-painted cradled wood panel 16 × 12 in. Direct studio price: $1,500 — shipping additional Selected works in this limited release are available directly from the artist at the studio price. The gallery price is the established retail price when the work is sold through a gallery; the direct studio price reflects a purchase without a gallery commission.. Sold In Make America Great Again (Our Lady of the Apoca-Lips and Watching Miz’ Rosemary’s Baby), a historical photograph of a Black wet nurse or “mammy” holding a white child is transformed into a Byzantine-style icon. The familiar image of Black maternal labor becomes a scene of forced intimacy, racial dependency, and corrupted innocence. Wearing a “Make America Great Again” cap, the Black caregiver is recast as both saint and captive witness, while the pale child—marked by a forked tongue and flaming Sacred Heart—embodies the menace concealed within the mythology of white innocence. The work asks who has been required to nurture America, whose labor has been sanctified but unacknowledged, and what kind of nation is being raised in her arms. https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/ead3bea6-bf6b-4d86-8bb1-3cd1da3d0870/1aIG_BSS.jpg Dooxology - Gallery - MARK DOOX Diptych Debates: Charlie Kirk Christ, All Innocent And Shit, Versus Baphomet Saint Sambo, 2025 Acrylic collage painting with gold metal leaf, gold foil, paper, and pigmented ink on red-painted cradled wood panel 12 × 16 in. Direct studio price: $1,500 — shipping additional Selected works in this limited release are available directly from the artist at the studio price. The gallery price is the established retail price when the work is sold through a gallery; the direct studio price reflects a purchase without a gallery commission.e Sold In Diptych Debates: Charlie Kirk Christ All Innocent And Shit, Versus Baphomet Saint Sambo, Charlie Kirk is recast as Charlie Kirk Christ, All Innocent And Shit, whose open book presents the claim that Black Americans were “less murderous” when they possessed fewer rights. Opposite him, Baphomet Saint Sambo appears devil-like because Black people are demonized when they speak the truth about America. He answers that white people were more murderous when they held greater power and rights, supporting his argument with Christian history: stolen land, genocide, slavery, lynching, terror, and torture—history to which Charlie Kirk Christ remains conveniently oblivious in his effort to distort the truth through propaganda of Christian nationalism. The work asks which voice America chooses to sanctify, which voice it demonizes, and what happens when history itself enters the debate. https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/7d626d7c-50bb-42d1-ad73-41b8c0993d71/3a.jpg Dooxology - Gallery - MARK DOOX Imagine a Faith So False, 2025 Acrylic collage painting with gold metal leaf, paper, and pigmented ink on red-painted cradled wood panel 16 × 12 in. Direct studio price: $1,500 — shipping additional Selected works in this limited release are available directly from the artist at the studio price. The gallery price is the established retail price when the work is sold through a gallery; the direct studio price reflects a purchase without a gallery commission.. Available for acquisition n Imagine a Faith So False, a familiar devotional image of Christ confronts the moral contradiction between public displays of religion and the refusal to care for children in material need. The open book contrasts the political demand for prayer in public schools with resistance to providing students with food. By placing this accusation directly in the hands of Christ, the work challenges a Christianity that treats symbolic piety as sacred while dismissing feeding the hungry as politics. The icon asks whether faith can claim to follow Jesus while rejecting one of his clearest commands: to care for those in need. https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/92eed500-702c-4305-bf03-c975b95ec95a/13a.jpg Dooxology - Gallery MARK DOOX God of Mock War (ICE Version), 2025 Acrylic collage painting with gold metal leaf, paper, and pigmented ink on red-painted cradled wood panel 16 × 12 in. Direct studio price: $1,500 — shipping additional Selected works in this limited release are available directly from the artist at the studio price. The gallery price is the established retail price when the work is sold through a gallery; the direct studio price reflects a purchase without a gallery commission. Sold In The Black God of Mock War (ICE Version), a figure derived from a sixteenth-century engraving of Mars, the Roman god of war, is transformed into a crowned and haloed Black deity. The weapons and attributes of ancient warfare are replaced by boxing gloves, balls, bats, rackets, clubs, and a microphone, presenting organized sport as mock war performed for public entertainment. Celebrated for his strength, discipline, and spectacle, the Black athlete is elevated almost to divinity while remaining vulnerable to surveillance, containment, and racial violence. Framed by emblems of ICE and white supremacist power, the figure becomes champion, commodity, god, and target at once. The icon examines an America that worships Black physical power within the arena while fearing and policing that power beyond it. https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/8f0d1ac1-84ae-44f7-a2b1-eb9d9bd34aca/9aIG.jpg Dooxology - Gallery - MARK DOOX Black Man, 2026 Acrylic collage painting with gold metal leaf, paper, and pigmented ink on red-painted cradled wood panel 16 × 12 in. Direct studio price: $1,500 — shipping additional Selected works in this limited release are available directly from the artist at the studio price. The gallery price is the established retail price when the work is sold through a gallery; the direct studio price reflects a purchase without a gallery commission. Available for acquisition In Black Man, the title plays directly on Batman, recasting the Black male figure as an American anti-hero—a hero whose power and necessity are evident even when society refuses to recognize him as heroic. The bat-like emblem behind him places the figure within the visual mythology of the superhero, while his chained, crucifixion-like pose transforms that mythology into an image of sacrifice, suffering, public judgment, and the perception of him as an Antichrist rather than a savior. Crowned and haloed above a burning world, Black Man embodies the ENIGGERMA: he appears simultaneously powerful and condemned, expected to carry extraordinary burdens, feared for his resilience, and restrained by the very country that benefits from his heroic feats. The work asks what happens when the Black man becomes the center of the story, yet the society to which he has given so much distorts, diminishes, or denies his contribution. https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/47782d41-0c6a-4a91-9a8b-ce68744bc6f5/16a+copy.jpg Dooxology - Gallery - MARK DOOX Baphomet Saint Sambo, 2026 Acrylic collage painting with gold metal leaf, paper, and pigmented ink on red-painted cradled wood panel 16 × 12 in. Direct studio price: $1,500 — shipping additional Selected works in this limited release are available directly from the artist at the studio price. The gallery price is the established retail price when the work is sold through a gallery; the direct studio price reflects a purchase without a gallery commission. Available for acquisition In Baphomet Saint Sambo, the racist caricature of Sambo is transformed into a horned, haloed saint who occupies the unstable space between demon, fool, preacher, and truth-teller. His blackface grin recalls the performance historically demanded of Black people by white society, but it also functions as a mask of strategic accommodation—a means of surviving, observing, and speaking from inside an oppressive order. Framed by the American flag and dressed in sacred vestments, Saint Sambo embodies the contradiction of being required to appear harmless while being treated as morally suspect and spiritually dangerous. The horns also reflect the persistent demonization of Black people when they speak truths that expose American hypocrisy. The open book reverses that judgment, condemning a faith that demands prayer in public schools while refusing to feed children. The icon asks where the real blasphemy resides: in the horned Black saint who speaks the truth, or in a nation that sanctifies cruelty and calls it Christianity. https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/45bda8c8-dcd3-4867-8be7-92edc90db910/6a-IG.jpg Dooxology - Gallery - MARK DOOX Ain’t Jah’s Momma Presenting White Baby Jesus’ Social Justice and Racial Equity Program to the Nation, 2026 Acrylic collage painting with gold metal leaf, gold foil, paper, and pigmented ink on red-painted cradled wood panel 16 × 12 in. Direct studio price: $1,500 — shipping additional Selected works in this limited release are available directly from the artist at the studio price. The gallery price is the established retail price when the work is sold through a gallery; the direct studio price reflects a purchase without a gallery commission. Available for acquisition In Ain’t Jah’s Momma Presenting White Baby Jesus’ Social Justice and Racial Equity Program to the Nation, a Black Madonna presents a white Christ child whose program for racial justice consists of a familiar Christian instruction: “Thou shalt turn the other cheek.” The comic-book “SMACK!” interrupts the solemnity of the traditional icon, revealing the physical and historical cost concealed within that command. “Ain’t Jah’s Momma” is a play on Aunt Jemima, transforming a racist caricature of Black servitude into a sacred maternal figure who, within the racial imagination being critiqued, is permitted to nurture divinity but not to give birth to divinity in her own image. The work questions a version of Christianity that places the burden of reconciliation upon those who have been struck, asking Black people to absorb violence, forgive endlessly, and demonstrate moral purity while the structures producing that violence remain intact. By presenting endurance as a national racial-equity program, the icon exposes the distance between Christian nationalist rhetoric and material justice. https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/5e215ceb-d423-4dac-9149-1a744cecd828/20a-IG.jpg Dooxology - Gallery - MARK DOOX Jesus While Black, 2026 Acrylic collage painting with gold metal leaf, gold foil, paper, and pigmented ink on red-painted cradled wood panel 16 × 12 in. Direct studio price: $1,500 — shipping additional Selected works in this limited release are available directly from the artist at the studio price. The gallery price is the established retail price when the work is sold through a gallery; the direct studio price reflects a purchase without a gallery commission. Available for acquisition In Jesus While Black, a familiar white image of Christ holds a wanted poster identifying a Black Jesus of Nazareth as wanted “for living while Black.” The composition divides one sacred identity between two racialized bodies: the white Christ is accepted, protected, and recognized as divine, while the Black Christ is treated as suspicious, surveilled, and criminalized. Borrowing the language of “living while Black” and the visual grammar of a police notice, the icon exposes how race shapes who is permitted to appear innocent, holy, and fully human. The word “wanted” carries a double meaning: the Black Christ is both urgently needed and actively hunted. The white Jesus becomes a witness to a society that embraces divinity in a European image while perceiving that same divinity, embodied as Black, as a threat. The work asks whether a culture can claim to worship Christ while continuing to criminalize him whenever he appears in a Black body. https://www.markdoox.com/work/the-nword-of-god-3ecj2 monthly 0.5 2026-09-13 https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/1c6f2f62-52ef-4e9a-b8b4-044e5aa9ddf4/NW%2350.jpg Dooxology - Book: THE N-WORD OF GOD - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/a7512385-611d-4613-abe2-ec5082de0e74/NW%239.jpg Dooxology - Book: THE N-WORD OF GOD - The N–Word of God Buy it because you are unlikely to own another book quite like it. Read it because it is doing something worth figuring out. And if you are interested in Black literature, visual culture, comics, theology, satire, conceptual art, or the strange borderland where all of those things meet, this is a book worth being in conversation with. A seriously great and deeply strange American book. The N-Word of God at various moments resembles a graphic novel, an illuminated manuscript, a theological satire, an artist’s book, a Black philosophical tract, a mock scripture, a collage novel, and an extended act of cultural blasphemy. It is all of those things, but none adequately contains it. “If we must kiss White ass let us kiss it in all wisdom. Let us kiss it in such a way that in the future we might not kiss it at all.” — Saint Sambo What gradually emerges is an entire literary and visual world constructed according to the logic of Black Signifyin(g). Words signify upon words. Images signify upon images. Christian iconography collides with racist caricature; American patriotic mythology with Black history; superheroes with lynching photographs; sacred language with obscenity; Saint Sambo with Satan Sambo; Black with White. Eventually the book begins to signify upon its own propositions. “Many Hues One Humanity” — Satan Sambo Its excess is therefore part of its method. The repetitions, contradictions, jokes, theological inventions, stereotypes, comic-book forms, and visual collisions are not simply provocations. They form a system in which meanings are established, repeated with difference, inverted, contaminated, desacralized, and reconstructed. At the center of the book is Saint Sambo/Satan Sambo: racist caricature, holy fool, trickster, prophet, devil, American stereotype, archetype, and theological contradiction at once. Through him, the book asks whether the reader can move through the accumulated signs of race, religion, history, and representation and perceive something more difficult underneath them. A MODERN DAY WAY COOL-ASS WILLIAM BLAKE Like Blake, Doox refuses to separate visionary insight and human imagination, theology from sublime art, or a personal symbolic universe from an argument about the nature of reality. One of the book’s central declarations becomes a key to the whole work: “That which is seen is not me! It is only a delusion of me.” — Satan Sambo That sentence describes not only the character, but the experience of reading the book itself. Doox draws on Black Signifyin(g), Byzantine iconography, Dada and collage, prophetic literature, Black satire, Gnosticism, superheroes, minstrelsy, American racial mythology, and the spiritual universe of John Coltrane. These elements should not fit together. Somehow they do. “Say ‘Pink’ until White people say ‘Uncle!’” — Satan Sambo The N-Word of God is not merely a provocative book about race. It is a highly constructed literary-visual system about how signs shape perception, how inherited images govern consciousness, and how language can both imprison and unsettle the mind. It deserves to be read seriously. __________ “The N-Word of God feels almost otherworldly, drawing the reader up above this racialized reality of dueling relationships and false binaries.” — Starlette Thomas, Good Faith Media “Lands like a provocative punch in the chops.” — The New York Times “It's a mind-blowing work that'll leave readers reeling.” — Mark Judge, Splice Today https://images.squarespace-cdn.com/content/v1/623dde2a052c590a4c2f8fcc/814c1f2a-dbfb-4d01-bd6c-4e84fe665d23/NW%2330a+copy.jpg Dooxology - Book: THE N-WORD OF GOD - Make it stand out Whatever it is, the way you tell your story online can make all the difference.