Coal mining has been a controversial subject of art since it first came to America in the 19th century.

But for some artists it has become a political statement and a way to show solidarity with their local community.

The art is called “A Tribute to Coal” and it was created by a coal miner who died last year.

“It’s been my way of showing solidarity with my community and the coal industry,” said Matthew O’Brien, who was tattooed for a piece in the Virginia Art Museum.

Tattoos, like the one on O’Briens neck, are now commonplace in Virginia and around the country.

But they have been criticized for their use of racial and ethnic imagery, including in the artwork of two of the artists, who are black.

Black artists have used blackface, whiteface and whiteface to represent the mining industry in the past.

They also have created a number of controversial works.

This was the most recent one in the “A tribute to Coal,” which has been hanging in the office of the Virginia Department of Environmental Quality.

The tattoo artist who drew the tattoo, Matthew Orenthal, was shot and killed in 2016 in Colorado.

Orenhal had a history of violence, including a stabbing that left him with a broken nose and a fractured skull.

Orenthal’s work is part of a larger tradition in the mining art world.

Last year, artist Michael Choe, a Native American from Arizona, was tattooing a statue of a giant, black, Native American.

The statue was designed to commemorate the Navajo Nation’s fight for self-determination.

Choe, who is also black, was one of the last artists to work on the statue, and the next artist to complete the work, T.J. Brown, was also a Navajo.

The two artists were the only black artists to complete work on a Navajo statue, according to the Navajo Cultural Center.

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