Sentences with phrase «black artists on view»

Not exact matches

The holdup artist was a large black man, his hostage a young white woman, and as an angry South Boston crowd moved in on him, he retreated to a bridge that put him in plain view of scores of gawkers.

Among the 72 works on view will be Untitled (Studio), 2014, in which the artist's studio is populated entirely by black assistants and models.

At the Dallas Museum of Art, «Jackson Pollock: Blind Spots,» which is on view through March 20, features 31 of the 50 or so black paintings the artist... Read More

Black Unity, an exhibition of 13 works by eight African American artists including Elizabeth Catlett, Romare Bearden, Jacob Lawrence, Kara Walker, and Bob Thompson, is currently on view at Crystal Bridges through September 5.

Crystal Bridges recently acquired the artist's photograph series The Kitchen Table, which was on view in the 2016 temporary exhibition Black Unity.

This year, Hockley co-curated «We Wanted a Revolution: Black Radical Women, 1965 — 85» at the Brooklyn Museum and «Toyin Ojih Odutola: To Wander Determined,» the artist's first New York museum show, which is on view at the Whitney through Feb. 25, 2018.

The artist currently has three solo exhibitions on view at East Coast museums: «Views of Main Street» at the Studio Museum in Harlem, through June 26, 2016; «The Black Show» at the Institute of Contemporary Art, Philadelphia, through August 14, 2016; and «Landscape Paintings» at MoMA PS1, through August 29, 2016.

The conversation is inspired by Captain Gervasio's Family (2013 - 2014), a film by artists Tamar Guimarães and Kasper Akhøj, on view in the museum's Black Box Gallery.

San Francisco, Calif., February 14, 2017 — On view at CCA Wattis Institute for Contemporary Arts from March 16 through May 14, 2017, the exhibition Black Light converts the gallery space into a forum for conversation with a series of free public events that address the relationship between cultural institutions and black artBlack Light converts the gallery space into a forum for conversation with a series of free public events that address the relationship between cultural institutions and black artblack artists.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

< NEWS On May 13, Yams Collective, a group of 38 artists formally known as HowDoYouSayYaminAfrican, withdraws from the 2014 Whitney Biennial largely in objection to what it views as racial exploitation in the work of Joe Scanlan, another biennial artist, who for years has presented himself as Donelle Woolford, a Black female performance artist.

MUST - SEE EXHIBITION openings and interesting talks and appearances happening this week in black art: Through June 21, 2014 Brenna Youngblood at Contemporary Art Museum St. Louis A selection of muted abstracts by Los Angeles - based artist Brenna Youngblood are on view at the Contemporary Art Museum St. Louis.

One of the show's senior figures is the Chicago artist William Pope.L — who facetiously called himself «the friendliest black artist in America,» and whose views on race and self are wildly unfixed.

Having turned 93 this past December, the iconic «painter of black» French artist Pierre Soulages would be highly deserving of a major retrospective; but his current show «21st - Century Soulages,» on view at the French Academy in the Villa Medici in Rome through June 16, is in fact devoted to recent work.

Opening today and on view until 3 April, «Saul Leiter: Retrospective» comprises a wealth of the artist's early black - and - white and colour work, as well as ephemera and a selection of his paintings.

As a part of «The Waiting Room,» her solo exhibition that was on view this summer, Leigh invited more than 100 black women artists to take over the New Museum for an evening.

The third installment of Prospect, the New Orleans triennial, follows suit with work by 58 artists on view at 18 venues and is further distinguished by three attributes: Franklin Sirmans serves as artistic director; He curates the show with a decidedly New Orleans lens that doesn't lose sight of the global perspective; And most significantly, there are more Black artists represented at Prospect 3 (more than 20) than at any other American biennial - style gathering in recent memory, perhaps ever.

On view are many never before exhibited works, including watershed pieces from the AfriCOBRA period, as well as works reflective of the epiphany Williams had when first visiting Africa for Festac» 77, the Second World Black and African Festival of Arts and Culture, plus multi-media pieces created throughout the 1980s, 90s and early 2000s during the artist's time in Asia and Europe, along with select contemporary works.

«Izhar Patkin: The Wandering Veil,» on view through Sept. 1 at Mass MoCA, caps a return from the shadows for this artist, whose early breakthroughs included a full gallery devoted to his attention - grabbing paintings on black neoprene curtains at the 1987 Whitney Biennial.

The Brooklyn - based artist (he used to live in Columbus, Ohio) currently has several works on view at Housing, Bed - Stuy's newest art gallery, which lives in American Medium's old haunt, and shows the work of black artists, curated by black artists.

Artist Hannah Black sent an open letter to the media, while another group blocked the painting from view with their bodies last weekend, wearing shirts that read «Black Death Spectacle» on the back as they stood in front of the piece.

Other exhibition highlights on view in October include Little Black Dress, curated by SCAD trustee and Vogue contributing editor André Leon Talley; Addio del Passato, presenting photographs, sculpture and film by Yinka Shonibare MBE; Stretching the Limits, a group exhibition by fiber - based media artists; Reveal the secrets that you seek, featuring installations by Bharti Kher; and Figures, four large - scale wall hangings by renowned American sculptor Lynda Benglis.

St. Louis Public Radio covers a selection of new African American art exhibitions on view in the city, including «Hands Up, Don't Shoot,» a direct response to the Michael Brown killing organized by the Alliance of Black Gallery owners and on view at 14 venues; «Other Ways» at Philip Slein Gallery featuring than 60 works from local private collections by artists such as Radcliffe Bailey, Dawoud Bey, Mark Bradford, Ellen Gallagher, Kara Walker and Kehinde Wiley; «Living Like Kings» at the World Chess Hall of Fame explores the intersection of chess and hip hop; and a presentation of Nick Cave «s Sound Suits at the St. Louis Art Museum opening Oct. 31.

On view at Arnika Dawkins Gallery through January 22, these photographic works by 22 emerging and celebrated artists also expose the coded dialogue regarding class, color, and consciousness within the black community.

ARTIST STATEMENT «The piece is a play on simple vaudeville style adverts that toys with the idea of human interest in viewing the grotesque; in this case, a bloody boxer, black man with a west African rhino head, broken horn in mouth, bloody / bruised face + body, in a classic boxing pose.

In addition, the Tate Modern was presenting «Soul of a Nation: Art in the Age of Black Power» featuring work by more than 60 African American artists (through Oct. 22), and Jack Whitten's first - ever solor exhibition was on view at Hauser and Wirth.

Alexandros Tzannis, Constellation Paris / Black layers over the city of light, 2016 - 2017, ballpoint pen on paper, iron structure, magnets, 141 x 220 cm, installation view, courtesy the artist.

Soul of a Nation: Art in the Age of Black Power, on view from February 3 - April 23, shines a bright light on the vital contribution of Black artists to an important period in American history and art.

Through the exhibition Energy / Experimentation: Black Artists and Abstraction, 1964 — 1980 (2006)-- which highlighted numerous black artists working in abstract painting or sculpture — and her scholarly work on African American conceptualists, Jones has prompted a reevaluation of the view that African American art of the period was predominantly figurative or representatiBlack Artists and Abstraction, 1964 — 1980 (2006)-- which highlighted numerous black artists working in abstract painting or sculpture — and her scholarly work on African American conceptualists, Jones has prompted a reevaluation of the view that African American art of the period was predominantly figurative or representaArtists and Abstraction, 1964 — 1980 (2006)-- which highlighted numerous black artists working in abstract painting or sculpture — and her scholarly work on African American conceptualists, Jones has prompted a reevaluation of the view that African American art of the period was predominantly figurative or representatiblack artists working in abstract painting or sculpture — and her scholarly work on African American conceptualists, Jones has prompted a reevaluation of the view that African American art of the period was predominantly figurative or representaartists working in abstract painting or sculpture — and her scholarly work on African American conceptualists, Jones has prompted a reevaluation of the view that African American art of the period was predominantly figurative or representational.

A large photostat projection adapted from a small collage, the work is featured in «Project Gallery: Romare Bearden,» an exhibition of 21 black - and white - works the artist produced in 1964, which is on view through June 26.

On view through January 17, 2016 and curated by Alex Gartenfeld, the exhibition includes the first complete presentation of photographs from the artist's ongoing series Black Box Collision A, as well as 12 posters from Ebner's collaborative project with David Reinfurt, A HUDSON YARD; and the title video, A PUBLIC CHARACTER, edited by Erika Vogt and scored by Alex Waterman, among other highlights.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

Some commentators seeking to unpack the role of the artist's racial identity have invoked the painting of Philando Castile, also on view, by Henry Taylor (a black artist).

On view in ICA Miami's second floor galleries through January 16, 2016, the exhibition includes the first comprehensive presentation of photographs from the artist's ongoing series Black Box Collision A, which since 2012 has seen the artist isolating and documenting the letter «A» from the vestiges of sign, advertisement, message, and other modes of visual communication.

The award - winning Material Girls: Contemporary Black Women Artists, which was named «Best in Baltimore» in 2011, opened at Spelman College Museum of Fine Art in Atlanta, GA and will be on view through December 1, 2012.

On view in an adjacent gallery will be a selection of Robert Mapplethorpe's black and white photographs of flowers, along with an audio recording of a conversation between the artist and Marieluise Hessel that took place in 1988.

Selected, with the artist's help, by Serpentine curator Lisa Corrin and director Julia Peyton - Jones, the paintings on view range from foot - tapping black - and - white Op to canvases of dazzling, sensuous color.

Art and Black Los Angeles 1960 - 1980 an exhibition, on view October 2, 2011 — January 8, 2012, that chronicles the vital legacy of the city's African American artists.

Kalup Linzy on Edouard Manet Video and performance artist Kalup Linzy lives and works in Brooklyn, N.Y.. His work is on view in «Radical Presence; Black Performance in Contemporary Art» at the Yerba Buena Arts Center in San Francisco (through Oct. 11).

A selection of archival materials, including photographs from Black Mountain College and letters exchanged amongst the artists, will also be on view.

On view for the first time will be the large - scale Black Painting; Horse, Bird, Cat (2016), from which the exhibition takes its title, as well as a group of works on paper that together underscore the artist's distinctive working process and intuitive approach to image - makinOn view for the first time will be the large - scale Black Painting; Horse, Bird, Cat (2016), from which the exhibition takes its title, as well as a group of works on paper that together underscore the artist's distinctive working process and intuitive approach to image - makinon paper that together underscore the artist's distinctive working process and intuitive approach to image - making.

Speaking to their contrasting views on such «segregated» exhibitions, Morris and Hockley noted that while, in both title and subject, the exhibition «is focused purposefully on the work and experiences of black women... it also features the work of men and non-black women of colour, and, through ephemera, references the work of white women artists, feminists, and art world influencers.»

Spoken: Portraits in Black, on view until September 25, is part of an exhibition program dedicated to showcasing works of art by African - American artists, primarily from the CMA's collection, which changes approximately every three months.

For example, work by black artists was on view at concurrent fairs such as Untitled Miami fair, where Chicago gallery Monique Meloche presented work by Sanford Biggers and Ebony G. Patterson.

On view from September 13 through December 23, 2017, Speech / Acts brings together recent work and new commissions by six artists: Jibade - Khalil Huffman, Steffani Jemison, Tony Lewis, Tiona Nekkia McClodden, Kameelah Janan Rasheed, and Martine Syms, who reflect upon experiences growing up through the social upheavals of the 1990s and draw on the current sociopolitical climate and the preceding Black Arts Movement in their worOn view from September 13 through December 23, 2017, Speech / Acts brings together recent work and new commissions by six artists: Jibade - Khalil Huffman, Steffani Jemison, Tony Lewis, Tiona Nekkia McClodden, Kameelah Janan Rasheed, and Martine Syms, who reflect upon experiences growing up through the social upheavals of the 1990s and draw on the current sociopolitical climate and the preceding Black Arts Movement in their woron the current sociopolitical climate and the preceding Black Arts Movement in their work.

Shot in 16 mm in colours or black and white, the films are a visual diary of the artist's private life, travels, views on politics as well as his creative process — in particular his experimentation on colours.

All around Manhattan, from the New Museum, where British - born Chris Ofili's first solo exhibition at a major U.S. museum is on view, to the Metropolitan Museum of Art, the Jewish Museum and the Studio Museum in Harlem, major institutions are exhibiting the work of Black artists.

«Black Eye» is on view through May 24 at 57 Walker Street in TriBeCa (just next door to the Artists Space annex).

In an interview with Artnet today, Christopher Y. Lew, who co-curated the biennial, said that Open Casket would remain on view, rejecting artist Hannah Black's call in an open letter for the work's destruction because Schutz is a white woman benefiting from black trBlack's call in an open letter for the work's destruction because Schutz is a white woman benefiting from black trblack trauma.

Kelly's sculpture relates to two important early works: Study for Black and White Panels, 1954, a collage created during the artist's time in Paris, and Black Over White, a 1966 painting made in New York City, both of which will be on view in the gallery as part of the opening exhibition.