Sentences with phrase «black identity which»

A first New York trip, in 1994, seems to have concentrated ideas and inspired themes of Blackness and Black identity which introduced new visual references into his work.

Not exact matches

Often, that translates to employees on the front lines stealing patient medical data or client social security numbers, which can then be sold on the black market or used to commit fraud like collecting someone else's social security benefits, opening new credit card accounts in another's name, or applying for health insurance by assuming the identity of someone else.

He has written with devastating persuasiveness about the the way in which white liberal guilt insists on making racism the primary source for black identity in public life, creating roles for black men and women to play — those of the challenger and bargainer.

What is most dismaying about the employment of a composite girlfriend in Dreams, is not the employment itself (which perhaps can be justified as fairly common, as hinted - at up - front, and as protecting others» privacy), but the using of it to gain black - identity creds with its story about his conflict with her about a play:

However, that identity was only one factor which contributed to the creation of black liberation theology.

Certain of her correspondence, particularly a series of letters to her friend Maryat Lee withheld from publication until 1994, exposes a disturbing facet of her identity as a mid-century white Southerner: a taste for racial jokes and a visceral distaste for the very blackness of black people which seems irreparably out of joint with her identity as a believing Roman Catholic and a writer of theology - driven fiction.

To the extent that «brown» is used by people themselves as an self - identity label, my general impression is that is both rarer and more contentious than «black» and than «Asian», which different people use.

The highest level of membership attainable is Luxy BLACK, at VIP membership identity which comes in at about US$ 99.99 per month.

There's one execution that provides a dollop of Rothian gore (a car on a garage jack comes smashing down, leaving... bloody insides), and a split - screen montage of Kersey in his two identities — doctor and vigilante — is accompanied by AC / DC's «Back in Black,» which feels, in context, like a cheeky dash of horror «tude.

Long after the marketing dust has settled and every pundit, blowhard and Facebook friend has weighed in on it in terms of race, class, gender, identity, representation, Hollywood, politics, the president and these contentious times in which we live, there will be this: «Black Panther» is one heck of a fun cinematic joyride.

Put simply, contrary to the arguments of many White Democrats (as well as pundits such as Jonathan Chait of New York, Frank Bruni of the New York Times and academic Mark Lilla), focusing on the efforts of Black, Latino, immigrant, and low - income communities for economic, social and political equality (which has often been derisively called «identity politics»), is critical to Democrat success in winning elections as well as in winning support from younger voters who are also concerned about these matters.

Black students and parents should be able to attend a well - resourced school that affirms their identities, which is under assault most of the time.

The [DOJ's] petition also cites Cecilia Primary School, which in 2012 - 13 «lost six black students as a result of the voucher program,» thereby «reinforcing the school's racial identity as a white school in a predominantly black school district.»

The sills, extractors and wider front and rear wings all serve to highlight the sporty calling of New Clio Renault Sport which features Renault Sport's new styling identity cues with the Renault Sport Design Pack's two - tone colour scheme based on a choice of Gloss Black or Cold Metal Grey for the front bumper mouldings, exterior mirror housings and diffuser.

While identity theft prevention should be the primary concern, it is also a good time to review your credit report for black marks or in accuracies which could negatively affect your credit score.

Although he's recently moved away from photography and towards installation and sculpture, he still thinks about framing and perspective when composing his pieces (which deliver a subtle but searing critique of popular depictions of black identity).

Black is the Day, Black is the Night is a conceptual exploration into the many facets of human identity using notions of time, accumulation, memory and distance through personal correspondence with men serving life and death row sentences in some of the most maximum security prisons in the U.S., all of which had served between 13 - 26 years at point of contact.

Best known for absurdist public performances, Pope.L has a history of dealing with the politics of race and identity — which the African - American artist doesn't limit to black versus white: His installation at the 2017 Whitney Biennial, for instance, consists of a four - sided structure covered with rows of rotting bologna slices meant to represent the percentage of Jews in New York City.

Providing opportunities for other black women is one way in which Himid's designation as a black feminist — dual identities which «are not separate» — can be seen in practice.

The performances, installations and videos exhibited serve not only as explorations of the complex identity of black youthful opposition but also a way in which to question whether these contemporary traditions can exist with the established traditions of art institutions and discourse.

In the procession of time, this has made black self - idealization an existential and perpetual split personality in which the culture at large and «the self» battle for supreme identity.

At her new post at the Studio Museum in Harlem, Golden curates «Freestyle,» which coins the term «post-black» to describe artists who might seem liberated from identity politics by the market boom in black art.

In 2005, Performa launches the first performance biennial, with identity - focused artists including Marina Abramovic, Ron Athey, Sharon Hayes, and Clifford Owens, whose later show at PS1, «Anthology,» restages the whole history of performance art from the perspective of excluded black artists by performing particular «scripts» — one of which, written by Pope.L, is «Be African - American.

Interwoven throughout the photographs are installations of everyday objects that confront viewers with some of the historical ways in which black female identity has been prescribed — as a mammy, a pin - up, or a ghetto girl.

Best known for absurdist public performances, William Pope.L has a history of dealing with the politics of race and identity — which the African - American artist doesn't limit to black versus white: His installation at the 2017 Whitney Biennial, for instance, consists of a four - sided structure covered with rows of rotting bologna slices meant to represent the percentage of Jews in New York City.

The show reflects on a number of interesting notions: the ways in which postwar black artists have constructed their identity through their reliance on abstraction; the formal affinities between artists of different generations; and the role of non-figurative art as both personal expression and political impetus.

Neptune creates counter-narratives which examine pedagogies of resistance, black subjectivity and the nuances of identity construction amongst marginalized female bodies of color.

«Ofili's Union Black asks questions about British identity, the colonial legacy and the meaning of national allegiance which remain as relevant today as they were when the work was created 14 years ago,» said Tate Britain director Alex Farquharson, in a press statement.

Syms's personal reflection on the mechanisms of production of black identity resonates poignantly with the works in the group exhibition, which challenge, with a rebellious attitude, the boundaries — physical and psychological — of the space assigned to femininity.

However, the context in which his work was placed — a room exclusively containing abstract paintings and sculptures — also pointed to one of the exhibition's most problematic aspects, namely its attempt to link virtually every work or style, even the most purely formalist, to matters of black identity.

As a curator, he recently cocurated — with Robert Storr and Peter Benson Miller — the group show «Nero su Bianco» (Black on White), which examines radical shifts in perceptions of African identity, subjectivity, and agency.

«Still unresolved and very much ongoing» is a quote from an essay by British art historian Kobena Mercer entitled «Iconography after Identity» (2005) in which he discusses Black British art and the importance and complexities of apprehending identity - based, and by extension socio - politically oriented art, through the prism of iconography and icIdentity» (2005) in which he discusses Black British art and the importance and complexities of apprehending identity - based, and by extension socio - politically oriented art, through the prism of iconography and icidentity - based, and by extension socio - politically oriented art, through the prism of iconography and iconology.

In terms of contemporary updates to conceptualism, few have provided as pointed a critique as Adam Pendleton's Black Dada series, which mines the artist's archive for material from which to create dense mediations on race and identity.

In his art Bjarne Melgaard points to problem areas that have been marginalized by society and which we perhaps prefer not to be confronted with: subcultures such as S&M, Black Metal, sexual transgressions and abuse, the exploration of identity and the testing of the limits of the body, existential loneliness, suicide, the constant search for love and a sense of security.

Punchbag added further complexities to questions of raced, gendered and cultural identities raised by Glenn Ligon's Skin Tight: Muhammed Ali Text (1995)[Figs.85 - 86], a punchbag and text piece which specifically sought to address «how black men have used boxing to confront issues of black American identity» and «the construction of masculinity in relation to questions of violence, the commodification of black subjects, sexuality and resistance.»

Although Thomas has noted that not every painting has a collage, every image starts with a photograph, staged in a wood - paneled corner of her studio, and which directly informs and often serves as the basis of her elaborate, rhinestone - clad paintings that explore notions of black female beauty and identity.

«Undercover: Performing and Transforming Black Female Identities,» which explores the use and implications of disguise, will open September 10.

While their identity as black Americans is not the motivation for their inclusion in the show, this identity is nonetheless significant in that many found themselves marginalized in a white - dominated art world that granted limited admission to black artists and again within the Black Arts movement, which rested on a revolutionary ethos that saw abstraction as a site of established privilege, limited in its ability to express political dissent and contribute to the struggle for racial equablack Americans is not the motivation for their inclusion in the show, this identity is nonetheless significant in that many found themselves marginalized in a white - dominated art world that granted limited admission to black artists and again within the Black Arts movement, which rested on a revolutionary ethos that saw abstraction as a site of established privilege, limited in its ability to express political dissent and contribute to the struggle for racial equablack artists and again within the Black Arts movement, which rested on a revolutionary ethos that saw abstraction as a site of established privilege, limited in its ability to express political dissent and contribute to the struggle for racial equaBlack Arts movement, which rested on a revolutionary ethos that saw abstraction as a site of established privilege, limited in its ability to express political dissent and contribute to the struggle for racial equality.

His rich improvisational explorations of subjectivity, identity, and history can be linked to modes of black cultural production, such as the jazz ensemble, which encompasses a search for freeform movement among order.

More complicated is a lenticular text work by Hank Willis Thomas which overlays two statements — «Black is Black,» and «Black is White» — which would appear to question the ability of black people to hold onto their own identity in a majority white socBlack is Black,» and «Black is White» — which would appear to question the ability of black people to hold onto their own identity in a majority white socBlack,» and «Black is White» — which would appear to question the ability of black people to hold onto their own identity in a majority white socBlack is White» — which would appear to question the ability of black people to hold onto their own identity in a majority white socblack people to hold onto their own identity in a majority white society.

Black Southern art can hardly avoid questions of identity in those enigmatic figures and the space in which they live, and Martin's color contrasts resemble those of Jacob Lawrence and Romare Bearden.

According to a release, participants will «explore the ways in which the politics of race are changing in America and France in a time of both growing extremism and the rise of activist movements like Black Lives Matter; what the rise of the populist right in both countries means for national identity; and what both countries» attitudes toward immigration have done to shape its interaction with the broader world.»

In 1997, Montague founded the non-profit Wedge Curatorial Projects, which promotes themes of culture and identity in art — particularly within the diasporic African and Black communities — through exhibitions, lectures and discussions.

The last, «blue - black» is partially inspired by Toni Morrison's 1992 Guardian interview in which she articulates the heart of American identity: «In this country, American means white.

This is important because in an age in which «identity» has become the most slippery of constructs, «sickle - cell» has become a rock - solid signifier of Blackness and Black people.

WNTRP shows Zanele Muholi's current series «Somnyama Ngonyama» (Zulu for: hail the black lioness), in which she stages herself in multiple identities for the camera.

One of the most thought - provoking catalogue narratives is Ligon's «Blue Black,» which discusses the challenges Ofili has faced (and continues to face) in attempting to transition from centralizing concerns about identity, «race,» and social exclusion toward more nuanced and entangled representations focused on cultural syncretism, creolization, and hybridity.

Himid was one of the pioneers of the Black Art movement in the 1980's which offered a forum for black artists exploring the social and political issues surrounding black history and idenBlack Art movement in the 1980's which offered a forum for black artists exploring the social and political issues surrounding black history and idenblack artists exploring the social and political issues surrounding black history and idenblack history and identity.

A program of video - based works that used television technology to bring public attention to Black American identity, through intervention, documentation, and parody, as in Anthony Ramos's About Media, in which the artist uses his Portapak camera to turn a news crew's visit to his home into media critique.

Hank Willis Thomas, Zero Hour An acclaimed young artist, Hank Willis Thomas often appropriates mass media images and texts, which he manipulates to explore tacit assumptions and attitudes about black identity.