Sentences with word «negress»

After receiving her BFA from Atlanta College of Art in 1991 and an MFA from the Rhode Island School of Design three years later, Walker went on to create Gone: An Historical Romance of a Civil War as It Occurred b» tween the Dusky Thighs of One Young Negress and Her Heart (1994), first exhibited at New York's Drawing Center.

Lot 137: KARA WALKER (1969 ---RRB-, «Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times,» 1997 (bound pop - up book, with offset lithographs and five laser - cut, pop - up silhouettes on wove paper).

Excavated from the Black Heart of a Negress, n.d.; cut paper on wall.

Kara Walker installs «For the Benefit of All the Races of Mankind (Mos Specially the Master One, Boss) An Exhibition of Artifacts, Remnants, and Effluvia EXCAVATED from the Black Heart of a Negress III» (2002) at the Tang Museum, Saratoga Springs, NY

Kara Walker installs «Gone, An Historical of a Civil War as it Occurred Between the Dusky Thighs of One Young Negress and Her Heart» (1994) at the Tang Museum, Saratoga Springs, NY

, Narratives of a Negress, exh.

Her work finds a natural extension in animated films (Testimony, Narrative of Negress Burdened by Good Intentions, 2004) and watercolours created since the late 1990s.

• Blonde Negress (1926) Bronze, San Francisco Museum of Modern Art.

Spell check doesn't recognize the word «negress» and it wants to capitalize «negro.»

, Kara Walker: A Negress of Noteworthy Talent, exh.

Kara Walker, Gone, An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart, 1994, cut paper on wall, installation variable dimensions, approx. 396.2 × 1524 cm, 156 x 600 in., installation view: Selections 1994, The Drawing Center, New York, 1994, © photo: Orcutt Photo, Courtesy Kara Walker & Sikkema Jenkins & Co., New York, © Kara Walker

Kara Walker, Gone, An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart, 1994, Cut paper on wall.

All cut from black paper by the able hand of Kara Elizabeth Walker, an Emancipated Negress and leader in her Cause, 1997, cut paper on wall, approx. 144 × 1020 in, 365.76 × 2590.8 cm, installation view: Kara Walker: My Complement, My Enemy, My Oppressor, My Love, Hammer Museum, Los Angeles, 2008, © photo: Joshua White, Courtesy Kara Walker & Sikkema Jenkins & Co..

The titles of the artworks, which often refer to the artist as the «Negress,» stress her ironic position, exaggerating the stereotypical expectations thrust upon minority artists.

Joan Miró (1893 - 1983) Painting, 1927 A Star Caresses the Breast of a Negress, 1938 Piet Mondrian (1872 - 1944) The Tree A, 1913 Composition with Yellow, Blue and Red, 1937 - 42

A Negress of Noteworthy Talent documents a multimedia project developed by Kara Walker (born 1969) in Turin: her 2011 solo exhibition at the Fondazione Merz, a workshop for students from the Art Academy and University of Turin, an international conference on the politics and psychology of race stereotypes.

KARA WALKER explains the concept behind «Gone: An Historical Romance of a Civil War as it Occurred b» tween the Dusty Thighs of One Young Negress and Her Heart.»

If we take Manet's Olympia (1863) as a critical - yet - still - problematic exemplar of the patriarchal tradition, we might imagine that Thomas reclaims the marginalized positions of both the recumbent white sex worker (ridiculed as corpse - like and revolting in contemporaneous criticism) and her black attendant (offensively disparaged by 19th - century critics as a «hideous Negress»).

Uppity Negress addresses the layered roles gender and race have played historically in black women's ability to navigate their position in urban space.

Hence she positioned the Duchamp opposite Constantin Brancusi's bronze «The Blond Negress» (1917) to anchor the story of their friendship sketched in the object labels.

The piece, a mural titled «Gone: An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart,» drew praise and controversy in the art world.

Image: Kara Walker's Gone, An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart [detail], 1994.

After enjoying what may safely be considered a critical success for her Gone: A Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart, Kara Walker was offered a representation with a major gallery, Wooster Gardens — now known by the name of Sikkema Jenkins & Co..

The same year she obtained a master's degree at the Rhode Island School of Design, Walker debuted a mural at the Drawing Center in New York City titled as Gone: A Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart.

Walker: «Excavated from the Black Heart of a Negress.»

So it's thrilling to see, say, Kara Walker's 50 - foot - long installation with a title nearly as unwieldy: «Gone: An Historical Romance of a Civil War as It Occurred b» tween the Dusky Thighs of One Young Negress and Her Heart,» a slyly subversive take on Victorian - era silhouettes, suffused with sex and violence.

Installation view: «We at the Camden Arts Centre are Exceedingly Proud to present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress.»

Kara Walker's 50 - foot - long wall installation Gone: An Historical Romance of a Civil War as It Occurred b» tween the Dusky Thighs of One Young Negress and Her Heart (1994) is on view in the Marron Atrium through November 29, 2010.

Kara Walker talks about her interpretation of Gone with the Wind, and how it inspired her first silhouette piece, Gone, An Historical Romance of Civil War As it Occurred Between the Dusky Thighs of Young Negress and Her Heart.

Current projects include In the Shadow of the Negress: A Brief History of Modern Artistic Practice, which explores the constitutive role played by fictions of black womanhood in Western art from the late - eighteenth century to the present, and a companion volume — tentatively entitled Touched by the Mother: Contemporary Artists, Black Masculinities, and the Ends of the American Century — that brings together many of his new and previously published critical essays.

Kara Walker, Gone: An Historical Romance of a Civil War as It Occurred b «tween the Dusky Thighs of One Young Negress and Her Heart, 1994, paper, 3.9 x 15 m. Courtesy: the artist and MoMA, New York

English is the author of «How to See a Work of Art in Total Darkness,» co-editor of ««Kara Walker: Narratives of a Negress» and he is working on a new book, «1971: A Year in the Life of Color,» whose subject was the basis of his Twenty - Sixth Annual Rebay Lecture at the Guggenheim Museum in January 2014.

Major exhibitions under Shearer's tenure include — the Labeltalk series; annual Day Without Art AIDS; David Hammons Yardbird Suite; Introjection: Tony Oursler mid career survey, 1976 — 1999; Carrie Mae Weems: The Hampton Project; Prelude to a Nightmare: Art, Politics and Hitler's Early Years in Vienna 1906 — 1913; Kara Walker: Narratives of a Negress; and she brought American Dreams: American Art to 1950 to the Williams College Museum of Art.

«A nude Negress painted gold, having danced with a Negro twice her size, leaned her body against a post and masturbated..

Later, a venomous Belgian vocalizes something interesting by commenting on what it must have been like when Tarzan first laid eyes on Jane, after the years of encountering only «primates and negresses.»

From John Currin's old - master - style Playboy bunnies to Elizabeth Peyton's fin - de-siecle portraits; from Julie Mehretu's dizzying, multilayered architectural landscapes to Shahzia Sikander's multipatterned miniature ones; from Yoshitomo Nara's angry and enigmatic little girls to Kara Walker's stereotypical negresses; and from Barry McGee's caricatures of urban graffiti to Matthew Ritchie's cosmological diagrams — drawing is back, if it ever went away.