Sentences with phrase «about blackness in»

Not exact matches

The relative lack of minority employees at Twitter was particularly galling, say Luckie and Miley, because the platform had become such an important tool for the global black community, through a vibrant and dedicated subset of users known as Black Twitter — who speak to one another about the reality of blackness in America and who often contribute original reporting, spreading news through ad hoc hashtag communities like #BlackLivesMatter.

What this character is saying about legacy, identity, and blackness in DIASPORA is so powerful.

The distinctiveness of black theology is the bringing together of Martin and Malcolm in creative tension — their ideas about Christianity and justice and blackness and self.

The base music of rap, hip - hop, shares quite a bit with disco, indeed grew directly out of it, and the identity / rebel / heroism focus of rap is a very specific one — rock rages in a broadly indistinct or middle - class mode, often against modernity, but rap's poetic world is «lumpen - proletarian,» and its archetypes and formulas are all about expressing certain notions of blackness and manliness.

There have been black characters in Marvel's Cinematic Universe before, there's never been a superhero movie so ensconced in blackness, African culture, and ideas about the African diaspora as Black Panther.

Everything about it is wrapped up in the complex experience of blackness in America.

Beyond the socio - economic benefits, Black teachers held the promise of political power, and they would partner with clergymen, businessmen and parents in the community to raise up a generation of African - American youth who knew their history and affirmed a collective narrative about our Blackness: We are intellectual.

So does another thing Ms. Gee says when she starts each science class telling us about a leader of color in science — she says she will never stop showing her blackness, because at one point we couldn't.

Once again Jewell Parker Rhodes deftly weaves historical and socio - political layers into a gripping and poignant story about how children and families face the complexities of today's world, and how one boy grows to understand American blackness in the aftermath of his own death.

Henry Louis Gates Jr.'s essay on Frederick Douglass is very empowering, and at the end he says, «Even a lecture about something as seemingly apolitical as photography or art in the end must by definition be engaged within and through Douglass's state of being as a black man in a white society in which one's blackness signifies negation.»

In response to Piper's request, Cassel Oliver added: «It is clear however, that some experiences are hard to transcend and that stigmas about blackness remain not only in the public's consciousness, but also in the consciousness of artists themselveIn response to Piper's request, Cassel Oliver added: «It is clear however, that some experiences are hard to transcend and that stigmas about blackness remain not only in the public's consciousness, but also in the consciousness of artists themselvein the public's consciousness, but also in the consciousness of artists themselvein the consciousness of artists themselves.

It was characterized by artists who were adamant about not being labeled as «black» artists, though their work was steeped, in fact deeply interested, in redefining complex notions of blackness.»

In a recent article in The Guardian, Muholi states: «This is about our lives, and if queer history, trans history, if politics of blackness and self - representation are so key in our lives, we just can not sit down and not document and bring it forth.&raquIn a recent article in The Guardian, Muholi states: «This is about our lives, and if queer history, trans history, if politics of blackness and self - representation are so key in our lives, we just can not sit down and not document and bring it forth.&raquin The Guardian, Muholi states: «This is about our lives, and if queer history, trans history, if politics of blackness and self - representation are so key in our lives, we just can not sit down and not document and bring it forth.&raquin our lives, we just can not sit down and not document and bring it forth.»

He writes about modern and contemporary art with an emphasis on articulations of Blackness in the Western visual field.

I've been painting for as long as I can remember, about these bodies that are in the crossroads of queerness and blackness.

«The craziest thing about blackness is that «black people» didn't create it, Europeans with a commercial interest in dehumanizing us created black people...» — Hank Willis Thomas, Gifted

For all the old and new media, painting can still tell a story about art and blackness in America.

That story is a complicated one, woven from the threads of debates about how to represent blackness; social struggle and change; and migrations and diasporas, particularly in relation to Africa, a recent area of expansion for the collection.

'» [i] For her part, curator Valerie Cassel Oliver has said that Radical Presence intends to «resist reductive conclusions about blackness» [ii] and to present a version of performance in black history that transcends traditional categories of music, dance, and storytelling.

The incident has launched a productive dialogue around the stakes of representation and the persistence of «afropessimism» in art and the media, whereby mainstream narratives about blackness continue to focus on, and even fetishise, violence and disenfranchisement, to the exclusion of other themes.

Walking through the exhibit, anyone who has heard about the controversy surrounding Dana Schutz's portrait of Emmett Till in the 2017 Whitney Biennial should be keenly aware of the significance of a show where the narrative of blackness is articulated by black artists.

Mounting Frustration also examines some of the probing debates undertaken by black artists in the 1960s and»70s about the coherence (both political and aesthetic) of the rubric of «black art» given that artists worked across so many different styles and had divergent relationships to their own identifications around blackness.

'» [1] For her part, curator Valerie Cassel Oliver has said that Radical Presence intends to «resist reductive conclusions about blackness» [2] and to present a version of performance in black history that transcends traditional categories of music, dance, and storytelling.

The show featured 28 up - and - coming artists whose work Golden considered to be «post-black,» a term defined by Golden as «characterized by artists who were adamant about not being labeled as «black» artists, though their work was steeped, in fact deeply interested, in redefining complex notions of blackness.»

The purpose of the symposium, which will bring together scholars, artists, and curators, is to begin a conversation about liquidity as an aesthetic form in which blackness is encountered in our contemporary visual and sonic landscape.

Back To Black jointly curated with Richard Powell and David Bailey for the Whitechapel Gallery initiated a three way conversation between the UK, USA and the Caribbean about «blackness» in the 1960s and 70s.

READ Culture Talk interview with Adrienne Edwards about «Blackness in Abstraction» exhibition

You can read more about Hank Willis Thomas and purchase a signed copy of the book Pitch Blackness in our online store.

Two years ago, I listened to the titan of philosophy Fred Moten talk about the fraught convergence of blueness and blackness in «Blue Riders,» Ofili's series that fantastically racialized the early - twentieth - century German Der Blaue Reiter movement's devotional obsession with the color blue.

The value of this work is tied to Blackness in the context of struggle and state - sanctioned violence... Apparently we can not care about Blackness unless it is hurting.

Toyin Odutola Talks About Her Work in New Mexico An artist - in - residence at the Tamarind Institute at the University of New Mexico, Toyin Odutola spoke about her work — pen - and - ink drawings that focus on the blackness of skin color as a point of departure to explore matters of identity and experience — at at the campus musuem on SeptAbout Her Work in New Mexico An artist - in - residence at the Tamarind Institute at the University of New Mexico, Toyin Odutola spoke about her work — pen - and - ink drawings that focus on the blackness of skin color as a point of departure to explore matters of identity and experience — at at the campus musuem on Septabout her work — pen - and - ink drawings that focus on the blackness of skin color as a point of departure to explore matters of identity and experience — at at the campus musuem on Sept. 18.

For Artforum's 500 Words column, artist Wangechi Mutu wrote about «Throw,» 2016, her site - specific action painting that is featured in the exhibition «Blackness in Abstraction,» curated by Adrienne Edwards at Pace Gallery in New York.