Sentences with phrase «about the blackness of»

If you read the story, you would know that she was responding to some lady - of - color who was wailing about the blackness of santa & jesus.

But don't worry about the blackness of the first as this is to be expected and not a problem.

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.

The younger son loves it, and says he learned all about Christ's blackness from the local Nation of Islam.

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.

Martin and Malcolm challenged me to think deep and long about the meaning of Christianity and blackness.

I knew that most of my former professors at Garrett and Northwestern would have trouble with what I was saying about liberation and Christianity, blackness and the gospel.

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.

If a black person dates someone outside of their race, their «blackness» — and how they feel about it — should not automatically be called into question.

Click the link below to see what others say about Unforgivable Blackness: The Rise and Fall of Jack Johnson!

Spanning a century of film art and taken from various countries around the world, these posters show the evolution of movie promotion over the years, but more pertinently they also reveal a great deal about how blackness has been portrayed, exploited and indeed commoditised, throughout the history of cinema.

«Black or White» is a frank, touching and very well - acted melodrama about child custody and cultural perceptions of «blackness» and «the race card,»... Continue reading →

«Black or White» is a frank, touching and very well - acted melodrama about child custody and cultural perceptions of «blackness» and «the race card,» and could have earned Octavia Spencer and Kevin Costner fresh Oscar nominations.

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

«It's a matter of fact statement about diasporic blackness,» said the University of Southern California scholar.

«Buried» opens with about a minute of total blackness and no audio.

But the fervour over this film is about so much more than mere representation: Black Panther is both a celebration of blackness and perfectly timed political commentary.

Conversations about blackness and race do not have to be limited to the month of February, or to elementary classrooms.

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.

The note responds with a statement of Cassel Oliver's from the catalogue, arguing that the show's mission is to resist «reductive conclusions about blackness: what it is or what it ain't.

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 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.»

Each time, he goes past the role of black artist without ever letting one forget about blackness.

About the Curator: Essence Harden (Oakland, CA) works at the intersections of blackness, art, and cultural history.

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

The unnamed protagonist of Ralph Ellison's 1952 novel, «Invisible Man,» hears it one night as he dreams a troubling dream about racial identity, about «the blackness of Blacknesblackness of BlacknessBlackness.»

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

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.

That story is a complicated one, woven from the threads of debates about how to represent blackness, social struggle and change, and global migrations and diasporas.

'» [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.

These hundreds of objects that looked like framed, matted, fields of painted blackness, worked as neutral, «generic signs» that might inspire the viewer to think about the social expectations that constructed the «idea» of a painting,» more than the actual painting itself.

«At the same time that I'm talking about visibility and invisibility and that I am using the concepts of blackness, the figure seems to stay the same.

These artists challenged notions of essentialism, were «adamant about not being labeled «black» artists,» and posed complex questions about what it means to bring «blackness» into visibility.

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.»

He places blackness itself, as a look, as a history and as a way of being at the heart of his oeuvre, as the filter through which the viewer is compelled to think about the world.

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.

«The fact that I paint black people is not about a celebration of blackness: black people are not exotic to me.»

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.

Beginning with the «Negro Art room» at the 1922 Venice Biennale up to the present — where representations of contemporary «blackness» is dealt with by artists such as Kader Attia, Sammy Baloji, Lynette Yiadom - Boakye, Pascale Marthine Tayou and Wangechi Mutu — «rather than an exhibition about Africa,» says curator Marco Scotini, «The White Hunter is about a construction that the West made of it.»