Her use of digital tools and material, ranging from blue screen technology and 3D avatars to found footage from the internet, reflects on these modes of representation and
the abstraction of black identity in art and media.
Not exact matches
«RASHID JOHNSON: Anxious Men» @ The Drawing Center New York, N.Y. Over the past 15 years or so, Rashid Johnson «s practice has explored a range
of themes, including «the
black experience in America, the dialogue between
abstraction and figuration, and the relationship between art and personal
identity.»
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.
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 equa
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 equa
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 equa
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 equality.
Howardena Pindell's work has been featured in many landmark museum exhibitions, such as: Contemporary
Black Artists in America (1971, Whitney Museum
of American Art), Rooms (1976, P.S. 1 Contemporary Art Center), Another Generation (1979, The Studio Museum in Harlem), Afro - American
Abstraction (1980, P.S. 1 Contemporary Art Center), The Decade Show: Frameworks
of Identity in the 1980s (1990, New Museum
of Contemporary Art), and Bearing Witness: Contemporary Works by African - American Women Artists (1996, Spelman College Museum
of Fine Art, Atlanta).
CULTURE TYPE: The title
of the exhibition Blackness in
Abstraction naturally conjures the concept of black identity and representing it in abstraction, but that is not necessarily what you are tr
Abstraction naturally conjures the concept
of black identity and representing it in
abstraction, but that is not necessarily what you are tr
abstraction, but that is not necessarily what you are trying to do.