Twenty years after her breakthrough exhibition at the Drawing Center and more than five years after a Whitney retrospective, her black paper silhouettes and their white masters can still anger black artists and
black audiences along with unwitting whites.
Not exact matches
In a predominate palette of
black and silver with splashes of white and red, the oil slick leather - like cocktail dress and the gorgeous floral embroidered sheath turned plenty of heads, but it was the red carpet - worthy beaded fit - and - flare frock
along with the peplum tulle ball gown that drew scores of audible oohs and aahs from the
audience.
The idea that a silent,
black and white film could charm modern
audiences seemed far - fetched until The Artist came
along.
As the recent case of Trayvon Martin divides the U.S.
along race lines once again, the film puts
audiences squarely in the shoes of a young
black man caught between his potential and his past.
Along with critics (who have showered the film in praise),
audiences clearly can't get enough of the world of
Black Panther and its characters.
To round out the segment, the entire
audience was then invited to play
along, clapping in time with the
black ninja.
While the works created by these artists have previously been contextualized in terms of associations and movements ranging from Fluxus to Conceptual Art to the blanketed arena of contemporary art practice, in Radical Presence they will be presented
along a trajectory providing general
audiences and scholars alike, a critical understanding of the significance and persistence of
black performance as a stand - alone practice.