Sentences with phrase «black female bodies»

Hosted by Lanisa Kitchiner, director of education and scholarly initiatives at the museum, the panel «will explore how they negotiate intention versus impact in creative works, how they navigate the exclusive art world, and how they use black female bodies — particularly their own — to create alternative visions of black womanhood.»

The black bodies, and specifically black female bodies and their representations, are a pervasive theme throughout her body of work and her adaption of Norma is no exception.

Also, people were thinking about the various ways the images are perceived and what it means to see so many black female bodies in one space.

While foregrounding the way we perceive black female bodies within contemporary culture, Self draws on personal experiences to address issues pertaining to race, sex, and gender.

Viewers are allowed to move her limbs, becoming complicit in a long history of controlling black female bodies.

The work of Tschabalala Self is inspired by the cultural iconography of Black female bodies, mapping the points where questions of race, gender, and sexuality intersect.

Strongly identifying as a dancer, she seeks to complicate the boundaries of dance and the place of black female bodies within the form.

Tschabalala Self is a visual artist based in New York who builds a singular style from the syncretic use of both painting and printmaking to explore ideas about the black female body.

«Florine Demosthene is a Haitian - born artist currently based in New York City whose work explores stereotypes and representation of the black female body.

What she was doing, especially in the late «80s and early «90s, was talking about the black female body as a superhero — an almost bionic, all - powerful body that can take on so many burdens but at the same time be fortified.

Her collection is housed at the Center for Feminist Art and challenges the ways that the black female body has been exoticized and colonized.

Vessels such as vases and urns, cowrie shells, huts, and busts are recurring forms, each making symbolic reference to the black female body.

Oscillating between two separate works, Thomas's painted homage to Sojourner Truth's 1851 speech of Black female empowerment, «Ain't I a Woman,» and a religious altarpiece, Diptych presents the sexy, Black female body sculpted out of flat planes of primary colors in two dimensions on the left (a gesture reminiscent of the painterly techniques of her idols Jacob Lawrence and Romare Bearden), and in a televised two dimensions on the right.

She notes that her work is a process of «demanding respect» for the black female body that has always been understood as a spectacle.

San Francisco's Jenkins Johnson Gallery presents Kenyatta A. C. Hinkle's intimate collages which interrogate narratives around the black female body, history and power.

Shown for the first in the UK, Tschabalala Self's vibrant canvases explore the fantasies surrounding the Black female body within contemporary culture.

Doreen Garner's work identifies, mines and exploits the tissues that bind the sexual and the grotesque, specifically regarding the black female body.

In her work, Doreen Garner examines the sensual and the grotesque, specifically regarding the black female body.

As Pablo Picasso presented the cubist female form, Mickalene Thomas presents an authentic look at the black female body through painting and photography and now through video.

The stereotypes surrounding the Black Female body, the Harlem - born artist Tschabalala Self, both accepts and rejects with the need to create an alternative, often fictional body that will attack the predisposed ideas.

Questions of miscegenation, hybridity and the contours of a black female body as landscape deemed, for all intents and purposes as «ungeographic» (after all, where is «black»?)

While on the West Coast, she created a new body of work that was shown this past summer at L.A. gallery, The Cabin; «Tropicana» continued Self's investigation of the black female body through figurative collages composed of paint, fabric, and dry leaf.

This term is a means to navigate the residue of history through examining the exotification, and the perception of the black female body when taken out of context through the view of the other.

These pieces explore personal narratives from the artist intermingled with known and unknown historical figures in relationship to notions and constructions of the black female body as a prototype for both exotic beauty and repulsion.

In The Clearing (1991), from Lorraine O'Grady's photographic installation Body / Ground, a surrealistic garden becomes the background for an unsettling narrative exploring the Black female body and its relationship to Colonialism.

According to Finn, ««Mentors, Muses, and Celebrities» is a timely and important celebration of the Black female body.

Ashton Cooper talks with Self about her depictions of the black female body, the characters she creates, and the power of parties.

Valérie Oka, Ivorian - French artist addresses the dehumanising and objectification of the black female body while provoking the viewer into an act of looking which involves procedures of translation and the questioning his own implicit role in the perpetuation of these prejudices.

Past artists who have created work for Rivington Place's window include Philomena Francis who used piped black treacle in her artwork mo» lasses III to raise questions about identity and viewing the black female body, and most recently Nilbar Güres» Beekeeper, a photographic composition examining representations of femininity and cultural identity.

While, in these series, she placed her black female body into spaces, like museums, where black women have historically been underrepresented, Weems, in

While, in these series, she placed her black female body into spaces, like museums, where black women have historically been underrepresented, Weems, in Scenes & Take, celebrates the renaissance of television shows with strong black lead characters by black creators like Shonda Rhimes and Lee Daniels.

In the year and a half since finishing her MFA at Yale, 26 - year - old Self has garnered a wide audience for her dynamic representations of the black female body.

Her performative sculptures, both made between the 1960s and today, combine nylons filled with sand and ritualized movements to explore the dual fragility and resilience of the human body — and the black female body in particular.

The works allude to questions of lineage, context, and the imaging of the black female body.

This term is a means to navigate the residue of history through examining the exotification, and the perception of the black female body when taken out of context through the view of the Other.

In attempting to read the work the viewer is provoked into confronting histories of appropriation and consumption of the black female body.

Thematically Siwani's work interrogates the patriarchal framing of the black female body and black female experience within a South African context.

African American Vernacular Photography reproduces 70 of Cowin's most exceptional color plates with essays by Brian Wallis, Director of Exhibitions and Chief Curator at the International Center of Photography, and Deborah Willis, MacArthur Fellow and author of Reflections in Black: A History of Black Photographers 1840 to the Present and, with Carla Williams, The Black Female Body: A Photographic History.

Her work builds a singular style from the syncretic use of both painting and printmaking to explore ideas about the black female body.

By inserting them into the western art - historical canon, black women are given visibility, provoking a conversation about the representation of the black female body in popular culture, its absence from that canon, and how much this visual representation in art has evolved over time.

Self creates large patchworks combining painting, swatches of fabric, and canvas that examine the black female body in the present.

Drawing from their shared limbo - land experience of African - American vs American - African, both women investigate urgent questions of race, identity politics, and the objectification of the black female body.

Sampling such diverse sources as African traditions, international politics, the fashion industry, pornography, and science fiction, her work explores gender, race, war, colonialism, global consumption, and the exoticization of the black female body.

Not exact matches

The Wrestler and Black Swan both explored embodiment, and painfully, graphically exposed what happens when we objectify and abstract bodies (male and female) from their connection to the rest of the human.

@M1sf1ts I spent most of my adult life as a registered nurse with many of those years as a theatre nurse and I saw that whether a person was a saint or a sinner, gay or straight, black or white and even male ot female their heartsd all looked the same, their brains all looked the same and besides their reproductive system, their bodies looked the same: Believe it or not they all bleed the same.

My friend however disagreed with me, citing there are physical attributes that make us who we are (black, white, male, female, etc....) and by being transplanted into that body we take on those characteristics and thus the body holds a key piece of our «soul» or personality that effects any brain within.

If someone were to go insane because of going from white male to black female, doesn't that at least hint there's something intrinsically tied in to the human body and not everything is in the brain?

The world is much bigger than the black and white labels slapped onto the female body.

From the 1970's, the little black dress started shrinking in size and / or revealing much more of the female body.

Oh and I prefer all natural black females that are petite and fit and healthy = natural hair natural breast natural body natural ass natural lips natural everything.