Sentences with phrase «black female body»

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.

Her artistic practice critiques the (non)- representation of Black female bodies in art history and stereotypical portrayals in contemporary print media.

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

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.

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

Whereas society and mass media have had a long tradition of fetishizing, denigrating, and marginalizing black female bodies, Thomas refutes those notions and exalts the black female 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.

Tschabalala Self (b. 1990, Harlem) makes syncretic use of painting, printmaking, and assemblage to explore ideas surrounding the black female body.

She writes, «The fantasies and attitudes surrounding the Black female body are both accepted and rejected within my practice, and through this disorientation, new possibilities arise.»

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

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

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.

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

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.

Hinkle's work focuses on perceptions and misperceptions of the black female body, tackling issues of race head - on.

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

Hear from Mutu about recent developments in her artistic materials, processes, and inspirations, and her ongoing interests in representations of the black female body and labor.

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.

The show features a new series of large - scale sculptures of the black female body, all taking poses take a cue from art history — «mimicking Renaissance paintings and classical Roman statues.»

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.

She links this relationship to the French occupation of Africa and the black female body as a charted territory.

Mutu (who is also in «Shadows Took Shape») uses her fantastical female creatures to allure and disrupt, commenting on issues like race, gender, colonialism, and the exoticization of the black female body.

Titled «Kwasuka Sukela: Re-imagined Bodies of a (South African) 90s Born Woman», Msezane maps out how the process of commemorative practice informs constructions of history, mythmaking, and ultimately addresses the absence of the black female body in the monumentalisation of public spaces.

Dominique Hunter «s work often takes the form of collage's where the result of simultaneously reinforcing and dismantling stereotypes about the black female body leads to a physical embodiment of issues around sexuality, commodification, exploitation, and (non) representation in art historical texts and imageries.

Primarily concerned with the concept of the Black female body within contemporary culture, Self examines the confluence of race, gender and...

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: Your practice has centered around what you term the «iconographic significance of the black female body in contemporary culture and the collective fantasies that surround the black body.»

The art of Kenyatta A.C. Hinkle raises questions about our collective encounters with the black female body and its relationship to the exotic and the unknowable.

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.

Interested in the black female body in contemporary visual culture, she is «piqued by how her physical size is supposed to dictate a certain set of ideals and behavior.»

She focuses primarily on the black female body and how it has been perceived and distorted within visual cultures of the past and present.

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.