Sentences with phrase «black female identity»

Mickalene Thomas: Mentors, Muses, and Celebrities, an exhibition featuring photographs, film, and video, is a richly textured, and moving portrait of the multiplicities of womanhood that builds upon the artist's ongoing reconsideration of black female identity.

She and Karen Comer Lowe co-curated Undercover: Performing and Transforming Black Female Identities in 2009 to examine the motivations and means of people who manipulate their images.

$ 1,200 Similar to her Hair Portrait series, Mickalene Thomas's Lena blanket explores Black female identity, beauty and adornment through hair.

,» the artist's latest excursions into black female identity carried out in photography, video and exuberant 1970s interiors.

Interwoven throughout the photographs are installations of everyday objects that confront viewers with some of the historical ways in which black female identity has been prescribed — as a mammy, a pin - up, or a ghetto girl.

Currently on display at the Spelman College Museum of Fine Art, Undercover: Performing and Transforming Black Female Identities displays over 75 works that examine the social implications of race, gender, and disguise.

Artists like Carrie Mae Weems, Lorna Simpson, and Mickalene Thomas have been critically acclaimed for their work surrounding black female identity.

In works incorporating thread, combs, and other materials, artist Sonya Clark turns a seemingly vain activity like hair braiding into an opportunity to discuss black female identity, representation, and beauty in society.

Frankly addressing idea such as frailty, sexualized power, and racially bounded ideals of beauty, Reclaiming Images presents us with compelling and nuanced examinations of multiple Black female identities and experiences.

Collector interest has been fervent, and three of her collages — carefully researched assemblages of magazine photographs exploring black female identity — were recently purchased by Beyoncé.

In her texturally rich paintings, Mickalene Thomas examines the popular characterization of black female identity, celebrity, and sexuality.

Undercover: Performing and Transforming Black Female Identities, Spelman College Museum of Fine Art, Atlanta, Georgia, September 10 - December 5, 2009.

The poem they perform — a piece called «Black Girl Magic» — is a celebration of black female identity and a protest against an education system entrenched in a white - dominant narrative that doesn't serve their cultural and socio - emotional needs.

The work presents a piercing, moving, and at times uproarious portrait of the diverse expressions of womanhood, building on ongoing reconsideration of black female identity.

As we recently explored here on Artspace, the alter ego is a trenchant aspect of contemporary art — think of the recent controversy surrounding the Yams Collective's withdrawal from the Whitney Biennial because of artist Joe Scanlan's adopting of a black female identity (fictional artist «Donelle Woolford») as an avatar.

Mickalene Thomas uses her texturally rich paintings to investigate the widespread characterization of black female identity, celebrity and sexuality.

«Undercover: Performing and Transforming Black Female Identities,» which explores the use and implications of disguise, will open September 10.

Thomas, whose work was included in the Museum's 2013 presentation of «Posing Beauty in African American Culture» and 2009 exhibition «Undercover: Performing and Transforming Black Female Identities,» is inspired by a range of sources including art history, popular culture and feminist thought.

Walking into Thomas's two - channel film installation is like being invited into a cozy living room to celebrate the diversity of womanhood, and in particular, the many layers of black female identity.

Her work explores notions of beauty, sexuality and black female identity.

From an important grouping of recently acquired works by self - taught artist Bill Traylor to William H. Johnson's vibrant portrayals of faith and family, to Mickalene Thomas's contemporary exploration of black female identity, the museum's holdings reflect its long - standing commitment to black artists and the acquisition, preservation, and display of their works.

Today, Thomas is known for paintings that explore black female identity, sexuality and beauty and evoke power and femininity.

Mickalene Thomas «Origin of the Universe» at the Brooklyn Museum through Jan. 20, 2013 A solo exhibit of new paintings that explore black female identity, sexuality and beauty and evoke power and femininity.

From William H. Johnson's vibrant portrayals of faith and family to Mickalene Thomas's contemporary exploration of black female identity, SAAM's holdings reflect its long - standing commitment to black artists and the acquisition, preservation, and display of their works.

At the beachside Untitled fair this week (December 6 - 10) are works by Deborah Roberts, who explores black female identity (Fort Gansevoort gallery, $ 5,000 - $ 25,000), while imagined figures explore similar issues in works by Amy Sherald, recently chosen to paint Michelle Obama's official portrait for the Smithsonian National Portrait Gallery (Monique Meloche gallery).