Sentences with phrase «black figures in paintings»

At just 26, the artist invites comparisons to the 61 - year - old Kerry James Marshall, and not only because they both exclusively describe the lives of black figures in their paintings.

But Marshall is best known for work that places black figures in paintings which take their cue from the European masters.

Not exact matches

He wore a black leather coat and an orange - and - red T - shirt covered in stretched - out figures from a Stone Age cave painting.

It has to be the silhouette — a figure in black against a dramatic canvas, almost always perfectly composed like a painting.

Readers will recognize many of the paintings and locations that figure in the story and the book has black and white illustrations to help.

«For me,» he said in his MCA Chicago lecture, «the thing that has the greatest transformative capacity in the art world today, in terms of what people expect to see when they go to the art museum, is a painting that has a black figure in it, because 95 percent of all the other paintings you see are going to have white figures in them.

In his paintings, the figures are an extreme, coal black.

The Mete of the Muse (2006) juxtaposes differing representations of race in two bronzes: one a black patinated Egyptian figure and the other a white painted classical European nude.

Barré created spare, minimal figures which left much of the canvas open; when he began using spray paint in 1963 as a reflection of his appreciation of graffiti in the Paris metro, he employed a particular matte black to create white surfaces marked by traces or stripes.

Amongst our favorite artworks being exhibited here are Marc Dennis» realistic still - life painting of luscious flowers at Dallas» Cris Worley Fine Arts, Francis Upritchard's gesturing bronze figure at London «s Kate MacGarry, Jason Middlebrook's geometric abstraction on an elm plank at New York «s Ameringer McEnery Yohe, Luis Gispert's abstraction made by embedding gold chains in a field of black stones at Palma de Mallorca's Lundgren Gallery, and Klara Kristalova's ceramic sculpture of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.

Marshall has long said that he paints unapologetically black figures using black paint in order to push the Western canon of art history in a more diverse and representational direction.

DALeast paints animal figures in his signature style using a swirling vortex of organic black lines with white highlights.

The exhibition opens with Himid's monumental Freedom and Change, 1984, which appropriates and transforms the female figures from Picasso's Two Women Running on the Beach (The Race), 1922, into black women, powerfully and humorously subverting one of the most canonical paintings in Western art history.

In Look Back at It (2016), all of the figures from Picasso's painting are replicated, but in collages made up of black bodies, fireballs, and blinIn Look Back at It (2016), all of the figures from Picasso's painting are replicated, but in collages made up of black bodies, fireballs, and blinin collages made up of black bodies, fireballs, and bling.

In his most recent body of work, Santiago reimagines the history and story of the Black Knight that figured in several Renaissance paintings and literary accounts, such as the one depicted in the painting Chafariz d'el Rey, c. 1570 - 80 (artist unknownIn his most recent body of work, Santiago reimagines the history and story of the Black Knight that figured in several Renaissance paintings and literary accounts, such as the one depicted in the painting Chafariz d'el Rey, c. 1570 - 80 (artist unknownin several Renaissance paintings and literary accounts, such as the one depicted in the painting Chafariz d'el Rey, c. 1570 - 80 (artist unknownin the painting Chafariz d'el Rey, c. 1570 - 80 (artist unknown).

AT THE WHITNEY BIENNIAL, there are two more paintings by Taylor on view depicting a black male figure in a white t - shirt.

One of three paintings in the show (Atmospheric Drag on Satellite, 1965), for example, is dominated by a pair of life - size stenciled figures floating against a dappled gray and black background.

Kerry James Marshall's major monographic retrospective presents a broad range of pictorial traditions to counter stereotypical representations of black people in society and reassert the black figure within the canon of Western painting.

2017 Inventing Downtown: Artist - Run Galleries in New York City, 1952 - 1965, Grey Art Gallery, New York University, New York, NY; New York University, Abu Dhabi Art Gallery, United Arab Emirates Picturing Mississippi: Land of Plenty, Pain and Promise, Mississippi Museum of Art, Jackson, MS Soul of a Nation: Art in the Age of Black Power, Tate Modern, London, England Sputterances, Metro Pictures, New York, NY Expanding Tradition: Selections from the Larry D. and Brenda A. Thompson Collection, Georgia Museum of Art, Athens, GA Regarding the Figure, The Studio Museum in Harlem, New York, NY Visionary Painting: Curated by Alex Katz, Colby College Museum of Art, Waterville, ME Color People, Rental Gallery, East Hampton, NY Victors for Art: Michigan's Alumni Collectors, University of Michigan Museum of Art, Ann Arbor, MI Figuratively Speaking, Michael Rosenfeld Gallery LLC, New York, NY

Themes of race and violence figure in art throughout this Biennial, including a painting by the black artist Henry Taylor, «The Times Thay Ai nt a Changing Fast Enough!»

Throughout his career, Marshall has consistently sought to correct the under - representation of people of colour in Western culture by creating his own depictions of black figures (both historical and fictional) using the art - historical genres of history painting, portraiture and landscape.

The subjects in the Black Paintings and their related works - on - paper are lovers, mothers and children, and amorphous, looming creatures — figures allusive of existential oppositions and emotional turmoil.

First shown in a solo exhibition at Metro Pictures, New York, in 1986, this work was one of four figurative paintings that featured iconic political figures and groups from the late 1960s and early 1970s, including Angela Davis, the Black Panther leader Kathleen Cleaver, and the experimental troupe the Living Theatre.

While Whitten will be remembered as a giant of American painting and a singular figure in the creative history of black diaspora, he kept his eye fixed on the deeper currents that connect people across broad cultural divides and vast historical distances.

We placed Philip Guston's important 1977 oil painting Black Coast and a very important drawing from Guston's coveted series of sleeping figures, done in the 1970s.

However, in the wake of the Watts riots, and the general breakdown of urban life in the United States in the late 1960s and early 1970s, Marshall focused on «an examination of the historical absence, or «invisibility» of the black figure in the tradition of painting.»

Rothko, a contemporary of Jackson Pollock and a major figure in abstract expressionism (though he personally loathed the term), produced 40 large format paintings in shades of dark red, brown and black for the Seagram commission.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redFigure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redfigure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

In a 2010 photograph entitled Le déjeuner sur l'herbe: Le Trois Femme Noires (2010), Thomas re-stages Édouard Manet's famous image, substituting his painted figures for provocatively dressed black women.

Reinterpreting the Otto Dix image using recent polaroids of himself and Elke nude, sitting in a similar position as Dix's parents, the artist painted the figures using predominantly black and white palette and addressed the powerful themes of his celebrated «Avignon» canvases exhibited at the 2015 Venice Biennale.

In 2000 Doig collaborated on a series of small paintings with the artist Chris Ofili that showed two figures: a black man with an enormous Afro and a white man dressed in a Napoleon hat and uniforIn 2000 Doig collaborated on a series of small paintings with the artist Chris Ofili that showed two figures: a black man with an enormous Afro and a white man dressed in a Napoleon hat and uniforin a Napoleon hat and uniform.

«For people like me, struggle has been part of our culture, and within that I've been looking at the ways black people keep moving and thriving,» says the Brooklyn artist, whose ongoing series of «Floater» paintings features black figures reclining blissfully in pools.

The figures in her paintings are mostly black men and women, isolated against dark backgrounds.

The large paintings, a continuation of the artist's latest «Wrestler» series, feature muscular male figures in acrobatic stances against bright backdrops dotted with a curious dog here or an ominous swarm of black birds there.

The exception to the series is the last painting, a portrayal of intellectual and activist Susan Sontag as a young woman alongside a heavily blacked - out male figure, again symbolic of the contributions to contemporary culture made by a woman in a predominantly male - orientated world.

Prudence Heward exhibited frequently during her lifetime and she often received positive reviews — although some of her figure paintings, such as The Bather (1930)(Art Gallery of Windsor) and the Agnes Etherington Art Centre's Hester (1937)(one of her paintings depicting a naked black woman), provoked hostile reactions in the press.

At a time when race and identity became major issues in music, sport and literature, brought to public attention by iconic figures like Aretha Franklin, Muhammad Ali and Toni Morrison, «Black Art» was being defined and debated across the country in vibrant paintings, photographs, prints and sculptures.

On the other hand, both parts of Black in the Abstract make it perfectly clear that, on the whole, the quality of the work being produced by black artists whose practices include abstraction — as the inclusion of Hammons, McMillian and Donnett indicate, not everyone here is an «abstract painter» — does not suffer in comparison with that of their colleagues of other backgrounds, including major figures like Amy Sillman and Charline von Heyl, both of whom have work in Arning's Painting: A Love SBlack in the Abstract make it perfectly clear that, on the whole, the quality of the work being produced by black artists whose practices include abstraction — as the inclusion of Hammons, McMillian and Donnett indicate, not everyone here is an «abstract painter» — does not suffer in comparison with that of their colleagues of other backgrounds, including major figures like Amy Sillman and Charline von Heyl, both of whom have work in Arning's Painting: A Love Sblack artists whose practices include abstraction — as the inclusion of Hammons, McMillian and Donnett indicate, not everyone here is an «abstract painter» — does not suffer in comparison with that of their colleagues of other backgrounds, including major figures like Amy Sillman and Charline von Heyl, both of whom have work in Arning's Painting: A Love Story.

See figure 2 in the essay on Untitled [black painting with portal form] for a view of the painting in its early state.

The Black Paintings don't tend to figure prominently, if at all, in discussions of Pollock's oeuvre.

KAWS» deep black Michelin - like figure CHUM (2009) stands determinedly next to graphic paintings by Gokita, offering his protection to the naked and faceless vulnerables posed in the images, while ACCOMPLICE (2010)-- a matte black toy bunny sculpture with large Xs covering his eyes — stands hunched in defeat across the room, out of sync with the bright canvases that surround him.

They culminate in «The Third Love Painting» (1960) in which a large phallus - figure topped with black hairs contains a small block of hand - lettered text: the closing lines of a poem by Walt Whitman about his happiness while lying beside his sleeping lover, «under the same cover in the cool night.»

The gaps between the stripes are much more definite than in the Black Paintings, since Mr. Stella outlined them in pencil, but a certain lack of neatness persists, especially when the stripes turn corners, contributing to ebullient play between figure and ground.

Her early drawings and cut - outs explored the absence / presence of the black figure in European painting.

Overwhelmed by the prevalence of white figures and symbols in art history, Marshall's paintings in the Souvenir series focus on Black history as reconciliation.

Painted in a palette of bright hues to deep blacks, Brown's works are centered on the human figure, built with layers of vibrating oil paint.

The painting also signaled his embrace of figuration and commitment to painting black figures with black paint and considering blackness in cultural, social, and aesthetic terms.

Known for his vibrant, large - scale paintings of black man posing as famous figures, Kehinde Wiley's Obama presidential portrait features the US ex-leader sitting in front of a floral backdrop.

The Mete of the Muse (2006) contrasts two bronze figures — a white - painted nude in the Greco - Roman style and an Egyptian figure with a black patina.

Color and black & white single panels, diptychs, triptychs, and a five part reclining figure were all made using a 40 - by - 80 inch Polaroid camera and will be on view alongside the 10 - by - 21 foot Big Nude, a 1967 painting on loan from a private collection and never before exhibited publicly in New York.