Sentences with phrase «black identity through»

Highlighting the exceptional work of some of the most dynamic and thought provoking African American visual artists in the last three decades 30 Americans provides visitors new and different lenses to view black identity through their art.

He's interested primarily in the investigation of the construction of black identity through popular culture in the 17th and 18th century but also in the more recent times.

American artist Hank Willis Thomas discusses his work and the construction of black identity through popular culture.

Pinder seeks to find black identity through his experimental videos and feature films that reference music, videos, and musical theater.

Not exact matches

Her work explores representations of black male sexuality and identity, through exceptional craftsmanship and embellishments.

Anti-blackness and Islamophobia structure American Black Muslim subjects through opposing regimes of identity and visibility.

Thanks to leaked pictures of the film, we already knew that Sam Wilson / Falcon is going to be at Steve's side through thick and thin, and that a now - very blonde Black Widow — who is likely hiding under a new identity — will join the duo.

In Black Ops 4, we're incorporating narrative gameplay experiences directly into MP and giving players the ability to learn and master each of the Specialists through solo missions that give hands - on intros to each Specialist, while exploring the stories behind their identities.

Debuting in a time where discussion on race in American cinema is at an absolute fever pitch, Morris From America explores the idea of cultural and personal identity through the lens of a 13 - year old black aspiring free - styler living with his father (Craig Robinson) in the little white - washed German village of Heidelberg.

Tapping into students» interests and identities through stories such as Black Panther can encourage willingness to further engage with reading.

While white students may have their identity and self - worth constantly reinforced by the media and their white teacher, they may, at the same time, harbor negative images of Black people through the media, literature, or in school.

You are invited to join us for the third annual Women's History Month conversation where we will discuss racial identity and healing through the lens of the Black female educator experience.

You are invited to join us for a timely Women's History Month conversation where we will discuss racial identity and healing through the lens of the Black female educator experience.

Through his exploration of black male identity, Smith challenges the reader with truths that are powerful and urgent.

Errors and stolen identities can lead to enormous black marks on your credit report through no fault of your own.

In Black Ops 4, we're incorporating narrative gameplay experiences directly into MP and giving players the ability to learn and master each of the Specialists through solo missions that give hands - on intros to each Specialist, while exploring the stories behind their identities.

Saar, who explores history and identity through sculpture and mixed - media works, is among a handful of Black artists invited to serve as commencement speakers this spring.

This spring, the Serpentine presents the first European solo exhibition of American artist Sondra Perry (b. 1986, Perth Amboy, New Jersey), who explores the intersection of black identity, digital culture and power structures through video, media, installation and performance.

Her informal portraits assert black identity and will be on view through October 22nd.

Through compelling portraiture and both intimate and disquieting scenes of domestic life, Kerry James Marshall comments on contemporary and art historical depictions of black identity.

Black is the Day, Black is the Night is a conceptual exploration into the many facets of human identity using notions of time, accumulation, memory and distance through personal correspondence with men serving life and death row sentences in some of the most maximum security prisons in the U.S., all of which had served between 13 - 26 years at point of contact.

Four of the works — Andrews» Mississippi River Bank, Gibson's Sharecropper, Binion's DNA: Black Painting: IV, and Saterstrom's Road to Shubuta — are currently on view through July 8, 2018, in Picturing Mississippi, 1817 2017: Land of Plenty, Pain, and Promise, the landmark exhibition interpreting Mississippi identity curated by the Museum on the occasion of the state's bicentennial.

In her first solo museum exhibition, Oakland - born artist Sadie Barnette maps identity construction and personal mythology through the FBI file amassed during her father's years as a Black Panther.

Her work often explores important topics such as contemporary black identity, queer theory, and the power of human language, seen through video, performance, writing and other new media.

The Ogden's display materialises through its acknowledgment of this tension: those who have considered their art as framing their own unique sense of self, and those who have used it for the purposes of forging a collective black identity.

The show reflects on a number of interesting notions: the ways in which postwar black artists have constructed their identity through their reliance on abstraction; the formal affinities between artists of different generations; and the role of non-figurative art as both personal expression and political impetus.

Her work focuses on the interaction between technology and black identity and questions how blackness is represented through modern technology.

In White Girls, his critically acclaimed collection of essays from 2013, he examines his identity as a gay black man through the white women who have caused him pain.

Today, when you eat Thai curry (Rirkrit Tiravanija) or walk through a garden of black flowers (Jenny Holzer), you understand that the identity of artists has become inseparable from questioning their practice; ontological Conceptualism has become so totally invasive that it is no longer possible to speak about it in terms of influence.

«Still unresolved and very much ongoing» is a quote from an essay by British art historian Kobena Mercer entitled «Iconography after Identity» (2005) in which he discusses Black British art and the importance and complexities of apprehending identity - based, and by extension socio - politically oriented art, through the prism of iconography and icIdentity» (2005) in which he discusses Black British art and the importance and complexities of apprehending identity - based, and by extension socio - politically oriented art, through the prism of iconography and icidentity - based, and by extension socio - politically oriented art, through the prism of iconography and iconology.

Working around issues of black male identity in the exhibition Tailor, Singer, Striker, Dandy (2011) at the Gallery of Costume, Platt Hall, Manchester Art Gallery she selected from the large West African textile collection in the gallery's stores and reinterpreted the materials to express contemporary and historic male identity through appearance and clothes.

Lorraine O'Grady, born in 1934, probes identity through paired images of Michael Jackson and Charles Baudelaire — who called his Haitian mistress his «black Venus.»

2012 Afro: Black Identity in America and Brazil, Tamarind Institute, Albuquerque, USA Falling Through Space Drawn by the Line, UB Art Galleries, University at Buffalo, USA

, an exhibition that examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 through rare historical printed media shown in dialogue with contemporary works of art.

Foregrounding Black bodies, identity, and culture through photography, filmmaking, and music, he works beyond the gallery walls to «make blackness as universal as whiteness.»

Subject of Escape Route, a solo exhibition at Bronx Museum of the Arts, Jeffery Spencer Hargrave (presented by Ethan Cohen New York, New York) filters art history through Black history and queer identity, manifesting a refreshing directness and witty honesty throughout.

He went to Howard University, in Washington, D.C., and began to study architecture, understanding what he learned through his identity as a black man.

As a black man born in Manchester and now living in Trinidad, half a world away from the endless machinations of the London art world and London's art dealers, how has Ofili defined his own experience of being alive, and succeeded in establishing his own black cultural identity through his art?

In 1997, Montague founded the non-profit Wedge Curatorial Projects, which promotes themes of culture and identity in art — particularly within the diasporic African and Black communities — through exhibitions, lectures and discussions.

The Nude Man in Art from 1800 to the Present Day Musèe d'Orsay, Paris, France «Eye to I... 3,000 years of Portraits» Katonah Museum of Art, Katonah, NY 30 Americans, Milwaukee Art Museum, Milwaukee, WI Through the Eyes of Texas: Masterworks from Alumni Collections, The Blanton Museum of Art, Austin, TX 2012 Looped, Utah Museum of Contemporary Art, Salt Lake City, UT The Human Touch: Selections from the RBC Wealth Management Art Collection, RedLine Gallery, Denver, CO The Soul of a City: Memphis Collects African American Art, Memphis Brooks Museum of Art, Memphis, TN 30 Americans, Chrysler Museum of Art, Norfolk, VA All I Want is a Picture of You, Angles Gallery, Los Angeles, CA BAILA con Duende: Group Art Exhibition, Watts Towers Arts Center and Charles Mingus Youth Arts Center, Los Angeles, CA The Bearden Project, The Studio Museum in Harlem, New York, NY The Human Touch: Selections from the RBC Wealth Management Collection, The Scottsdale Museum of Contemporary Art, Scottsdale, AZ 2011 Parallel Perceptions, NYC Opera, New York, NY Who, What, Wear: Selections from the Permanent Collection, Studio Museum Harlem, New York, NY Capital Portraits: Treasures from Washington Private Collections, National Portrait Gallery, Smithsonian Institution, Washington, D.C. Becoming: Photographs from the Wedge Collection, The Nasher Museum of Art at Duke University, Durham, NC Human Nature: Contemporary Art from the Collection, Broad Contemporary Art Museum (BCAM) at Los Angeles County Museum of Art, (LACMA) Los Angeles, CA Beyond Bling: Voices of Hip - Hop in Art, Ringling Museum of Art, Sarasota, FL 30 Americans: Rubell Family Collection, Corcoran Gallery of Art, Washington, D.C.. For a Long Time, Roberts & Tilton, Culver City, CA RE-Envisioning the Baroque, I.D.E.A. at Colorado College, Colorado Springs, CA 2010 Size Does Matter, FLAG Art Foundation, New York NY Passion Fruits, Collectors Room, Berlin The Global Africa Project Exhibition, Museum of Arts and Design, New York, NY Personal Identities: Contemporary Portraits, Sonoma State University Art Gallery, Sonoma, CA Patter ID, Akron Art Museum, Akron, OH Wild Thing, Roberts & Tilton, Culver City, CA Summer Surprises, Pennsylvania Academy of the Fine Arts, Philadelphia, PA Individual to Icon: Portraits of the Famous and Almost Famous from Folk Art to Facebook, Plains Art Museum, Fargo, ND The Library of Babel / In and Out of Place, 176 Zabludowicz Collection, London, England Searching for the Heart of Black Identity: Art and the Contemporary African American Experience, Kentucky Museum of Art and Craft, Louisville, KY The Gleaners: Contemporary Art from the Collection of Sarah and Jim Taylor, Victoria H. Myhren Gallery, Denver, CO From Then to Now: Masterworks of Contemporary African American Art, Cleveland Art Museum, Cleveland, OH 2009 Enchantment, Joseloff Gallery, Hartford, CT Reconfiguring the Body in American Art, 1820 - 2009, National Academy Museum, New York Creating Identity: Portraits Today, 21C Museum, Louisville, KY Other People: Portraits from Grunwald and Hammer Collections, Curated by Cindy Burlingham and Gary Garrels, Hammer Museum, Los Angeles, CA 2008 30 Americans, Rubell Family Collection, Miami, FL Recognize: Hip Hop amd Contemporary Portraiture, Smithsonian Institution National Portrait Gallery, Washington, D.C. Macrocosm, Roberts & Tilton, Culver City, CA 21: Contemporary Art at the Brooklyn Museum, The Brooklyn Museum, Brooklyn, NY Selected Drawings, Museum of Contemporary Art, Cleveland, Cleveland, OH Down, Museum of Contemporary Art, Detroit, Detroit, MI

Amidst the 1963 March on Washington, black artists from Harlem to Los Angeles were focused on creating spaces where they could flourish, and through the lens of creativity, identity could be explored.

«Creative Time Global Residency: Reports From the Field», New York, NY, December 3, 2013 «Urban Imprint: The Art and Science Shaping Our Cities,» hosted by The University of Chicago, Jazz at Lincoln Center's Frederick P. Rose Hall, New York, NY, November 14, 2013 «Cultural Investment: Creating a Civic Identity Through the Arts,» CityLab: Urban Solutions for Global Challenges, NYU Skirball Center for the Performing Arts, New York, NY, October 7, 2013 «One State Together in the Arts» One State Illinois Conference, Quad Cities, IL, June 24, 2013 «Theaster Gates in Conversation with Romi Crawford,» Black Collectivities, Museum of Contemporary Art, Chicago, Chicago, IL, May 4, 2013 «LINC Legacy and Advancements in the Field,» hosted by the Ford Foundation, May 2013 «Constituency Engagement — Culture - Initiated Redevelopment: Strategies in Innovative Constituent Engagement,» Association of Black Foundation Executives, Palmer House Hilton Hotel, Chicago, IL, April 6, 2013 «Creating Heat - The Artist as Catalyst: Theaster Gates at TEDxUNC,» University of North Carolina at Chapel Hill, Chapel Hill, NC, February 9, 2013 «Building CapaCity Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 26, 2013 «Creative Resilience Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 25, 2013 «Transformative Art: Theaster Gates,» World Economic Forum Annual Meeting, Davos, Switzerland, January 23, 2013

A program of video - based works that used television technology to bring public attention to Black American identity, through intervention, documentation, and parody, as in Anthony Ramos's About Media, in which the artist uses his Portapak camera to turn a news crew's visit to his home into media critique.

Known for his collages and videos that offer commentary through the lenses of black and queer sub-cultures, Rashaad Newsome utilizes his artwork as a means to explore the concept of identity in numerous permutations.

examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 through contemporary works of art and rare historical printed media.

Simultaneously visceral and abstract, the installation explores black identity in relation to capitalism and colonialism through an uncanny superimposition of the histories of these two systems upon the present day.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

Hank's interest in commodity culture and identity through multiple perspectives shows viewers how images / objects can diverge from common understandings of Black life in the Western tradition.

This exhibition examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 through contemporary works of art and rare historical printed media.

He is best known as one of the founders of the Black Audio Film Collective, which was active between 1982 and 1998, and which was dedicated towards examining issues of Black British identity through film and media.