Sentences with phrase «black male identity in»

Through questions and answers that are pointed, poignant, humorous, painful, and revealing, these men begin to redefine black male identity in America.

Question Bridge: Black Males is a transmedia art project that seeks to represent and redefine Black male identity in America, created by Chris Johnson, Hank Willis Thomas, Bayeté Ross - Smith, and Kamal Sinclair.

Fahamu Pecou is an American artist and scholar who explores black male identity in art, performance and popular culture.

Question Bridge: Black Males A 5 - channel video installation by Artist Hank Willis Thomas January 27 — May 1, 2016 Opening Reception: January 27 The UMCA is pleased to present Question Bridge: Black Males, a five - channel video installation that aims to represent and redefine black male identity in America, and powerfully exposes the incredible diversity of thought, character, and identity within the black American male demographic, disrupting traditional generalizations.

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.

Question Bridge: Black Males is a trans - media art project that seeks to represent and redefine Black male identity in America.

Fahamu Pecou is an American contemporary artist and scholar who explores black male identity in art, performance and popular culture

Question Bridge: Black Males is a documentary - style video art installation that aims to represent and redefine black male identity in America.

Not exact matches

But it has not yet opened itself up to the disturbing countertrends in the lower - class black community that not only conflict with bourgeois male and female stereotypes but also are alienated from middle - class values and the Christian identity as well.

The two key black males on campus, Lionel (Tyler James Williams) and Troy (Brandon P. Bell), are themselves caught in dual / binary identity clashes, but neither one is quite as interesting or as humorously confrontational of those of Sam and Coco.

A mashup of «Some Like It Hot» (leering rooster - in - the - henhouse voyeurism) and «Glee» (peppy musical interludes), that, on the plus side, grapples with the potent issue of young black male identity...

ohn Trengove's South African coming - of - age drama, The Wound is a visceral and powerfully done film about queer Black identity and its intersections with Ukwaluka, the rite of passage for male Xhosa teens — a rural tribe in the country.

In times past, people united around shared identity — think white male country club or the black barbershop.

By setting intimate moments alongside landmark events (such as the Black Popular Culture Conference in 1991, the truce between the Crips and the Bloods in 1992, the Black Male exhibition at the Whitney in 1994, and the Black Nations / Queer Nations Conference in 1995), the archive constructs collective and private narratives to comment on identity, desire, sexuality, and loss.

Since its inception in 1996, the project has recorded more than 1,600 questions and responses that illuminate diversity of thought, character, and identity in America's black male population.

There have since been 25 dinners that have explored themes like Baltimore, Race, and Identity (in honor of Freddy Gray); the 2016 shootings in Orlando and the need for sanctuary spaces; Black Female Subjectivity; Black Male Subjectivity; and Racial Subjugation in Latin American History.

The answers tackle the issues that continue to surround black male identity today in a uniquely honest, no - holds - barred manner.

Fosso's 1970s self - portraits picture the artist in varying guises, assuming imagined black males identities.

Taken together, Simmons oeuvre reflects the shift that curator Thelma Golden both observed and underwent herself with her exhibitions Black Male in 1994 and Freestyle in 2001: the move from highly politicized issue - based art to more apolitical considerations of identity along side the artistic process.

Her potent observations are no less topical today and, in fact, even more urgent as we routinely bear witness on social media and news outlets to the dualisms between black identity and white identity, rich and poor, females and males.

2015 Interventions in Printmaking: Three Generations of African American Women, Allentown Art Museum of The Lehigh Valley, Pennsylvania, USA SELF: Portraits of Artists in Their Absence, National Academy Museum of Art, New York, USA Piece by Piece: Building a Collection, Selections from the Christy & Bill Gautreaux Collection, Kemper Museum of Contemporary Art, Kansas, USA Status Quo, The School, Jack Shainman Gallery, New York, USA Breath / Breadth: Contemporary American Black Male Identity, Maier Museum of Art at Randolph College, Lynchburg, USA To Be Young, Gifted, and Black, Goodman Gallery, Cape Town, South Africa

Harris, who grew up in New York City and Dar es Salaam, Tanzania, came to prominence in 1994 when Whitney Museum of American Art curator Thelma Golden included his large - format Polaroid pictures of friends, family members and himself in poses and guises challenging racial and gender identity in her seminal exhibition «Black Male: Representations of Masculinity in Contemporary American Art.»

In the piece, now preserved in a simple black - and - white video format of the artist sitting at a desk, Wilson begins with the premise «Art making sucks identity from individuals who are close to it but not participating themselves and the only way to recover identity is to make art yourself» proceeding to ingest a photograph she took of her partner, a male artist, in attempt to recover her own identity becoming his equal in power and, in doing so, creating her own arIn the piece, now preserved in a simple black - and - white video format of the artist sitting at a desk, Wilson begins with the premise «Art making sucks identity from individuals who are close to it but not participating themselves and the only way to recover identity is to make art yourself» proceeding to ingest a photograph she took of her partner, a male artist, in attempt to recover her own identity becoming his equal in power and, in doing so, creating her own arin a simple black - and - white video format of the artist sitting at a desk, Wilson begins with the premise «Art making sucks identity from individuals who are close to it but not participating themselves and the only way to recover identity is to make art yourself» proceeding to ingest a photograph she took of her partner, a male artist, in attempt to recover her own identity becoming his equal in power and, in doing so, creating her own arin attempt to recover her own identity becoming his equal in power and, in doing so, creating her own arin power and, in doing so, creating her own arin doing so, creating her own art.

Todd Gray in Breath / Breadth: Contemporary American Black Male Identity at Maier Museum of Art, Randolph College, Virginia September 3 to December 11, 2015.

It is a multi-platform project comprised of an interactive website and online learning community, a curriculum for high schools and universities and community events partnered with organizations, centered around debunking the hegemonic identity container of what a «Black» «Male» in America signifies.

Breath / Breadth: Contemporary American Black Male Identity, explores wide - ranging visual expressions, defying the impulse to hone in on singular, cohesive definitions because it is precisely the impulse to categorize that encourages racial profiling.

There have since been 25 dinners that have explored themes like Baltimore, Race, and Identity, the 2016 shootings in Orlando and the need for sanctuary spaces; Black Female Subjectivity, Black Male Subjectivity and Racial Subjugation in Latin American History.

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, Bolognin 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, BolognIn 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, Bolognin 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.

In 2012, the Question Bridge: Black Males project originated to provide a platform for an authentic exchange about life in America for black men, revealing the rarely seen diversity of thought, character, and identity in the black male population too often described by the media in reductive wayIn 2012, the Question Bridge: Black Males project originated to provide a platform for an authentic exchange about life in America for black men, revealing the rarely seen diversity of thought, character, and identity in the black male population too often described by the media in reductive Black Males project originated to provide a platform for an authentic exchange about life in America for black men, revealing the rarely seen diversity of thought, character, and identity in the black male population too often described by the media in reductive wayin America for black men, revealing the rarely seen diversity of thought, character, and identity in the black male population too often described by the media in reductive black men, revealing the rarely seen diversity of thought, character, and identity in the black male population too often described by the media in reductive wayin the black male population too often described by the media in reductive black male population too often described by the media in reductive wayin reductive ways.

I'm interested in interjecting the portraiture canon with brown and black bodies to further complicate heteronormative perception of male identity, the male to male gaze, and the intersectionality of gender fluid and queer bodies that are not often discussed or represented in history, and marginalized in our society.»

His paintings, performance art, and scholarly work address concerns around representations of black masculinity in popular culture and how these images impact both the reading and performance of black male masculinity and identity.

Pecou's paintings, performance art, and scholarly work addresses concerns around representations of black masculinity in popular culture and how these images impact both the reading and performance of black male masculinity and identity.

Roula Seikaly reviews Question Bridge: Black Males in America, the published companion to a project, platform, and installation that regards identity and representation.

And finally, in the work «An Unidentified Jamaican Boy Uses the Puma H Street Running Shoe to Run for his Freedom 2003/2005 ″ Willis Thomas again uses advertising language to talk about commerce and the economy and its relationship to the black male identity.

CREATED BY CHRIS JOHNSON, Hank Willis Thomas, Bayeté Ross Smith, and Kamal Sinclair, «Question Bridge: Black Males» harnesses video technology to connect more than 150 men from across the country in conversations about black male identity and issues of race, masculinity, family and commuBlack Males» harnesses video technology to connect more than 150 men from across the country in conversations about black male identity and issues of race, masculinity, family and commublack male identity and issues of race, masculinity, family and community.