Sentences with phrase «black performance art since»

Radical Presence: Black Performance in Contemporary Art at Grey Art Gallery is the first of a two - part exhibition originating at the Contemporary Arts Museum Houston [the second is at the Studio Museum of Harlem] that addresses the history of black performance art since the 1970s.

Not exact matches

Ironically, given the rich history of performance and its prevalence in black artistic practices since the 1960s, this tradition has largely gone unexamined save for a handful of publications including the exhibition catalogue Art as a Verb (1988) by Leslie King Hammond and Lowery Stokes Sims.

Contemporary Arts Museum Houston senior curator Valerie Cassel Oliver's latest exhibition, Radical Presence: Black Performance in Contemporary Art, explores how black visual artists have used performance since the 1Black Performance in Contemporary Art, explores how black visual artists have used performance sincePerformance in Contemporary Art, explores how black visual artists have used performance since the 1black visual artists have used performance sinceperformance since the 1960s.

BOOKSHELF Compelling catalogs have accompanied Valerie Cassel Oliver's recent exhibitions, including «Cinema Remixed and Reloaded: Black Women and the Moving Image Since 1970,» «Radical Presence: Black Performance in Contemporary Art,» and «Jennie C. Jones: Compilation.»

[9] Her work has since featured in many seminal exhibitions, including: This Will Have Been: Art, Love & Politics in the 1980s; Radical Presence: Black Performance in Contemporary Art, [10] and En Mas»: Carnival and Performance Art of the Caribbean.

Other important exhibitions include Adventure of the Black Square: Abstract Art and Society 1915 — 2015 (2015), Whitechapel Gallery, London; The Disappearance of the Fireflies, Collection Lambert, Avignon, France, 2014; Love Story - Anne and Wolfgang Titze Collection, 21er Haus and Winter Palace, Vienna, Austria, 2014; Radical Presence: Black Performance in Contemporary Art, Walker Art Center, Minneapolis, 2014; Joan Jonas & Adam Pendleton, Galeria Pedro Cera, Lisbon, 2014; We Love Video This Summer, Pace Gallery, Beijing, China, 2014; Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum, Houston (2013); Ecstatic Alphabets / Heaps of Language, The Museum of Modern Art, New York (2012); Greater New York, P.S. 1 Contemporary Art Center, Long Island City, New York (2010); The Generational: Younger Than Jesus, New Museum, New York (2010); Afro - Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy, High Museum of Art, Atlanta (2008); Object, The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago (2007); Performa 07, New York (2007); Talk Show, Institute of Contemporary Art, London (2007); Resistance Is, Whitney Museum of American Art, New York (2007); Frequency, Studio Museum of Harlem, New York (2005 - 06); and Double Consciousness: Black Conceptual Art Since the 1970s, Contemporary Arts Museum, Houston (2005).

It's as if US black artists didn't do any performance art at all since the»50s.

Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (2007, traveling); Second Lives: Remixing the Ordinary, Museum of Art and Design, New York (2008); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (2007, traveling); Second Lives: Remixing the Ordinary, Museum of Art and Design, New York (2008); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art, Los Angeles (2007, traveling); Second Lives: Remixing the Ordinary, Museum of Art and Design, New York (2008); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art and Design, New York (2008); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (1970).

The Influence of Cartoons in Contemporary Art (2003); the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005); Black Light / White Noise: Sound and Light in Contemporary Art (2007); Cinema Remixed and Reloaded: Black Women Artists and the Moving Image with Dr. Andrea Barnwell Brownlee (2009); and Radical Presence: Black Performance in Contemporary Art (2012 — 15); among others.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).