Sentences with phrase «black performance practices»

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Complete List of NAACP Image Award Winners Film Categories Best Picture - «The Secret Life of Bees» Best Director - Gina Prince - Bythewood, «The Secret Life of Bees» Best Actor - Will Smith, «Seven Pounds» Best Actress - Rosario Dawson, «Seven Pounds Supporting Actor - Columbus Short, «Cadillac Records» Supporting Actress - Taraji P. Henson, «The Curious Case of Benjamin Button» Independent Film - «Slumdog Millionaire» Documentary - «The Black List» Foreign Film - «The Class» Best Screenplay - Jenny Lumet, «Rachel Getting Married» Television Categories Best Comedy Series - «Tyler Perry's House of Payne» Best Actor in a Comedy Series - LaVan Davis, «Tyler Perry's House of Payne» Best Actress in a Comedy Series - Tracee Ellis Ross, «Girlfriends» Supporting Actor in a Comedy Series - Lance Gross, «Tyler Perry's House of Payne» Supporting Actress in a Comedy Series - Keshia Knight Pulliam, «Tyler Perry's House of Payne» Best Dramatic Series - «Grey's Anatomy» Best Actor in a Dramatic Series - Hill Harper, «CSI: NY» Best Actress in a Dramatic Series - Chandra Wilson, «Grey's Anatomy» Supporting Actor in a Dramatic Series - Taye Diggs, «Private Practice» Supporting Actress in a Dramatic Series - Angela Bassett, «ER» Made - for - TV Movie, Miniseries or Dramatic Special - «A Raisin in The Sun» Best Actor in a Made - for - TV Movie, Miniseries or Dramatic Special - Sean Combs, «A Raisin in the Sun» Best Actress in a Made - for - TV Movie, Miniseries or Dramatic Special - Phylicia Rashad, «A Raisin in the Sun» Best Actor in a Sopa Opera - Bryton McClure, «The Young and the Restless» Best Actress in a Sopa Opera - Debbi Morgan, «All My Children» Best Director in a Dramatic Series - Ernest Dickerson, «Lincoln Heights - The Day Before Tomorrow» Best Director in a Comedy Series - Kevin Sullivan, «30 Rock - MILF Island» Best Screenplay for a Dramatic Series - Shonda Rhimes, «Grey's Anatomy: Freedom Part 1 & 2» Best Screenplay for a Comedy Series - Erica D. Montolfo, «The Game: White Coats and White Lies» News / Information Series or Special - «In Conversation: Michelle Obama Interview» Talk Series - «The View» Reality Series - «American Idol 7» Variety Series or Special - «An Evening of Stars: Tribute to Smokey Robinson» Children's Program - «Dora The Explorer» Best Performance in a Children's Series or Special - Keke Palmer, «True Jackson» Music Categories Best Male Artist - Jamie Foxx Best Female Artist - Beyonce» Best New Artist - Jennifer Hudson Best Duo, Group or Collaboration - Jennifer Hudson, featuring Fantasia - «I'm His Only Woman» Best Jazz Artist - Natalie Cole - «Still Unforgettable» Best Gospel Artist - Mary Mary Best World Music Album - Cheryl Keyes - «Let Me Take You There» Best Music Video - «Yes We Can» - Will.i.am Best Song - «Yes We Can» - Will.i.am Best Album - Jennifer Hudson - «Jennifer Hudson» Literary Categories Fiction - «In the Night of the Heat: A Tennyson Hardwick Novel,» Blair Underwood, Tananarive Due, Steven Barnes Nonfiction - «Letter to My Daughter,» Maya Angelou Debut Author - «Barack, Race, and the Media: Drawing My Own Conclusion,» David Glenn Brown Biography / Autobiography - «The Legs are the Last to Go,» Diahann Carroll Instructional - «32 Ways to Be a Champion in Business,» Earvin «Magic» Johnson Poetry - «Hip Hop Speaks to Children: A Celebration of «Poetry With a Beat»» Nikki Giovanni Children - «Barack Obama: Son of Promise, Child of Hope,» Nikki Grimes (illustrator - Bryan Collier) Youth / Teens - «Letters to a Young Sister: Define Your Destiny,» Hill Harper

I think that research is beginning to explore more of the black box of what happens in schools, aiming to discover if the so - called «high preforming charter school» really is high performing, and tease apart what some of the practices are that result in high performance.

First structured around performances, large black charcoal drawings and interventions in the street, her practice grew to include films, music, photography and the medium for which she is perhaps best known: painting.

There, he revealed his deep passion for performative practices and so - called «outsider» artists with two trailblazing shows: «Radical Presence: Black Performance in Contemporary Art» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated black artBlack Performance in Contemporary Art» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated blaPerformance in Contemporary Art» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated black artblack performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated blaperformance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated black artblack artists.

While the works created by these artists have previously been contextualized in terms of associations and movements ranging from Fluxus to Conceptual Art to the blanketed arena of contemporary art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practice.

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.

Radical Presence provides a critical framework to discuss the history of black performance traditions within the visual arts beginning with the «happenings» of the early 1960s, throughout the 1980s, and into the contemporary practices of a new generation of artists.

Numerous scholars have explored the history of performance art as a manifestation of radical shifts in social thought and artistic practice, but only a small handful of publications have specifically focused on black performance art.

Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present - day practices, Radical Presence chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemporary art.

As a cross-disciplinary artist, Gates» expresses his meaningful and empowering works through an array of artistic practices including painting, sculpture, audio, and performance art.The title of the exhibition references The Souls of Black Folk by W.E.B. Du Bois», a publication considered among the most important work in African American literary history and sociology.

First structured around performances, large black charcoal drawings and interventions in the street (for which she was arrested in Basel), her practice grew to include films, music, photography and the medium for which she is perhaps best known — painting.

It is the first time that there will be an intergenerational and international dialogue between two important black female conceptual artists with performance - based practices.

Lorraine O'Grady Crossing disciplines including performance, criticism, photography and video, Lorraine O'Grady's meditations on Black identity and women's representation have positioned her as a fore - bearer of conceptual and activist practice.

Simone Leigh's practice focuses on an exploration of black female subjectivity, informed by her interest in African art, ethnographic research, feminism and performance.

Her specific concerns, and the directives that have driven her art practice, engage black feminist discourse, questions of history, and now, ritual performance and practice in art as tools to help us out of our world crisis.

While her improvised, thrift - store DIY aesthetic smacks of the populism of this year's Whitney Biennial and her global themes and global identity (she is a black South African woman and an international artist) should have made her a shoe - in for Documenta XI, Rose's videos are ultimately as much about her art practice — a fine combination of video, performance, and photography — as about any «issue» of identity or globalization.

Goodbye (2008), which explored the use of public space as ritual practice, through the creation of a thatched shelter, observatory, and performance space where attendees were served hibiscus tea; Black Cloud (2009 - 2016), a community - created and - inhabited barn; and The Cleaving (2015), a dinner service utilizing locally - sourced cuisines, utensils, tables, and chairs that invites participants to engage in the physical space, while contributing to the activation of performative elements of the immersive environments.

Radical Presence provides a critical framework to discuss the history of black performance traditions within the visual arts beginning with the «happenings» of the early 1960s, throughout the 1980s, and into the present practices of contemporary artists.

In Black Is a Color, Elvan Zabunyan develops a rich approach to explore the practice and contribution of black American artists to contemporary art history in its various forms of representation, including sculpture, painting, photography, video and performBlack Is a Color, Elvan Zabunyan develops a rich approach to explore the practice and contribution of black American artists to contemporary art history in its various forms of representation, including sculpture, painting, photography, video and performblack American artists to contemporary art history in its various forms of representation, including sculpture, painting, photography, video and performance.

Presenting a rich and complex look at this important facet of contemporary art, the exhibition chronicles the emergence and development of black performance art across three generations, beginning with Fluxus and conceptual art in the early 1960s through present - day practices.

Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present - day practices, Radical Presence: Black Performance in Contemporary Art chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemporaryBlack Performance in Contemporary Art chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemPerformance in Contemporary Art chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemporaryblack performance art over three generations, presenting a rich and complex look at this important facet of contemperformance art over three generations, presenting a rich and complex look at this important facet of contemporary art.