Sentences with phrase «black radical tradition»

Inspired by Cheryl Dunye's seminal film The Watermelon Woman and held in conjunction with the twentieth anniversary of the film's release, the exhibition looks to collectively merge personal histories and recontextualized narratives to hold space for a queer, Black radical tradition.

This exhibition explores notions of biomythography and non-traditional archiving through performance, photography, collage, video, and sound installation to collectively merge personal histories and recontextualized narratives to hold space for a queer, Black radical tradition

Fred Moten is a poet and literary theorist, whose book In The Break: The Aesthetics of the Black Radical Tradition (University of Minnesota Press, 2003) explored the sonic and aural lineages of the «black radical tradition.»

He is author of consent not to be a single being, In the Break: The Aesthetics of the Black Radical Tradition, Hughson's Tavern, B. Jenkins, The Feel Trio, The Little Edges, The Service Porch and co-author, with Stefano Harney, of The Undercommons: Fugitive Planning and Black Study and A Poetics of the Undercommons, and, with Wu Tsang, of Who touched me?

He also serves as a freelance writer and consultant on the black radical tradition and post-black art practices, writing and editing for the Smithsonian; the Vera List Center of Art and Politics at the New School; the Studio Museum in Harlem, and Galerie Myrtis in Baltimore.

** I want to push you a little bit more on this abstraction point, perhaps tying it to the Black Radical Tradition.

He typically gravitates toward cultural theorists, poets and critics — Stuart Hall's posthumous memoir, «Familiar Stranger: A Life Between Two Islands,» about growing up in Jamaica in the 1930s; Fred Moten's «In the Break: The Aesthetics of the Black Radical Tradition,» on the connections between jazz, sexual identity and radical black politics; Judith Butler's «Precarious Life: The Powers of Mourning and Violence,» a look at the vulnerability and aggression that followed Sept. 11.

In his seminal theoretical text, In the Break: The Aesthetics of the Black Radical Tradition (2003), Fred Moten asks: «What are the internal relations within that experience between the intellection of the poem's meaning and the sensing of its visuality and / or aurality?

«Speech / Acts», which considered six artists of colour working with poetry and the black radical tradition, was virtually monochromatic.

Not exact matches

In doing so, Black Panther gives blockbuster science fiction its new vocation: a grounded and inclusive reflection of reality that isn't closed off by mass spectacle, but instead — in the tradition of Afrofuturism — allows for radical reimaginings of both the past and the future.

leadership insisting that educational justice for Black children can not be achieved unless the elusive wholesale integration effort occurs, I know they belie Dr. King's radical traditions about economic, and thus educational justice.

Martine Syms uses video and performance to examine representations of blackness and its relationship to American situation comedy, black vernacular, feminist movements and radical traditions.

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.

One of great joys of «The Freedom Principle» is that it takes us back to the apex of postwar modernism, when avant - garde music was venturing into uncharted territory and the black - radical tradition in the us was figuring itself through sonic experimentation and its visual analogues.

It reconnected viewers with the lineage of the black - radical tradition and its varied methods such as afro - futurism, improvisation and superrealism.

Martine Syms (b. 1 988, Los Angeles) uses video and performance to examine representations of blackness and its relationship to American situation comedy, black vernacular, feminist movements, and radical traditions.

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.

Martine Syms's expansive, multi-disciplinary practice, which includes film, essay, graphic design, web design, and publishing, explores representations of blackness and its relationship to narrative, black vernacular, feminist movements, and radical traditions.