Other demands that were made, which were met, were that there be kind of a program of solo exhibitions
by Black artists at the Whitney and that actually did happen.
In 1971, Gilliam pulled out of an exhibition of work
by black artists at the Whitney Museum of American Art because, as he wrote in a letter signed by six other artists also protesting, the show represented «the worst form of tokenism without any regard for our real qualities.»
Not exact matches
The best explanation for such an object, which doesn't appear
at other wavelengths, is an intermediate - mass
black hole (imagined
by an
artist, above).
An
artist's impression of a supermassive
black hole
at the centre surrounded
by matter flowing onto the
black hole in what is termed an accretion disk.
Hi there my name is desdemona but i go
by mona and i «am a nerdy but feminine
black bisexual 20 years old pagan female
artist who works
at burger king while...
The evil Lord Shen (voiced
by Gary Oldman) has just introduced gunpowder to China and plans to aim it
at the country's greatest martial
artists, a group that implausibly includes a pudgy panda bear named Po (Jack
Black).
Carl Van Vechten & the Harlem Renaissance: A Portrait in
Black & White By Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a w
Black & White
By Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a whol
By Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review
by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a whol
by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his
black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a w
black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired
by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a whol
by sexual desire and his fascination with what he perceived as
black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a w
black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for
blacks may have catapulted many careers, but
at what cost to the racial integrity of those
artists, and to the Harlem Renaissance as a whole?
More upsetting,
at least to him, is the fact that she appears to have slept with a lecherous hip - hop
artist going
by the wonderfully satirical and provocative name Horsedick.MPEG (Craig Robinson), who is
black, and obviously meant to be well - hung, and therefore the most threatening person in the entire movie.
Jackson is
at the center of the action, «too
black for the uniform, too blue for the brothers,» wearing a wicked goatee that looks like it was designed
by a comic book
artist.
In Östlund's international breakthrough, Force Majeure, a father's duty to protect his family paled in the face of his impulse for self - preservation, and The Square draws an even more pointed contrast between high - flown ideals and baser instincts, not least via a long and uncomfortable scene where guests
at a
black - tie dinner party are amused and then menaced
by a performance
artist all - too - convincingly mimicking a wild ape.
Development began in early 2014
by lead developer Stu Maxwell, currently a VFX
artist at Black Tusk Studios (a first - party Microsoft studio in Vancouver, Canada).
Simone Leigh has used her agency as an
artist to turn her exhibitions
at various art institutions into platforms for everything from yoga classes to natural healing centers;
at the New Museum this past summer, Leigh staged a protest and celebration
by 100
artists assembled under the name Black Women Artists for Black
artists assembled under the name
Black Women
Artists for Black
Artists for
Black Lives.
Moonassi is an illustrative series
by Dae - Hyun Kim, an
artist from South Korea who turned his attention to creating these
black and white drawings during his studies in Oriental Painting
at Hongik University, Seoul.
Black Unity, an exhibition of 13 works
by eight African American
artists including Elizabeth Catlett, Romare Bearden, Jacob Lawrence, Kara Walker, and Bob Thompson, is currently on view
at Crystal Bridges through September 5.
At the Contemporary Art Museum St. Louis, an exhibition of works
by Kelley Walker, a white, Georgia - born
artist, sparked a boycott over his use of racially and sexually charged images of
black people.
RADICALS II
At the Brooklyn Museum in April, a smaller exhibition, «We Wanted a Revolution:
Black Radical Women, 1965 - 85,» organized
by the museum's Elizabeth A. Sackler Center for Feminist Art, came with work
by more than 40
artist - activists and a dynamite sourcebook - style catalog.
Examples from Rythm Master were featured in light - box displays in «Mastry,» the
artist's retrospective (2015 - 2017); the series inspired «Above the Line,» a hand - painted mural installed along the High Line, the elevated park in New York City (2015 - 2016); and was the subject of an academic paper
by art historian and curator Ellen Tani, delivered in 2016
at the
Black Portraiture [s] III conference in Johannesburg.
Featuring 28 works
by 19
artists — both
black and white — the exhibition explores how visual perspectives of blackness «have been influenced
at particular historical moments
by specific political, cultural, and aesthetic interests, as well as the motives and beliefs of the
artists.»
Work
by Williams and other AfriCOBRA
artists is featured in «Soul of a Nation: Art in the Age of
Black Power,» the group exhibition organized
by the Tate Modern in London, which is scheduled to debut in the United States
at the Crystal Bridges Museum of American Art on Feb. 3, 2018, before traveling to the Brooklyn Museum.
The American
artist Glenn Kaino recently visited Ferguson, Missouri — the town torn
by protests after a white police officer killed Mike Brown, an unarmed
black teenager, on 9 August — for a work he is due to unveil this weekend
at his first solo show
at the Kavi Gupta gallery in Chicago.
Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity
by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm
by Sanford Kwinter, Art In America, January 1983, pp. 121-122 1983 Ted Stamm
by Stephen Westfall, Arts Magazine, January 1983, p. 3 1983 Ted Stamm
at the Far Turn
by William Zimmer, Re-Dact 1
by Peter Frank, Published
by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm, Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981
by Geynne Vernet, Arts Magazine, February 1982 1982 Two Unprovincial Shows
at the Jersey City Museum
by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm
by Valentine Tatransky, Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple
Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981 Abstraction with a Relaxed Air
by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm
by Tiffany Bell, Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting
by Tiffany Bell, Arts Magazine, June 1981, pp. 120-124 1980 Tre Amerikaner i Skaane
by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5, 1980 1980 Pool Documentation
by Kay Larson, Village Voice, June 2, 1980, p. 85 1980 Jane Highstein and Sensibility Minimalism: A Tissue of Happenstance
by Robert Pincus - Witten, Arts Magazine, October 1980 p. 140 1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock
by Daniel Cornu, Tribune De Geneve, December 1980 School's Out
by William Zimmer, The SoHo Weekly News, June 11, 1980, p. 61 1980 Old Wine, New Bottles, Bad Year
by John Perreault, The SoHo Weekly News, June 18, 1980 1979 Ted Stamm
by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles of
Artists and Critics
by Robert Pincus - Witten, Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York
by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm
by Tiffany Bell, Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm
by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger
by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York
by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm
at Hal Bromm Gallery
by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977 Arts and Leisure Guide
by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices
by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New Museum
at the New School
by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm
by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative Arts Spaces: One to one politics for the avant - garde
by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews
by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975
Artists Space
by Trudie Grace, Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.
In 2006, her Untitled (Diagonal Curve)(1966), a
black - and - white canvas of dizzying curves, was bought
by Jeffrey Deitch
at Sotheby's for $ 2.1 million, nearly three times its $ 730,000 high estimate and also a record for the
artist.
Also on exhibit will be letters, photographs, and ephemera from students and fellow
artists including Fielding Dawson, Franz Kline, Robert Rauschenberg, and Stefan Wolpe; photographs of Jack Tworkov
at Black Mountain College
by Robert Rauschenberg, and several original works
by Rauschenberg from 1952.
Developed
by the Tate Modern in London and debuting in the US
at Crystal Bridges, Soul of a Nation: Art in the Age of
Black Power examines the influences, including the civil rights movement, Minimalism, and abstraction, on
artists such as Romare Bearden, Noah Purifoy, Martin Puryear, Faith Ringgold, Betye Saar, Alma Thomas, Charles White, and William T. Williams.
Aside from the record sales Ligon registered
at the Nov. 11 auction, interest in lots
by black artists so far this week has been fairly tepid to average, with most works selling safely within estimates.
Also in Washington, «
Black Folk Art in America, 1930 - 1980» opened in 1982
at the Corcoran Gallery of Art presented more than 300 works
by artists including David Butler, Ulysses Davis, William Edmundson, Walter Flax, Sam Doyle, Sister Gertrude Morgan, Nellie Mae Rowe, James «Son» Thomas, Mose Tolliver, Bill Traylor, and Joseph Yoakum.
The usual - suspect Americans — Louise Nevelson, Louise Bourgeois, Agnes Martin, Marisol and Betye Saar (conveniently doubling as a
black artist)-- are shown here
at the top of their game, and recently acquired work
by Sonia Švecová (Czechia) and Nalini Malani (India) effectively widens the scope.
NEWS
At the Contemporary Art Museum St. Louis, an exhibition of works
by Kelley Walker, a white, Georgia - born
artist, spark a boycott over his use of racially and sexually charged images of
black people.
Compiled and edited
by exhibition curator Jason Andrew, the catalogue also features an essay
by the curator; two unpublished interviews with Tworkov and Irving Sandler; a reprint of the 1953 Art News article Tworkov Paints a Picture with essay
by Fairfield Porter and photographs
by Rudolph Burckhardt; historic photographs and unpublished contact sheets
by Robert Rauschenberg of Tworkov
at Black Mountain College 1952; as well as illustrated
artist chronology.
The lower gallery of the Belgian
artist's latest exhibition
at David Zwirner, London, is populated
by a chorus line of dancing figures cloaked in the
black robes and pointed hoods of a Bunraku puppeteer.
Born in Port Arthur, Texas, in 1925, the
artist studied
at the University of Texas, Austin; the Kansas City Art Institute; the Académie Julian, Paris;
Black Mountain College in Asheville, North Carolina, where he was taught
by Josef Albers, Merce Cunningham, and John Cage; and the Art Students League in New York, where he met Cy Twombly.
The exhibition begins
by considering Rauschenberg's early Proto - Pop experiments
at Black Mountain College, a hotbed for innovation in the late 1940s and early 1950s where he embarked on his first collaborations with fellow
artists and friends John Cage, Merce Cunningham, Jasper Johns, David Tudor, Cy Twombly and Susan Weil.
MUST - SEE EXHIBITION openings and interesting talks and appearances happening this week in
black art: Through June 21, 2014 Brenna Youngblood
at Contemporary Art Museum St. Louis A selection of muted abstracts
by Los Angeles - based
artist Brenna Youngblood are on view
at the Contemporary Art Museum St. Louis.
EXHIBITION «Hands Up, Don't Shoot:
Artists Respond,» a direct response to the Michael Brown killing organized
by the Alliance of
Black Gallery owners opens in and around St. Louis on Oct. 17
at 14 venues.
The March 17 announcement notes that while maintaining his post as director of the Research and Academic Program
at the Sterling and Francine Clark Art Institute in Williamstown, Mass., English will draw on his expertise in works
by black artists to help strengthen and diversify MoMA's collection.
Joan Semmel looks like two different
artists in the group show («Anni Albers, Robert Beck, Cady Noland, Joan Semmel and Nancy Shaver:
Black and White Photographs 1975 — 77») curated
by Robert Gober
at Matthew Marks and in her jewel of a solo («Joan Semmel: Self - Images»)
at Mitchell Algus.
This past weekend we were invited to attended the opening reception of
Black Moon, a very special two - day exhibition
at Sloan Fine Art featuring new works
by four amazingly talented Los Angeles based
artists, Jessicka Addams, Camille Rose Garcia, Elizabeth McGrath, and Marion Peck.
Pure
Black, New Works
by Paul Stephen Benjamin
at the Museum of Contemporary Art of Georgia (September 23 — November 18, 2017), a Working
Artist Project exhibition, was the artist's most successful show to
Artist Project exhibition, was the
artist's most successful show to
artist's most successful show to date.
Melbourne publisher
Black Inc is one publisher that publishes work
by practitioners across different fields and they were represented
at the Melbourne
Artist Book Fair this year
at the NGV.
Artists of color have long identified with Basquiat, who became the first
black American
artist to become an international star
by the mid 1980s, before his tragic death
at age 27 in 1988.
The
Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Ken
Artist and the Model, a portfolio of twelve intaglio prints, is published
by Sylvan Cole
at Associated American
Artists, New York; receives a Tamarind
Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Ken
Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily
black - and - white lithographs that continue the
Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Ken
Artist and the Model theme; begins using the airbrush, which he had learned from the
artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Ken
artist Billy Al Bengston while
at Tamarind; sees the exhibition Edgar Degas: Monotypes
at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds
Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American
Artists, New York (The
Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Ken
Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic
Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kentucky.
Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported
by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded
by a border of ink - covered shoe tips, objects often used
by the
artist as tenuous representation of the body; «Role Play Drawings» a series of found
black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed
at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.
For his conceptual photography series «Unbranded: Reflections in
Black by Corporate America 1968 - 2008,» the American
artist Hank Willis Thomas took advertisements featuring or directed
at African - Americans and simply removed all of the accompanying text.
This work
by British
artist Chris Ofili, in which a
black Virgin Mary is depicted adorned with real elephant dung, was
at the centre of a major controversy in 1999 when New York's then - mayor Rudy Giuliani tried to cut funding to the Brooklyn Museum for exhibiting the painting.
Other women include another
black artist in Mildred Thompson with Galerie Lelong, nudes
by Jane Freilicher with Paul Kasman, thickly woven paintings
by Harmony Hammond with Alexander Gray, mixed media on dark monochrome
by Carol Rama
at Fergus McCaffrey, and glitter - soaked rags from Lynda Benglis with Cheim & Read.
Carrie Mae Weems's «Blue
Black Boy» (1997), part of «Blue
Black,» an exhibition curated
by the
artist Glenn Ligon
at the Pulitzer Arts Foundation in St. Louis.
Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated
by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented
by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery
Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized
by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated
by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated
by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated
by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized
by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated
by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work
by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY Battle of the Brush, organized
by Corporate Art Solutions
at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated
by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated
by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave Painting: Installment # 2, organized
by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized
by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix,
Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY
While certainly all of the leading
artists who were part of the abstract expressionist movement were involved with color
at various points in their career, many of the important masterworks of the movement — such as those
by Jackson Pollock, Franz Kline, Robert Motherwell, and key series
by Willem de Kooning and Barnett Newman — are notable for their lack of strong color in favor of
black and white.
The third installment of Prospect, the New Orleans triennial, follows suit with work
by 58
artists on view
at 18 venues and is further distinguished
by three attributes: Franklin Sirmans serves as artistic director; He curates the show with a decidedly New Orleans lens that doesn't lose sight of the global perspective; And most significantly, there are more
Black artists represented
at Prospect 3 (more than 20) than
at any other American biennial - style gathering in recent memory, perhaps ever.
Geometric Vistas: Landscapes
by Artists of Black Mountain College provides visitors with the opportunity to explore abstract landscapes and cityscapes created by artists who studied and taught at Black Mountain College between 1933 an
Artists of
Black Mountain College provides visitors with the opportunity to explore abstract landscapes and cityscapes created
by artists who studied and taught at Black Mountain College between 1933 an
artists who studied and taught
at Black Mountain College between 1933 and 1957.