Sentences with phrase «by black artists since»

The Museum of Modern Art in New York acquired more than 430 works by black artists since 2010, according to Ann Temkin, the chief curator of painting and sculpture.

Not exact matches

Cinema Remixed and Reloaded: Black Women Artists and the Moving Image since 1970 was nominated by AICA / USA in the «digital media, video, or film» category.

A SELECTION OF SHELF - WORTHY, COFFEE TABLE - READY books and catalogs published recently that explore black art and artists «The Image of the Black in Western Art, Volume V: The Twentieth Century, Part 2: The Rise of Black Artists» edited by David Bindman and Henry Louis Gates Jr. (Belknap Press, 368 pages) Since 2010, Harvard University Preblack art and artists «The Image of the Black in Western Art, Volume V: The Twentieth Century, Part 2: The Rise of Black Artists» edited by David Bindman and Henry Louis Gates Jr. (Belknap Press, 368 pages) Since 2010, Harvard University Partists «The Image of the Black in Western Art, Volume V: The Twentieth Century, Part 2: The Rise of Black Artists» edited by David Bindman and Henry Louis Gates Jr. (Belknap Press, 368 pages) Since 2010, Harvard University PreBlack in Western Art, Volume V: The Twentieth Century, Part 2: The Rise of Black Artists» edited by David Bindman and Henry Louis Gates Jr. (Belknap Press, 368 pages) Since 2010, Harvard University PreBlack Artists» edited by David Bindman and Henry Louis Gates Jr. (Belknap Press, 368 pages) Since 2010, Harvard University PArtists» edited by David Bindman and Henry Louis Gates Jr. (Belknap Press, 368 pages) Since 2010, Harvard University Press...

Rituals since 1851», Fondazione La Triennale di Milano, Milan, Italy (2015); «Chercher le Garçon», MAC / VAL, Paris, France (2015); «Staying Power: Photographs of Black British Experience 1950s - 1990s», Victoria and Albert Museum, London, England (2015); «Progress», The Foundling Museum, London, England (2014); «Study from the Human Body», Stephen Friedman Gallery, London, England (2014); «The Divine Comedy: Heaven, Hell, Purgatory revisited by Contemporary African Artists», Frankfurt MMK, Germany; travels to Smithsonian National Museum of African Art, Washington, USA; Museo Reina Sofia, Madrid, Spain; Correo Venezia, Venice; Hayward Gallery, London, England (2014); «Education», Vögele Kultur Zentrum, Pfäffikon, Switzerland (2013); «Victoriana: The Art of Revival», Guildhall Art Gallery, London, England (2013); «Earth Matters: Land as Material and Metaphor in the Arts of Africa», Smithsonian Institute, National Museum of African Art, Washington DC, USA (2013); «The Desire for Freedom: Art in Europe since 1945», Deutsches Historisches Museum Berlin, Berlin, Germany (2012); «Six Yards, Guaranteed Real Dutch Wax Exhibition», Museum of Modern Art, Arnhem, Netherlands (2012); and «Migrations: Journeys into British Art», Tate Britain, London, England (2012).

Here, Olowska created a sculpture inspired by Noguchi's and then draped it in the black cloth that was Graham's signature, a homage to the kind of performance that the artist has been exploring in her work since the days she ran Nova Popularna, an underground bar and performance space she opened in Berlin with Lucy McKenzie in 2003.

«Black Artists in British Art: A History Since the 1950s,» By Eddie Chambers (I. B. Tauris, 288 pages) Published Oct. 2, 2014

The Turner Prize - winning artist Chris Ofili has been a bit chary, let's say, of showing in New York City ever since a certain Mayor Rudolf Giuliani threatened to defund the Brooklyn Museum for showing his absolutely gorgeous The Holy Virgin Mary — a 1996 painting of a black Madonna with a bared breast made from dried elephant dung, surrounding by putti made from female genitalia cut from porn magazines — as part of the 1999 stateside leg of Saatchi Gallery's «Sensation» show.

To be sure, many of the most commercially successful and critically established black artists are represented by white gallerists, who have the connections to important white collectors (since most wealth in the U.S. is still in white hands) and public institutions that have helped these artists establish wider markets and have their art placed in august institutions.

Since its opening in 1968, the museum has played a catalytic role in its support and presentation of diverse works by established and emerging black artists.

Propositions on the Permanent Collection, Studio Museum in Harlem, New York, NY, 2009 Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970, Spelman College of Art, Atlanta, GA, 2007 and Contemporary Arts Museum Houston, Houston, TX 2008 - 2009 Horizon, EFA Gallery, Curated by David Humphrey, New York, NY, 2007 Black Alphabet, conTEXTS of Contemporary African American Art, Zacheta National Gallery of Art, Warsaw, Poland, 2006 - 2007 Turn the Beat Around, Sikkema Jenkins & Co., New York, NY, 2006 The Manhattan Project, Fred Snitzer Gallery, Miami, FL, 2006 Frequency, Studio Museum in Harlem, New York, NY, 2005 - 2006 MFA Thesis Exhibition, Columbia University, Curated by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19by David Humphrey, New York, NY, 2007 Black Alphabet, conTEXTS of Contemporary African American Art, Zacheta National Gallery of Art, Warsaw, Poland, 2006 - 2007 Turn the Beat Around, Sikkema Jenkins & Co., New York, NY, 2006 The Manhattan Project, Fred Snitzer Gallery, Miami, FL, 2006 Frequency, Studio Museum in Harlem, New York, NY, 2005 - 2006 MFA Thesis Exhibition, Columbia University, Curated by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 1997

BLACK AND BLUR — writings by Fred Moten on artists and musicians, including Charles Mingus, David Hammons, and Glenn Gould — is the first volume of CONSENT NOT TO BE A SINGLE BEING, a trilogy of essays published in the fifteen years since In the Break (2003), Moten's landmark investigation of jazz, sexual identity, and radical -LSB-...]

Co-curated with Andrea Barnwell Brownlee, «Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970» (2008) presented work by 40 women artists from Australia, Cuba, Europe, Kenya, South Africa, and the United Artists and the Moving Image Since 1970» (2008) presented work by 40 women artists from Australia, Cuba, Europe, Kenya, South Africa, and the United artists from Australia, Cuba, Europe, Kenya, South Africa, and the United States.

Since its founding in 1968, the Studio Museum has exhibited work by black artists committed to bearing witness to acts of protest.

««Mickalene Thomas: Mentors, Muses, and Celebrities» exemplifies the commitment that the Museum has had to championing the aesthetic and technological innovation made by Black women artists since it opened in 1996,» noted Museum Director Andrea Barnwell Brownlee, Ph.D., C» 93.

Though the rubric for selection was not entirely clear to me — a large number of the artists are what might be called Black British, but not exclusively — it was good to see the stakes of representation so explicitly foregrounded (the main exhibition this year contained work by one single female artist of colour; the UK has been represented in the Giardini by three non-white artists since 1948, by my count).

So little has changed since W.E. B. DuBois» 1926 essay, «The Criteria of Negro Art,» in which the author criticized the aesthetic limits placed upon black artists by the white establishment.

They submitted their withdrawal to the Whitney yesterday, which Yams Collective member Maureen Catbagan said was driven by objections to the Biennial's inclusion of Joe Scanlan's «Donelle Woolford» piece, in which the white male Princeton professor hires black female actors to play the part of a fictional black artist named Donelle Woolford (the piece has been ongoing since 2005, according to the artist's website).

In doing so, she has made history by being the first black female artist to ever win this coveted prize as well as being the eldest, since Tate removed the age limit this year.

By putting on display these symbols and clichés, which are the signs of African identity and black femininity as constructed by the Western world since colonisation — such as the presence of masks, naked, tattooed, and sexualized bodies — the artist intends to confront the public with these constructions head - oBy putting on display these symbols and clichés, which are the signs of African identity and black femininity as constructed by the Western world since colonisation — such as the presence of masks, naked, tattooed, and sexualized bodies — the artist intends to confront the public with these constructions head - oby the Western world since colonisation — such as the presence of masks, naked, tattooed, and sexualized bodies — the artist intends to confront the public with these constructions head - on.

June 2 — September 2, 2017 -LCB- 69 Broadway -RCB--RCB- Curated by Brian Butler Frank Hursh attended Black Mountain College from 1949 until 1950 and has been a working artist and educator in Mexico since 1956.

(mainstream painting's artist)(Biography) Parachute: Contemporary Art Magazine; July 1, 2006; Dhillon, Kim; 700 + words Martin Kippenberger Tate Modern London February 8 - May 14 Since his... Kippenberger's retrospective at London's Tate Modern — his first in a major U.K. museum... legs crossed, and sits outside on a New York street corner surrounded by black...