Sentences with phrase «by black visual artists»

Today, from the archives, we bring you Lia Wilson «s review of Coco Fusco's Observations of Predation in Humans, originally performed at the Studio Museum of Harlem in December 2013 for Radical Presence, a survey of performance work by black visual artists.

BOOKSHELF Pope.L was featured in the group exhibition «Radical Presence: Black Performance in Contemporary Art,» which was billed as the first comprehensive survey of performance art by black visual artists.

Curated by Valerie Cassel Oliver, Senior Curator at the Contemporary Arts Museum, Houston, the exhibition is the first comprehensive survey of more than five decades of performance art by black visual artists.

Radical Presence: Black Performance in Contemporary Art, the first comprehensive survey of performance art by black visual artists.

Not exact matches

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.»

The Black Artists Retreat is «guided by the tenets of fellowship, rejuvenation, and intellectual rigor and strives to create time and space for an intergenerational community of black visual artists to engage outside of the institutional environment.&rBlack Artists Retreat is «guided by the tenets of fellowship, rejuvenation, and intellectual rigor and strives to create time and space for an intergenerational community of black visual artists to engage outside of the institutional environment.Artists Retreat is «guided by the tenets of fellowship, rejuvenation, and intellectual rigor and strives to create time and space for an intergenerational community of black visual artists to engage outside of the institutional environment.&rblack visual artists to engage outside of the institutional environment.artists to engage outside of the institutional environment.»

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.

Co-organized by Valerie Cassel Oliver and Dr. Andrea Barnwell - Brownlee, director of the Spelman College Museum of Fine Art, the exhibition featured the contributions of black women artists to the cinematic and visual arts arenas.

From the influences of African art on the Modernist forms of artists like Picasso, to the work of contemporary artists such as Kara Walker, Ellen Gallagher and Chris Ofili, the exhibition will map out visual and cultural hybridity in modern and contemporary art that has arisen from the journeys made by people of Black African descent.

Cutting a swathe through 500 years of history, and tracing not only the movement of artists but also the circulation of visual languages and ideas, this exhibition will include works by artists from Lely, Kneller, Kauffman to Sargent, Epstein, Mondrian, Bomberg, Bowling and the Black Audio Film Collective as well as recent work by contemporary artists.

This exhibition of paintings featuring the color black — all of relatively small size to enhance visual coherence — was curated by the German artist Ivo Ringe and the American artist, Joe Barnes.

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

thru 3/11; New Pictures thru 3/3; Etc. / MoMA PS1 / 22 - 25 Jackson / Long Island City Donut Muffin curated by J. Duffett & T. Gonzales / Dorsky Curatorial Programs / 11 - 03 45th Ave., Long Island City / thru 3/10 How Much Do I Owe You / No Longer Empty @ The Clock Tower / 29 - 27 41st Ave., Long Island City / thru 3/13 Nancy Dwyer; Visual Conversations / Fisher Landau Center for Art / 38 - 27 30th Long Island City, Queens / thru 4/7 Emerging Artist Fellowship / Socrates Sculpture Park / 32 - 01 Vernon Blvd. / LIC / thru 3/31 Process and Progress: Engaging in Community Change / Bronx River Art Center / 305 E 140 / The Bronx / thru 5/30 Joan Semmel / Bronx Museum / 1040 Grand Concourse, The Bronx / thru 6/9 Contemporary Cartographies / Lehman College / Bedford Park Blvd West, The Bronx / 2/5 thru 5/11 Reception 3/18 Vital Signs: Dean Dempsey; Susan Fenton, Amy Jenkins; Lorie Novak; Dread Scott / Pelham / 155 Fifth Ave. / Pelham / thru 3/30 OTHER: Walter De Maria / The Broken Kilometer / DIA / 393 West Broadway / ongoing Walter De Maria / The New York Earth Room / DIA / 141 Wooster / ongoing A. Ruppersberg; R. Artschwager; El Anatsui; V. Overton; S. Finch; T. Houseago; Lilliput (group) / High Line Park Leo Villareal / Madison Square Park / thru 2/15 Sandra Gibson & Luis Recoder / Madison Square Park / thru 4/5 Opening 3/1 Monika Sosnowska / Public Art Fund / Doris C. Freeman Plaza: 5th Avenue @ 60th / thru 2/17 Mark di Suvero / Brooklyn Bridge Park Pier 1 / ongoing Oscar Tuazon / Public Art Fund / Brooklyn Bridge Park / thru 4/26 SELECTED EVENTS: Monday, 2/4, 6:30 PM / David Diao on Barnett Newman / DIA / 535 W 22 — floor 5 / $ Tuesday, 2/5, 6:30 PM / Donald Baechler on his work / New York Studio School / 8 W 8 / FREE Tuesday, 2/5, 7 PM / Vitaly Komar on his work / SVA / Amphitheater / 209 E 23 / FREE Tuesday, 2/5, 8 PM / Trenton Doyle Hancock on his work / Columbia / Prentis Hall / 632 W 125 / FREE Wednesday, 2/6, 6:30 PM / Rebecca Rabinow on Matisse / New York Studio School / 8 W 8 / FREE Wednesday, 2/6, 7 PM / Mierle Laderman Ukeles on her work / The New School Kellen Auditorium / 66 Fifth Avenue / FREE Thursday, 2/7, 6:30 PM / Christopher K. Ho reads, with curators Sara Reisman & Herb Tam / MOCA / 215 Centre / RSVP / FREE Friday, 2/8, 9 AM / Performa: Black Surrealism film program / NYU Einstein Aud.

Nearly 30 years later, black American conceptual artist Glenn Ligon has been inspired, partly by Kennedy, to create a visual compendium of his own influences.

The result of a collaboration with an international group of artists, it will include a cooking show by Will Benedict, a nature show by Korakrit Arunanondchai, a video by Mckenzie Wark, a visual essay by Aria Dean, a talk show by Hannah Black, a docu - short on «seasteading» in Tahiti by Daniel Keller, a report on «reparation hardware» by Ilana Harris Babou, a cartoon by Amalia Ulman, a docu - short on «economic utopias» by Christopher Kulendran Thomas, a Nollywood fictional drama exploring the influence of technology and digital culture in South Africa by the artist collective CUSS Group, and a contribution by the Women's History Museum.

Depending on when one visits Recapturing Memories of the Black Ark, the current exhibition by the visual artist Gary Simmons at Southern Exposure, one will experience two very different, equally worthwhile shows.

Extensive installation views capture the dynamic combination of visual imagery and text that has come to characterize Pettibon's practice, and a selection of gritty black - and - white photographs by Andreas Laszlo Konrath offers an intimate glimpse into the artist's working process.

The Joyner Giuffrida Collection of Abstract Art is widely recognized as one of the most significant collections of modern and contemporary work by African and African Diasporan artists, and Four Generations draws upon the collection's unparalleled holdings to explore the critical contributions made by black artists to the evolution of visual art in the 20th and 21st centuries.

In 1963, he co-founded the Spiral Group (along with Romare Bearden, Norman Lewis, Hale Woodruff, and others), which sought to contribute to the Civil Rights movement through the visual arts in part by increasing gallery and museum representation for black artists.

The exhibition will focus on the summer of 1946, when Lawrence (1917 - 2000) was invited to teach painting at Black Mountain College by visual artist and educator Josef Albers (1888 - 1976).

Among the disparate influences, including van Gogh and Schubert, regularly cited by Chamberlain were the poets Charles Olson, Robert Duncan, and Creeley, whom he first encountered at Black Mountain College in 1955 — 56, that is, after the visual artists had departed.

As a teenager he began his career as a visual artist by creating stadium - sized concert backdrops for musicians like Youssou N'dour and Positive Black Soul.

As part of the larger project started in the early 80's with shows such as the Thin Black Line (1986) and Black Woman Time Now (1983) devised to highlight the contribution black artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean desBlack Line (1986) and Black Woman Time Now (1983) devised to highlight the contribution black artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean desBlack Woman Time Now (1983) devised to highlight the contribution black artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean desblack artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean descent.

This week, we speak to Tiona McClodden (2016), a visual artist and filmmaker whose work explores gender, race, historical archives, and social change, driven by an interest in, she says, «contemporary renderings of the works of underrepresented figures in Black American history.»

Video artist Sam Cannon displayed «The Glacier is the Center of the Universe,» a black - and - white film inspired by visual artist Joan Jonas.»

Curated by Chicago - based artists Paul Nudd and Chris Kerr, the exhibition explores the visual properties and strange effects of the black light by presenting artwork specifically intended to be seen under ultra violet rays.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Jafa's Love Is the Message, The Message Is Death is the first breakthrough by an artist who has been perfecting his contribution to black visual culture for decades, but has only recently come into the spotlight.

In 1968, along with Aldo Tambellini, he produced Black Gate Cologne, which is cited as one of the first television programs to have been produced by experimental visual artists.

Operating in a relatively isolated rural location with little budget, Black Mountain College was experimental by nature and committed to an interdisciplinary approach, attracting participants that included many of Europe's and America's leading visual artists.

Through Cannon's personal anecdotes and their joint analyses of selected works by artists who have relationships to both places, Cannon and Nichols will examine the ways in which the black body creates meaning as it moves through these two cityscapes, the transmission of that meaning between the two cities through 20th Century migrations, and its impact on contemporary visual culture.

June 18/19: Light Industry at Dia: Chelsea Anthony McCall's Long Film for Ambient Light presented with The Artist's Institute June 26: Light Industry at Soloway Jean Rouch and Edgar Morin's Chronicle of a Summer August 11: Light Industry at the New Museum This Is Marshall McLuhan: The Medium Is the Massage introduced by Alex Kitnick August 23: Light Industry at Audio Visual Arts Geeta Dutt: Playback August 30: Light Industry at Film Forum Black Audio Film Collective's Handsworth Songs September 27: Light Industry at Simone Subal Gallery Films by Constantin Brancusi, 1923 - 1939 presented by Phillipe - Alain Michaud October 4: Light Industry at Cabinet Oscar Micheaux's The Exile introduced by Martine Syms

«Black Artists in British Art: A History from 1950 to the Present» (International Library of Visual Culture) by Eddie Chambers (I. B. Tauris, 288 pages) A professor of art history at the University of Texas at Austin, British - born Eddie Chambers specializes in art of the African diaspora, earned his Ph.D. in London and has curated exhibitions in Britain.

Despite the fact that some of the work feels swallowed up by Southern Exposure's generous gallery, the thematic and visual connections White Hot Lamp Black builds across artists, works, and mediums hold strong, resulting in a cohesive show that is both conceptually rich and quite beautiful.

From Derrick Adams's inventive adaptations of politically - charged designs by black fashion pioneer Patrick Kelly, to Firelei Báez's reimagining of Judy Chicago's The Dinner Party to grant women of color their rightful seat at the table, artists are resurfacing visual languages from the past to comment on contemporary socio - political culture.

While the other regional exhibitions (The Point Is... 2.0: Black Panther Party 50th Exhibit at Joyce Gordon Gallery, 50 Years Later: The Art Show at SoleSpace, and ICONIC: Black Panther at American Steel Studios) pay homage to the Party's rich visual legacy through specific aspects of the Party's history — including women's participation and influence throughout the Party or the Ten - Point Plan — All Power to the People provides both a thorough historical overview and contemporary meditations by artists Carrie Mae Weems, David Huffman, Hank Willis Thomas, Sadie Barnette, Trevor Paglen, and William Cordova.

http://bit.ly/NAstqO ---- And @RealArtWays is looking for a Visual Arts Manager http://www.realartways.org/opportunities.htm / (Save the date: My show at RAW opens SEPTEMBER 20)---- The Big Black Hole of Time Suck: Exploring all the Brooklyn artists who registered for Brooklyn Museum's Go open studios, September 8 and 9 / Yes, I registered, so save the date and stop by Two Coats HQ to say hello.

The artist is the founder of Dominica, a publishing imprint created by Syms to explore black aesthetics in visual culture.

Organized by CAAM's visual arts curator Mar Hollingsworth, the show includes work by nearly 50 artists starting with the stunning 1964 painting by Daniel LaRue Johnson, Big Red, a square of dark red stripes framing a smaller square of charred black detritus, a piece that in itself contains both meanings of «Hard Edged.»

This approach dovetails with what Kobena Mercer (2016) named «cut - and - mix aesthetics,» or call and response in visual art by African American and Black British artists, as paradigmatic of post-1980s black diaspora aesthetic pracBlack British artists, as paradigmatic of post-1980s black diaspora aesthetic pracblack diaspora aesthetic practice.

Radical Presence: Black Performance in Contemporary Art is the first exhibition to survey over fifty years of performance art by visual artists of African descent from the United States and the Caribbean.

Best known for her vivid, rhinestone - studded pictures of black women, the artist is curating an exhibition of work by 14 of today's most critical voices in the visual arts, from Carrie Mae Weems and Deana Lawson (who designed Blood Orange's most recent album cover) to Hank Willis Thomas (founder of the first artist - run super PAC).

Trinidad - born, Japan - based visual artist Marlon Griffith presents No Black in the Union Jack, a performance inspired by the 2011London summer riots.

A contemporary idea of beauty is challenged and dismantled by the artist's use of cheap materials and direct interventions on the surface of works with black markers, acts of apparent sabotage that demystify the highly - constructed visuals of the mass media.

Edward Clark's abstract expressionist tondo The Big Egg (1968) establishes the artist among the earliest American painters to experiment with oval forms (later explored by artists like Jasper Johns), while works by the 1970s black artist collective AfriCOBRA — who operated loosely as the visual arts arm of the Black Arts Movement, and whose influence can be found in the work of Kerry James Marshall and David Hammons — are given prominblack artist collective AfriCOBRA — who operated loosely as the visual arts arm of the Black Arts Movement, and whose influence can be found in the work of Kerry James Marshall and David Hammons — are given prominBlack Arts Movement, and whose influence can be found in the work of Kerry James Marshall and David Hammons — are given prominence.

«If you Lived Here You'd be Home,» Curated by Josiah McElheny, Tom Eccles and Lynne Cook, CCS Bard Hessel Museum, Annandale - on Hudson, NY, June 25 — Dec 11, 2011 «Black Swan: The Exhibition Regen Projects,» Los Angeles, CA, Feb 25 — April 16, 2011 «American Exuberance,» Rubell Family Collection, Miami, FL, Nov 30 2011 - July 27, 2012 «America: Now + Here,» a travelling exhibition in multiple expandable trucks, in many US Cities including Kansas City, Detroit, and Chicago, and Aspen, curated by Eric Fischl April 2010 — November 2011 «Untitled (12th Istanbul Biennial),» September 17 — November 13, 2011 «We Will Live, We Will See,» Zabludowicz Collection, London, July 7 — August 14, 2011 «The Bearden Project,» The Studio Museum In Harlem, Bronx, NY, November 10, 2011 — September 2, 2012 «HIDE / SEEK: Difference and Desire in American Portraiture,» Brooklyn Museum, Brooklyn, NY, November 18, 2011 - February 12, 2012 «Nothing in the World But Youth,» Turner Contemporary, Kent, United Kingdom, September 17, 2011 - January 8, 2012 «The Bearden Project,» Studio Museum, New York, NY, November 10, 2011 — March 11, 2012 «Jean Genet,» Nottingham Contemporary, Nottingham, United Kingdom, July 16 — October 2011 «The Last First Decade,» Ellipse Foundation, Portugal, April 30 — December 18, 2011 «Human Nature: Contemporary Art from the Collection,» Los Angeles County Museum of Art, March 13 — July 4, 2011 «Seeing Gertrude Stein: Five Stories,» Contemporary Jewish Museum, San Francisco, CA, May 2011; travels to the National Portrait Gallery, Washington, DC, October 2011 «Face Off: Portraits by Contemporary Artists,» Lyman Allyn Art Museum, New London, CT, April 10 — September 18, 2011 «ARTiculate: Links Between Visual and Verbal Expression,» Camden Stedman Gallery, Rutgers University, Rutgers, NJ, January 18 — February 26, 2011 «Robert Mapplethorpe: Night Works,» Alison Jacques Gallery, London, England, January 19 — March 19, 2011 «Collecting Biennial,» Whitney Museum of American Art, New York, NY, January 16 — November 28, 2011 «Distant Star / Estrella Distante,» An exhibition around the writings of Roberto Bolaño, Regen Projects, Los Angeles, United States; kurimanzutto, Mexico City, Mexico, 2011

Recapturing Memories of the Black Ark is a sculptural installation by renowned visual artist Gary Simmons.

«Miami Arts Project,» Miami, FL, January — March, 1998; brochure «I'm Still In Love With You: Visual Artists and Writers Respond to the 1972 Album by Al Green,» Women's 20th Century Club, Eagle Rock, CA, February 14 — March 14, 1998 «Postcards from Black America,» Breda, De Beyerd Museum, Breda, The Netherlands, 1998; catalogue «Núcleo Historico, XXIV Bienal de São Paulo,» curated by Paulo Herkenhoff, São Paulo, Brazil, 1998 «100 Years of Sculpture: From Pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislaine Hussenot, Paris, France, 1998 «Heart, Mind, Body, Soul,» Whitney Museum of American Art, New York, NY, 1998 «Cut on the Bias: Social Projects of the 90's,» from the Permanent Collection: The Fabric Workshop and Museum, Philadelphia, PA, 1998 «Histories (Re) Membered: Selections from the Permanent Collection of the Bronx Museum,» Paine Webber Art Gallery, New York, NY, 1998 «100 Years of Sculpture: From pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislane Hussenot, Paris Miami Art Project, Miami, FL, 1998 «Hindsight: Selections from the Permanent Collection,» Whitney Museum of American Art, New York, NY, 1998 «A Portrait of Our Times: An Introduction to the Logan Collection,» San Francisco Museum of Modern Art, San Francisco, CA, 1998

New York and North Adams, Massachusetts, Drift of Summer, RM Gallery, Auckland, New Zealand Observe / Recognize, Berlin Gallery at Legends Santa Fe, Santa Fe, New Mexico 2010 Collision, Rhode Island School of Design Museum, Providence, Rhode Island Lush Life, Invisible Exports Gallery, New York, New York Everyday Mystics, Patricia Sweetow Gallery, San Francisco, California Vantage Point, Recent Acquisitions, Smithsonian National Museum of the American Indian, Washington DC Raw State, Shelby Street Gallery, Santa Fe, New Mexico New Paintings, Staley Wise Gallery, New York, New York Alluring Subversions, Timken Art Center, California College of The Arts, San Diego, California Currents, University of Northern Colorado, Greeley, Colorado organized by Cicely Cullen 2009 On Stellar Rays, Lover, New York, New York, organized by Kate Gilmore and Candice Madey Signs Taken For Wonders, Jack Shainman Gallery, New York, New York, organized by Isolde Brielmaier, Surveillance, Affirmation Arts, New York, New York, organized by Rachel Vancellete Solution, DiverseWorks, Houston, Texas, organized by Janet Phelps Eiteljorg Museum, Recent Acquisitions, Eiteljorg 2008 - 09 Fellows, Indianapolis, Indiana The Banality of Good, Claremont Graduate University, Claremont, California, organized by Chris Christion Currents, Metro Visual Arts Center, Denver, Colorado, organized by Cicely Cullen Relevant, Nathan Cummings Foundation, New York, New York, organized by Amerinda 2008 Blueballs, Production Fund LAB, New York, New York, organized by Jackie Saccoccio Visions, Flushing Town Hall Projects, Flushing, New York, organized by Omar Lopez - Chahoud Voices of the Mound, Institute of American Indian Arts, Santa Fe, curated by Linda Lomahaftewa - Singer Kentler International Drawing Space and Long Island University, Native Voices, New York, New York 516 Arts, Cautionary Tales, Albuquerque, New Mexico, curated by Holly Roberts Jersey City Museum, 1 × 1 Project, Shameless, Jersey City, New Jersey, curated by Rocio Aranda Alvarez Circa Art Fair, Puerto Rico, with Samson Projects Volta 4, Basel, Switzerland, with Samson Projects 2007 SONOTUBE, Santa Barbara Contemporary Arts Forum, Santa Barbara, California, curated by Miki Garcia Off The Map, The National Museum of the American Indian, Smithsonian Institution, New York, New York, curated by Kathleen Ash - Milby New England School of Art and Design, Boston, Massachusetts, organized by Charles Giuliano Postmillennial Black Madonna (in two parts): Paradise @ MoCADA, and Inferno @ Skylight Gallery, Brooklyn, New York Newark Open 2007, Newark, New Jersey, organized by Omar Lopez - Chahoud 2006 The Aldrich Museum of Contemporary Art, No Reservations, Ridgefield, Connecticut, curated by Richard Klein Paul Kopeikin Gallery, Paperworks, Los Angeles, California, curated by Daria Brit Shapiro Westport Arts Center, BROOKLYN, Westport, Connecticut, curated by Amy Simon State University of New York, Paumanoka, Stony Brook, New York, curated by Stephanie Dinkins The Jersey City Museum, Tropicalisms, Jersey City, New Jersey, curated by Rocio Aranda - Alvarado ARCO, Madrid, Spain, with Samson Projects MACO Art Fair, Mexico City, Mexico with Samson Projects 2005 Le Désert de Retz, Massimo Audiello, New York, New York, curated by David Hunt Alona Kagan Gallery, From the Root to the Fruit, New York, New York, curated by David Hunt Out of Bounds, Wave Hill, Glyndor Gallery, Bronx, New York, curated by Jennifer McGregor Evolving Pattern, New Jersey State University, Jersey City, New Jersey, organized by Midori Yoshimoto Play, Iandor Fine Arts, Newark, New Jersey, curated by Jomo Jelani Heywood Artists Alliance AIR Exhibition, Cuchifritos Gallery, New York, New York 2004 The Urge That Binds, Samson Projects, Boston, Massachusetts Jersey City Museum, Jersey (New), Jersey City, New Jersey, curated by Dr. Rocio Aranda New American Talent, The Jones Art Center for Contemporary Art, Austin, Texas, selection by Jerry Saltz The Space Between Words, Kean University, Union, New Jersey, curated by Judith Page Timeless / Timeliness, Aljira Center for Contemporary Art, Newark, New Jersey, curated by Dominique Nahas Super Salon, Samson Projects, Boston, Massachusetts, curated by Camilo Alvarez

Come celebrate with us at Contemporary Arts Museum Houston (CAMH) for the opening reception of Radical Presence, the first comprehensive survey of performance art by black artists working from the perspective of the visual arts.