Sentences with phrase «by hip hop culture»

In the beginning of his career, Halwani was influenced by hip hop culture and the Western graffiti scene.

He was inspired by The Hip Hop culture in the late 1970?

Not exact matches

Andrew Medal chats with Rich Antoniello about how Complex Media is redefining the culture by sparking conversation through hip hop, sneakers, tech, news and sports.

The former camp were highly concerned with packing as much theological and biblical knowledge into each song as possible, while the latter adopted the strategy of reaching hip - hop culture by fitting into it, and there's more great Christian - focused hip - hop being made, which will appeal to more fans, than at any point in the genre's history.

Hip - hop star and DONDA art agency founder Kanye West dropped by the Harvard Graduate School of Design to give his thoughts about culture, design and the future of creativity.

«Inside the #GucciCruise18 collection by #AlessandroMichele, a look that celebrates an iconic style of hip - hop fashion culture from the 80s — a plush jacket featuring puffy sleeves monogrammed in GG motif.

In the second half of the 20th century, the denim jacket became indelibly associated with pop culture as it was adopted by artists: beat intellectuals, rock stars, punks, bikers and hip - hop musicians.

It's an important piece of hip - hop pop culture history and should probably printed off, frame - by - fame, unless the internet is blown up: Kelly Rowland Kelly Rowland is all candor as she discusses the trials of being a new mom, her days in Destiny's Child,...

FRESH OFF THE BOAT (single camera) PICKED UP TO SERIES STUDIO: 20th Century Fox TV TEAM: Nahnatchka Khan (w, ep), Jake Kasdan (ep), Melvin Mar (ep), Eddie Huang (p) LOGLINE: It's the»90s, and hip - hop - loving Eddie is growing up in suburban Orlando, raised by an immigrant father who is obsessed with all things American — he owns and operates an All - American Steakhouse chain — and an immigrant mother who often is bewildered by white culture.

The hip - hop star Pras takes a risk by buying a Super Bowl ad for his new black culture site.

As part of the 2014 Alumni of Color Conference, Christopher Emdin — associate professor of science education at Teacher's College — explores the ways that hip - hop culture expresses an interest in, admiration for, and in some cases, deep knowledge of science that goes unnoticed by educators.

Highlights this spring will include a discussion about how hip hop culture can offer teaching and learning tools in science with Assistant Columbia University Professor Christopher Emdin; a conversation with Spelman College President Beverly Daniel Tatum; a presentation by filmmaker M. Night Shyamalan on his research on closing America's achievement gap; and a talk with autism activist Temple Grandin.

Highlights this spring will include a discussion about how hip hop culture can offer teaching and learning tools in science with Assistant Columbia University Professor Christopher Emdin; a conversation with Spelman College President Beverly Daniel Tatum; a presentation by filmmaker M. Night Shyamalan on his research on closing America's achievement gap; and...

Worse, there is the huge problem of young people whose lives are influenced mainly by gangs, street culture, hip hop, and the worst of movies and television.

I think about a former, Polynesian student of mine, who was completely immersed in black hip - hop culture, yet seemed worried she would offend me by saying my race out loud during a class discussion on immigration and ethnic backgrounds.

And there's Kateb, known to the Americans as Dodge, an Iraqi interpreter whose love of American culture - from hip - hop to the dog - eared copy of Huck Finn he carries - is matched only by his disdain for what Americans are doing to his country.

Compared with other branches of American e-sports, dominated by white and Asian players, the FGC has a reputation that's always been more colorful: It's composed primarily of black players like Kelly, Asian players like his longtime Marvel rivals Justin Wong and Duc Do, and Latino gamers, and its brash self - presentation is influenced by the street culture that gave rise to hip - hop.

Blue jeans, which have been worn from miners, frontiersmen, blues men, rock and roll musicians, and members of contemporary hip - hop culture, have been claimed by the artist as homonym (genes) and metaphor, symbolizing a fusion of American culture and African ancestry.

Ala Ebtekar is as much influenced by the mythology and folklore of his Iranian heritage as he is by the legends and lore of hip - hop culture.

Appropriating the format of specific paintings by renowned masters ranging from Titian to Édouard Manet, Wiley often depicts his subjects wearing sneakers, hoodies, and other gear associated with today's hip - hop culture and sets them against ornate decorative backgrounds that evoke earlier eras and cultures.

Like Quisqueya Henriquez's progressive divergence from an Internet source image of a Blinky Palermo corner piece, Musson's sweater frees the art object from Abstract Expressionism and the consumer object from hip - hop culture by indulging symbiosis worthy of Deleuze and Guattari» sCapitalism and Schizophrenia.

She is inspired by abstract expressionism, Japanese calligraphy, Nikki Giovanni, poetry, hip - hop, street art and our culture's obsession with consumption and waste.

Widely known for the chalk board paintings he created in the mid-1990s, over the years Simmons's work has been defined by his interpretations of race, social issues and hip - hop culture.

Her work is influenced by many aspects of popular culture, including cartoons, video games, hip - hop, and tabloid magazines, as well as artists Romare Bearden, Henri Matisse, and Stuart Davis.

In this piece by Wangechi Mutu, fragments from popular culture, wildlife magazines, porn, and hip - hop culture are collaged onto the female form.

He was always surrounded by a variety of information from digital media, including Korean traditional things, Japanese animation, and Western Hip Hop cultures.

The programs will be accompanied by panel discussions and forums, covering topics such as the role of film in hip - hop culture and Afro - Caribbean cinema.

African American Hip Hop culture meets Victorian excess in a series of watercolor - and - photo collages by Nigerian - born Marcia Kure.

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

Working across video, installation and sound, Kjær Skau draws from a culture of mass music releases by unsigned hip hop artists in an effort to generate a growing swell of interest in the mainstream music industry.

In 2011 his work is featured in DEFINITION: The Art and Design of Hip Hop, an anthology chronicling the impact of hip - hop on visual culture, written by well - known graffiti artist and designer Cey Adams, 5 Cities / 41 Artists: Artadia O8 / 09, Artadia: The Fund for Art and Dialogue by Franklin et al Sirmans, NOPLACENESS: Art in a Post-Urban Landscape, as well as In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection in 20Hip Hop, an anthology chronicling the impact of hip - hop on visual culture, written by well - known graffiti artist and designer Cey Adams, 5 Cities / 41 Artists: Artadia O8 / 09, Artadia: The Fund for Art and Dialogue by Franklin et al Sirmans, NOPLACENESS: Art in a Post-Urban Landscape, as well as In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection in 20Hop, an anthology chronicling the impact of hip - hop on visual culture, written by well - known graffiti artist and designer Cey Adams, 5 Cities / 41 Artists: Artadia O8 / 09, Artadia: The Fund for Art and Dialogue by Franklin et al Sirmans, NOPLACENESS: Art in a Post-Urban Landscape, as well as In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection in 20hip - hop on visual culture, written by well - known graffiti artist and designer Cey Adams, 5 Cities / 41 Artists: Artadia O8 / 09, Artadia: The Fund for Art and Dialogue by Franklin et al Sirmans, NOPLACENESS: Art in a Post-Urban Landscape, as well as In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection in 20hop on visual culture, written by well - known graffiti artist and designer Cey Adams, 5 Cities / 41 Artists: Artadia O8 / 09, Artadia: The Fund for Art and Dialogue by Franklin et al Sirmans, NOPLACENESS: Art in a Post-Urban Landscape, as well as In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection in 2012.

$ 75 $ 95 Portraits by Kehinde Wiley juxtapose hip hop culture with Western art history.

Nina Chanel Abney's (b. 1982, Chicago) pieces address pop culture and racial conflicts, informed as much by hip - hop culture, animated cartoons, as by celebrity websites and tabloid magazines.

Appropriating the format of specific paintings by renowned masters such as Titian, van Dyck, Ingres, and Manet, Wiley often depicts his subjects wearing sneakers, hoodies, jerseys, baseball caps, and other gear associated with hip - hop culture.

Known as one of the artists of Beautiful Losers — a bi-coastal collective inspired by various aspects of street culture associated with skateboarding, graffiti, punk, and hip - hop — Campbell's defiantly animated assemblages pay homage to the roguishly creative spirit of urban signage.

By forming Biters and referencing the image of a DJ and MC from a rap crew, the two artists acknowledge the debt their practices hold to hip - hop culture and its relationship with art and appropriation; the reconfiguring of prefabricated objects, a logo or symbol becoming a mark of tribal affinity, an audio source and / or drum break that paints the environment to an entire song.

Inspired by hip - hop culture and New York...

Additionally, his work has been featured in several texts including DEFINITION: The Art and Design of Hip Hop, an anthology chronicling the impact of hip - hop on visual culture, written by famed graffiti artist and designer Cey Adams; 5 Cities / 41 Artists: Artadia O8 / 09, published by ARTADIA in 2011; NOPLACENESS: Art in a Post-Urban Landscape, published by Possible Futures in 2011; and In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection, Clark Atlanta University, 20Hip Hop, an anthology chronicling the impact of hip - hop on visual culture, written by famed graffiti artist and designer Cey Adams; 5 Cities / 41 Artists: Artadia O8 / 09, published by ARTADIA in 2011; NOPLACENESS: Art in a Post-Urban Landscape, published by Possible Futures in 2011; and In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection, Clark Atlanta University, 20Hop, an anthology chronicling the impact of hip - hop on visual culture, written by famed graffiti artist and designer Cey Adams; 5 Cities / 41 Artists: Artadia O8 / 09, published by ARTADIA in 2011; NOPLACENESS: Art in a Post-Urban Landscape, published by Possible Futures in 2011; and In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection, Clark Atlanta University, 20hip - hop on visual culture, written by famed graffiti artist and designer Cey Adams; 5 Cities / 41 Artists: Artadia O8 / 09, published by ARTADIA in 2011; NOPLACENESS: Art in a Post-Urban Landscape, published by Possible Futures in 2011; and In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection, Clark Atlanta University, 20hop on visual culture, written by famed graffiti artist and designer Cey Adams; 5 Cities / 41 Artists: Artadia O8 / 09, published by ARTADIA in 2011; NOPLACENESS: Art in a Post-Urban Landscape, published by Possible Futures in 2011; and In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection, Clark Atlanta University, 2012.

Her work is informed by mainstream news media, cartoons, video games, hip - hop culture, celebrity websites and tabloid magazines.

Included in the landmark «30 Americans» of work by contemporary black artists that toured from the Rubell Family Collection to the Corcoran, Iona Rozeal Brown has made a name for herself by making paintings that find an unexpected confluence between the iconography of Japanese ukiyo - e and kabuki and African American culture, from hip - hop to Afrocentrism.

The show references, among other African leaders, Mugabe's independence / inaugural speech in 1980, the execution of Samuel Doe by Charles Taylor's orders and is interspersed with images derivative of popular American Hip Hop culture.

Beat Nation: Art, Hip Hop and Aboriginal Culture, co-curated by Kathleen Ritter and Tania Willard, Vancouver Art Gallery

Abney's works are informed as much by mainstream news media as they are by animated cartoons, video games, hip - hop culture, celebrity websites and tabloid magazines.

Painting for an open source age, Abney draws on multiple references which she samples and remixes in order to create a new language inflected by elements of popular culture, from satirical cartoons to graffiti and hip hop, as well as politics, entertainment and the history of art.

The Brazilian twins Gustavo and Otavio Pandolfo, better known as the artist team OSGEMEOS, are well - known São Paulo street artists inspired by US hip - hop culture.

Among the black community, the slur nigger is sometimes rendered as nigga, a pronunciation emphasizing the unique intra-racial dialect of black people, a self - referential pronoun in African - American Vernacular English usage popularized by the rap and hip - hop music cultures.

The blog is currently being maintained and updated by students in the Hip Hop and Popular Culture in Africa course in the African Studies Department at Howard University.