Sentences with phrase «by women artists of color»

Described as «the first U.S. presentation dedicated exclusively to the formal and historical dialogue of abstraction by women artists of color,» this exhibition features more than 20 practitioners across three generations, including Chakaia Booker, Lillian Thomas Burwell, Maren Hassinger, Jennie C. Jones, Howardena Pindell, Mavis Pusey, Alma Thomas, Mildred Thompson, and Brenna Youngblood.

Magnetic Fields marks the first U.S. presentation dedicated exclusively to the formal and historical dialogue of abstraction by women artists of color.

In the June 2014 ARTnews article «Black Abstraction: Not a Contradiction,» Hilarie M. Sheets aptly notes, «The contributions of African American artists to the inventions of abstract [art] have historically been overlooked...» Magnetic Fields focuses on non-representational art making by women artists of color, reframing the art historical narrative to convey a more complete presentation of American abstraction than has ever previously been examined.

Magnetic Fields: Expanding American Abstraction, 1960s to Today is the first American exhibition dedicated exclusively to the formal and historical dialogue of abstraction by women artists of color.

Magnetic Fields aims to change this perspective by focusing on nonrepresentational work by women artists of color, presenting a more complete presentation of American abstraction than has previously been offered.

Not exact matches

May 19, 2018 • The Baltimore Museum of Art is selling off part of its collection — including works by Andy Warhol and Robert Rauschenberg — to fund the purchase of more work by women and artists of color.

GraySpace Gallery 219 Gray Ave Abstractions: 2 Woman Artists, abstract paintings by Dahlia Riley and Peggy Ferris, a simple play of color and rhythm in a visual melody that words can not describe, involving a mix of intention, intuition and chance.

As Alter wrote in 2010, «My hope was to find a museum emphasizing inclusion and diversity, one working toward greater representation of art by women and artists of color in its permanent collection, exhibitions and outreach programs; where the art by women would be fully accessible to students, teachers, scholars and the general public; and where my collection would be enthusiastically welcomed because it embodied the institution's vision.»

In addition, he sought works by women, artists of color, and native and foreign - born or self - taught artists, so that the collection represented a «fusion of various sensitivities» and a «unification of differences» that would parallel the multicultural character of the nation.

As a response to the current social and political climate in the United States, the Strange Fire Collective is looking for work made by women, people of color, and LGBTQ artists that engages with issues of social justice and critically questions the dominant social hierarchy for our upcoming exhibition Call and Response: Art as Resistance.

Each book contains a selection of photocopied covers of the monographs and solo exhibition catalogues by women artists and artists of color published during that period of time and that were part of the CalArts library collection.

Artists and curators comment on the Baltimore Museum of Art's decision to diversify its collection through recent acquisitions of works by women and artists of color and by deaccessioning repetitiveArtists and curators comment on the Baltimore Museum of Art's decision to diversify its collection through recent acquisitions of works by women and artists of color and by deaccessioning repetitiveartists of color and by deaccessioning repetitive works.

Six artists of color use performance, photography, textiles, and more to take on stories such as modern - day gentrification in Bed - Stuy, traced through an amateur kung fu film found at the former home of a theater frequented by Reverend Al Sharpton; the Syrian refugee crisis and conflict, mixing media coverage and first - person accounts; and the actual Revolutionary War's 1776 Battle of Brooklyn, conducted by a woman of color.

Girl is a collaboration between a South Asian and an African American artist that explores the societal baggage borne by women of color who are frequently excluded from both feminist and racial - justice conversations.

It is a practice that commits itself to counter-hegemonic initiatives that give voice to those who have been historically silenced or omitted altogether — and, as such, focuses almost exclusively on work produced by women, artists of color, non-Euro-Americans, and / or queer artists.

Color Field was arguably the first major art movement initiated by a woman, and that woman was not present, in her own studio, to watch the wheels start turning in the heads of two male artists who, let's face it, were competitors?

Except for a smear of blue by Norman Lewis, Michael Rosenfeld avoids color, but with a striking mix of black and white artists, both men and women, from the 1930s to today.

Brooklyn Museum's «We Wanted a Revolution: Black Radical Women, 1965 - 85» reorients the conversation around race, feminism, political activism and art during the emergence of second - wave feminism by highlighting the often dismissed work of women artists of cWomen, 1965 - 85» reorients the conversation around race, feminism, political activism and art during the emergence of second - wave feminism by highlighting the often dismissed work of women artists of cwomen artists of color.

Dating from the 1970s to 2005, the 11 quilts included in the Souls Grown Deep Foundation gift / purchase triple the High's existing holdings of works by these celebrated women artists and demonstrate the incredible legacy of their artistic production, which parallels many of the experiments with color, flatness and abstraction associated with postwar American painting.

In 2015, Dugan founded the Strange Fire Artist Collective to highlight work made by women, people of color, and LGBTQ artists.

After moving to New York, he and his partner Corrine Jennings established Kenkeleba House, a gallery that has presented innumerable exhibitions of work by artists of color and women.

The question remains, how is it that so many artists are still so marginalized by race, ethnicity, and even gender when many celebrity artists are women and people of color?

One of the artist's many portraits of striking and wistful - looking women, Sarah is an exemplary work by Alex Katz — in this thirty - two color silkscreen print, Katz's clean lines and minimal approach to portraiture are displayed, and the solid dark background, which is typical of his compositions, offsets the model's bright blond hair, piercing blue eyes, and rosy lips.

One of the artist's many portraits of striking and wistful - looking women, Sophia is an exemplary work by Alex Katz — in this thirty - eight color silkscreen print, Katz's clean lines and minimal approach to portraiture are displayed, and the solid dark background, which is typical of his compositions, offsets the model's shiny auburn hair, piercing blue eyes, and rosy lips.

Highlights from this include his piece Spiderman (2015), in which the artist takes on the persona of a trans woman for a raunchy, politicized standup routine, and his signature large - scale abstract compositions, which he forms by layering paper and paint before sanding them down to reveal previously - obscured layers of color.

No woman except Martin gets her own room in the Fisher galleries, and there are almost no artists of color — though a tar - slathered wire mesh sculpture by Martin Puryear is one of the finest works here.

I don't believe that, maybe I should, I've been looking for work because it was done by artists of color or women.

SELECTED GROUP SHOWS: 2018 Open SpacesKansas City, MO 2018 Color of the Year Presented by Pantone and X-RiteUrban Institute for Contemporary Art, Grand Rapids, MI 2017 Solar Flair: Celestial Bodies in MotionAlbrecht Kemper Museum of Art, St. Joseph, MO 2017Light and ShadowMildred M. Cox Gallery Kemper Center for the Arts William Woods University, Fulton, MO 2017The 19th Annual National Juried Competition,: «Works of Paper» 2017Long Beach Foundation of the Arts & Sciences, Long Beach Island, NJ 2017 - 2018 Teardrops That Wound: the Absurdity of War, George Tsutakawa Art Gallery, Wing Luke Museum of the Asian and Pacific American Experience, Commission Work «Break Into Blossom», In collaboration with Phong Nguyen and Justin Shaw 2016 Vision: An Artist's Perspective, Gutfeund Cornett Art Kaleid Gallery San Jose, CA 2016 Novus Conceptum, Hannah Bacol Busch Gallery Bellaire, TX 2015 Generations: Forty Hues Between Black and White, OCCCA (Orange County Center for Contemporary Art), Santa Ana, CA 2015 Somewhere Between Black and White, Fiber Art Network, Arizona State University, Tempe, AZ 2015 Old Enough To Know Better, Cranes Art Gallery 105, Philadelphia, PA 2014 The 2nd Annual Juried Artist's Book Exhibition, WoCA Projects, Fort Worth, Texas 2014 The Living Mark Verum Ultimum Art Gallery, Portland OR 2014 Subconscious, Flow Art Gallery, St Louis MO 2014 A Dream and a Memory, St. Louis Artist Guild, St. Louis MO 2013 Missouri 50, Fine Art Building Sedalia, MO 2013 Art / Identity, Gallery 263, Cambridge, MA 2013 26th Annual Women's Work, Old Court House, Woodstock, IL 2012 Contemporary Women Artists XVI, Saint Louis University Art Museum, St. Louis MO 2012 UCM Faculty Show, UCM Gallery of Art and Design, Warrensburg, MO 2012 Color!

CV: Your activity of late, I would say in the late seven to eight years, I'm just being very general, you've pretty much picked a path in which you started looking at the work of artists of color and I know that in your travels you started seeing work by women and I'm wondering what they've been saying about the cannon.

[5] This exhibitions recontextualization of contemporary Bay Area art (by featured people of color and women), and showcased some of the following artists; Ruth Asawa, Bernice Bing, Rolando Castellon, Claude Clark, Robert Colescott, Frank Day, Rupert Garcia, Mike Henderson, Oliver Jackson, Frank LaPena, Linda Lomahaftewa, George Longfish, Ralph Maradiaga, José Montoya, Manuel Neri, Mary Lovelace O'Neil, Darryl Sapien, Raymond Saunders, James Suzuki, Horace Washington, Al Wong, René Yañez, Leo Valledor, and many more.

Out of Easy Reach considers how artists from two generations have been informed by those before them; addressing the crisis of visibility of women of color within the narrative of abstraction's history.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they arcolor, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they arColor, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

Brown also reacts against the appropriation of certain bodies and histories by artists, including those of women and people of color.

New York gallery Cheim & Read will address the recent Women's March with a booth featuring works by many different artists (many of them ultra famous like Louise Bourgeois and Andy Warhol)-- all inspired by the color pink.

The Windy City iteration, working with the curators, has added works by Nan Goldin, Barbara Kruger, and African - American activist artist Howardena Pindell, as well as local artists, many of whom are of color and / or are women

Artist Maxine Helfman's «Historical Correction» series re-creates old Flemish portraits by replacing the posed subjects with men and women of color.

These recollections were part of a series of conversations I had recently with artists, curators, and museum professionals, after the Baltimore Museum of Art announced last month that it would be diversifying its collection to enhance visitor experience through recent acquisitions of works by women and artists of color and by deaccessioning repetitive works.

The Baltimore Museum of Art will deepen its holdings of works by women and artists of color using funds from sales of seven redundant works.

Other select projects include: Artistic Producer for the 4th annual Chicago Home Theater Festival, a 10 - day festival of artistic exchange within neighborhoods that have experienced systemic disinvestment featuring narratives by and about artists of color, women and femmes, migrants and immigrants, LGBTQ artists, and artists with disabilities (2016), and Project Coordinator for Our Miss Brooks: A Centennial Celebration, a national a year - long multidisciplinary celebration on the occasion of the 100th birthday of Pulitzer Prize winning poet Gwendolyn Brooks (2017).

Although less than 25 percent of the lots are by women artists, some significant works by women are for sale: «Roots,» a poignant color screen print by Catlett that the gallery says has not been seen at auction in 20 years (shown above); «March on Washington,» 1964 (oil on canvas), a beautifully rendered painting by Alma Thomas (1891 - 1978); Faith Ringgold's 1974 «Night: Window of the Wedding 8,» touted as the first of her fabric paintings to be offered at auction (shown below); and «Still Life with Grapefruit,» 1928, described on the frame backing as Lois Mailou Jones's first painting, completed a year after she graduated from the School of the Museum of Fine Arts in Boston.

Los Angeles based artist Soey Milk paints confident young women in boldly colored clothing inspired by the imagery of her Korean heritage.

HELEN FRANKENTHALER (B. 1928) Sanguine Mood (Harrison 33) pochoir and screenprint in colors, 1971, on J.B. Green Hayle Mill English handmade paper, signed and dated in pencil, numbered 2/75 (there were also 5 artist's proofs), published by the Women's Board Commission, San Francisco Museum of Art, the full sheet, in excellent condition, framed S. 22 3/4 x 18 in.

The first was the establishment of the Black Women Artists for Black Lives Matter (BWA for BLM), a collective of over one hundred women of color spearheaded by Simone Leigh, which «focuses on the interdependence of care and action... in order to highlight and renounce pervasive conditions of racism.&rWomen Artists for Black Lives Matter (BWA for BLM), a collective of over one hundred women of color spearheaded by Simone Leigh, which «focuses on the interdependence of care and action... in order to highlight and renounce pervasive conditions of racism.&rwomen of color spearheaded by Simone Leigh, which «focuses on the interdependence of care and action... in order to highlight and renounce pervasive conditions of racism.»

And, subtlely, the eyes manufactured for use in Hindu temples arranged by Indian artist Anita Dube «River Disease (Version 2),» a wall piece that could be a depiction of a river, but also looks like a hand or a claw connected in odd fashion with the eyes in Laurie Simmons» «How We See / Edie (Green),» a large color photograph of a woman with eyes painted on her eyelids.

This exhibition explores the highly formulated and transitional status of geometrical abstraction in the work of women artists from three generations: beginning with (Neo) concrete works on paper from the 1950s by Lygia Pape, to Minimal and Color Field paintings from the 1960s by Rosemarie Castoro and Gina Pane, the 1960 - 80s Pop Art influenced pattern paintings by Barbro Östlihn, to post-Concretist installations, structural and systemic experiments and text pieces from the 1970s and 80s by Lydia Okumura, Lenora de Barros, Martha Araújo, Dóra Maurer and Samia Halaby, to the original contemporary formulations of this history by Paloma Bosquê.

«The Worlds of Bernice Bing» Produced and directed by Madeleine Lim Co-Producer and Project Director, Jennifer Banta Yoshida Presented by the Asian American Women Artists Association and the Queer Women of Color Media Arts Project...

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.

Women Students and Artists for Black Art Liberation, founded by Faith Ringgold and her daughters Michele Wallace and Barbara Wallace, protested the lack of women and people of color in the Whitney Museum's influential Annual Exhibition in Women Students and Artists for Black Art Liberation, founded by Faith Ringgold and her daughters Michele Wallace and Barbara Wallace, protested the lack of women and people of color in the Whitney Museum's influential Annual Exhibition in women and people of color in the Whitney Museum's influential Annual Exhibition in 1970.

Highlights include works by the iconic 19th - century painter Childe Hassam, who popularized impressionism in the United States with his lush city scenes and natural landscapes; Japanese American artist Yasuo Kuniyoshi's bold image of the modern woman as a bather in the 1920s; and a recent minimalist seascape by photographer Catherine Opie that reduces the ocean to subtle, ethereal layers of color in which the human figure is almost overwhelmed by natural environment.

This exhibition will include four works: a Giacometti painted bronze sculpture, Standing Woman, 1948; a large Mark di Suvero sculpture in metal and wood, entitled The A Train, 1966; a large - scale color photograph by Jeff Wall, A ventriloquist at a birthday party in October 1947, 1990; and a suite of seven carved wood sculptures by the American folk artist Edgar Tolson, entitled The Fall of Man.