Sentences with phrase «for radical artists»

It mounted early shows of pop art and abstract painting, and provided a meeting place for radical artists.

Not exact matches

So for us, you can't have conversations about radical imagination without including artists, as they are the ones who articulate that vision both visually and sonically.

We created this project to support underground artists and to use Internet as a free and collaborative platform for exchanging information hundreds of news, record reviews, interviews, rants, columns and many more all about underground music and radical ideas.

For me, graphics-wise Battlefield was interesting because of the way they do lighting - its tile - based Compute - oriented lots - of - non-shadowing lights approach was quite radical, especially for artisFor me, graphics-wise Battlefield was interesting because of the way they do lighting - its tile - based Compute - oriented lots - of - non-shadowing lights approach was quite radical, especially for artisfor artists.

Produced in a basement flat in London's Notting Hill Gate by three editors, Richard Neville, Jim Anderson and Felix Dennis, the magazine was renowned for its psychedelic covers by pop artist Martin Sharp, cartoons by Robert Crumb, radical feminist thought by Germaine Greer and provocative articles that called into question established norms of the period.

RADICALS II At the Brooklyn Museum in April, a smaller exhibition, «We Wanted a Revolution: Black Radical Women, 1965 - 85,» organized by the museum's Elizabeth A. Sackler Center for Feminist Art, came with work by more than 40 artist - activists and a dynamite sourcebook - style catalog.

Featuring more than 120 artists from 15 countries, Radical Women: Latin American Art, 1960 — 1985 focuses on their use of the female body for political and social critique and artistic expression.

He is renowned for being one of the first artists to make the radical gesture of taking the canvas off the stretcher and hanging it directly on the wall in works such as Purple Octagonal 1967, as well as making provocative sculptures such as Third Rope Piece 1974, the intimate scale of which directly responds to traditional ideas of monumental art.

Yves Klein (1928 — 1962), was a conceptual artist par excellence, a radical, utopian dreamer described by the French critic, Pierre Restany as «a painter, but also infinitely more: a believer living in his own sense of the divine», whose diverse practice included ephemeral works in his quest for immateriality.

Rail: Most of us who have followed your work for a while know that you identify with the experimental spirit and radical politics of the»60s and»70s, especially feminism, as seen in the works made by artists such as Joan Semmel, Howardena Pindell, Louise Fishman, and Harmony Hammond.

After being shown at prestigious museums such as Moderna Museet in Stockholm, and the Hamburger Bahnhof in Berlin, the exhibition comes to Museo Picasso Málaga, presenting for the first time in Spain the work of this unusual artist, with more than 200 works that summarize her complex, consistent and radical career.

Jackson Pollock (1912 — 1956) is an American Abstract Expressionism artist known for his «action paintings», which were radical as they broke new ground in style and technique.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Las Vegas Weekly, The Barrick's «Plural» Teams Local and International Artists for an Engaging Show, April 26, 2018 East Hampton Star, 23 Successes in «A Radical Voice», Jennifer Landes, March 20, 2018 Elle Décor, «Hitting Her Groove», Kate Betts, September 2014 Hamptons ArtHub, Best Exhibitions of 2013», December 2013 Hamptons ArtHub, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, September 2013 WhiteHot Magazine, «Almond Zigmund: Interruptions Repeated», Janet Goleas, September 2013 Huffington Post, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, August 2013 Elle Décor, «Arbiter of Style», Cynthia Frank, May 2013 NY H&G, «Mondo Condo» May 2013 Long Island Pulse, «Artist VIP», Nada, August 2011 Southampton Press, «Shifting Perceptions in Parrish Installation», Pat Rogers, November 8, 2007 East Hampton Star, «An Artist «Remembers the Future»», Jennifer Landes, November 1, 2007 East Hampton Star, «Industrial Strength Beauty, Jessica Frost, July 19, 2007 Las Vegas Sun, «Coloring Her World», Kristen Peterson, February 24, 2006 Southampton Press, «Tracing the Genealogy of Ideas», Eric Ernst, December 15, 2005 Columbus Dispatch,» Texture Enlivens Minimalist Exhibit», Kaizaad Kotwal Sunday, July 17, 2005 Southampton Press,» Avram Gallery Offers Quiet Space for Show», Eric Ernst, Nov. 25, 2004 Los Angeles Times, «Sweet Nostalgia Projected Onto Metal», Holly Meyers, Feb 1, 2002 Flash Art, «Aperto», David Pagel, March - April 2002 Art in America, «Report From Sante Fe — Sin City Sampler», Sarah S. King, July 2002 Kunst; «Verdachtig ist, wer sich nicht bewegt», Jurg M. Meier, 2002 Samatag, «Orte des Durchgangs sichtbar gemacht», Susanne Neubauer, Jan 26, 2002 The Art Newspaper, «Las Vegans», Sarah Douglass, No 121, January 2002, p. 9 The Southampton Press, «Artists in Spotlight at Parrish», October 25, 2001, Miami Herald, «Altoids Artworks Small, But Strong», Elias Turner, Sept 10, 2001 Florida Today, «Altoids offers an exhibit of curiously fresh art», Pam Harbaugh, 2001 Exhibit: a, «The Big American Issue», June 2001, p. 28 illustration Las Vegas Weekly, August 5, 1999 «Artists Bios», p. 20, illustration Las Vegas Weekly, February 3, 1999 «Great Art BiDesign», p22 New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustration

That vision changed Ginsberg's life, and Blake became a touchstone figure for many radical American artists of the 1950s and his destroy - all - tyrants radar continued to burn through the 1960s.

However many artists — with a natural propensity for constant upheaval — have whole - heartedly embraced radical changes in technology over the last sixty years.

Reviled by some at the time, that year's Whitney Biennial laid the groundwork for much of the intellectual landscape artists have explored since then because it was seen at the time as such a radical departure from previous Biennials due to the fact that the exhibited work was much more conceptual and politically charged than previous incarnations.

2012 Ancient to Future: Sharifa Rhodes - Pitts and Simone Leigh, a conversation with Claire Barliant, LIVE at the NYPL, New York Public Library Radical Freedom: Feminist Collaborations and Hybrid Aesthetics, Simone Leigh and Chitra Ganesh, Center for The Humanities, CUNY Graduate Center BREAKDOWN, artist talk and video screening, with Liz Magic Laser, Brooklyn Museum Rhode Island School of Design, Visting Artist Lecture, Providence, RI New York University, Visiting Artist Lecture, New Yoartist talk and video screening, with Liz Magic Laser, Brooklyn Museum Rhode Island School of Design, Visting Artist Lecture, Providence, RI New York University, Visiting Artist Lecture, New YoArtist Lecture, Providence, RI New York University, Visiting Artist Lecture, New YoArtist Lecture, New York, NY

There, he revealed his deep passion for performative practices and so - called «outsider» artists with two trailblazing shows: «Radical Presence: Black Performance in Contemporary Art» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated black artists.

One day in the «90s the British artist Michael Landy came up with a radical concept for an artwork: he decided to destroy every single one of his possessions in public.

As an artist working in photography for the past thirty years, Robert Burley has been both an observer and a participant in a radical transition, the emergence of a new technology, which irrevocably changed photography, and the abrupt and rapid breakdown of a century - old industry, which embodied the medium's material culture.

They are combined with works by four contemporary artists, that not only show stylistic similarities to the distinctively white works from half a century earlier, but also a shared appetite for radical new ways to make art.

In Monet & Architecture, the National Gallery looks at the artist's relationship to the built environment, while Sir John Soane's Museum examines the «radical moment» of postmodernism and the Sainsbury Centre for Visual Arts explores the superstructures of the 1960s to 90s.

A versatile French artist, Louise Bourgeois explored explicit subject matter that was rare and radical for women artists at the time.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

«Through their pieces, the artists featured in this exhibition investigate alternative frameworks for perception, often occupying its margins — responding to conditions of invisibility as well as what can not be represented — through radical experimentation.»

«For the most part, the radical portraits of the 1960s feature subjects who were at the forefront of innovation in their chosen fields, be they art, dance, music, or writing, and offer surprising insights regarding the artist, subject, and historical moment.»

On October 1, 2016, Galerie Jérôme Poggi opened the second exhibition of emerging Flemish artist Wesley Meuris, in conjunction with a radical installation project the artist will present for Fiac!

ghetto Biennale 2015: The Ghetto Biennale is calling for applications for its 4th edition (Nov. — Dec. 2015) and invites artists and curators to explore what potentials the radical tools Kreyol, Vodou and the Lakou have to offer to the contemporary world.

Highlights this year include curated gallery sections dedicated to discovery and radical feminist practice, Frieze Projects» non-profit programme featuring commissions from 11 international artists and for the first time this year, Frieze Sculpture, London's largest free showcase of major outdoor works.

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step RigArtist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step RigArtist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Rigartist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

As the Royal Academy gear up for a retrospective of the Chinese artist and activist Ai Weiwei, we look back at the life of this most radical and visionary provocateur.

Since the late 1960s the Nova Scotia College of Art and Design University, with artists and influential administrators like Garry Neill Kennedy, and Eric Cameron, has been a gathering point for radical Canadian, American and European artists.

How was it possible for such a young artist to come up with such radical and attractive work, to make paintings that would immediately shift the entire ground of the art world?

However, for the younger and less acknowledged artists in Radical Presence, a show of this kind offers an opportunity for their work to be seen in the company of artists who have successfully crossed over to the mainstream, and so to be introduced to audiences that otherwise don't seek out black artists.

For both artists, this is their first exhibition in the Landesmuseum Niederösterreich — Leopold Kogler presents a retrospective of his works, Erwin Wurm shows new, radical works.

In gallery news: after 10 years in operation, London's Supplement Gallery is closing — its final exhibition will be of artist Mimi Hope which will run 14 — 29 April; the veteran New York Postmasters Gallery is turning to crowdfunding to support its activities — it has joined Patreon with subscription levels ranging from special viewings to exclusive lunches, hoping to follow «a new model — a radical hybrid combining the strength of the market with the support of the community»; New York's Gladstone Gallery now represents Vivian Suter, with a solo exhibition planned for early 2019; and P.P.O.W., New York, will represent Judith Linhares.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century — of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life — continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

The Center for Land Use Interpretation, Mark Dion and Pedro Reyes were all guest artists of the Confluence series, and now included in «Radical Seafaring.»

It's in this same year that Tate Modern's exhibition «Soul of a Nation: Art in the Age of Black Power (1963 — 1983)» begins its story of the radical, brilliant and hugely varied art made by African American artists in the political and cultural landscape of Civil Rights, Black Panthers, Blaxploitation, and other manifestations of the fight for equality in education, jobs and representation.

An ambitious exhibition in both breadth and intent, «Radical Seafaring» is a survey of art and artist projects in relation to water and calls attention to a new movement in art that's been brewing for some time.

His most radical gesture was the creation of the 90 cans of Artist's shit with the content of 30 grams that was sold for the current price of gold (30 gr of something in the can is equal to the 30 gr of gold, which was approximately 37 dollars).

In a way, Grover has combined both these interests in her curation of «Radical Seafaring,» which points to a new art movement through its seamless entwining of conceptual art, sculpture, and artist participatory adventures with insights into the creative process that are essential for the fullest appreciation of art.

This major group exhibition of contemporary women artists, across mediums, styles and genres, coincides with and responds to The Fine Art Society's, London, representation of the radical artist Gluck (1895 - 1978) who, determined to be known for her art not her gender, cropped her hair, and adopted the androgynous name with «no prefix, suffix or quote.»

Focusing primarily on African American artists in and out of the Black Arts Movement, the exhibition features approximately 100 objects assembled from the Smart Museum's collection and other public and private collections, including art and ephemera associated with the Wall of Respect, Black Creativity, the Civil Rights Movement, AfriCOBRA, Afrofuturism, the Hairy Who, and the radical sounds of the Association for the Advancement of Creative Musicians.

Featuring major works by artists such as Thomas Eakins, Winslow Homer, William Sidney Mount, and John Singer Sargent, among others, the exhibition was radical for the time and place.

Innovation Grants awarded for the 2013 - 14 academic year are Antena at Blaffer, Art Lies in Gulf Coast, Bodas de Sangre / A Blood Wedding, Napoleon and the Battle of Nations, On Screen: A Film and Video Series, Shifting Spaces, Spit My Story, Re (cycle): Pedal Power Pop Up, Theaster Gates with FEAST: Radical Hospitality in Contemporary Art, Visiting Artist and Scholar Series with Blaffer Art Museum, and an Artist Residency with Raqs Media Collective.

German artist Hannah Höch was a true radical: a trailblazer of photomontage who started out writing for women's handicraft mags, and the first lady of dada — though they constantly tried to elbow her out.

A «Radical Gesture» The Studio Museum was founded in 1968 to provide a venue for artists of African descent to exhibit their work when opportunities to do so at mainstream institutions were few.

The artists in this exhibition produce works that explore the multi-faceted characteristics of the word «hood» in some fashion: a slang term for a Black neighborhood; a suffix in cultural theory concepts like «objecthood,» «personhood,» «negrohood;» and Trayvon Martin's hoodie, which, along with his being an objectified young Black male, served as a signifier in an act of radical injustice.