Sentences with phrase «from hip hop culture»

But even before all that fame, this artist was famous in the contemporary arts circles for his bold, robust representation of the African - American culture, putting persons from hip hop culture in Renaissance poses against colorful, patterned backgrounds.

Not exact matches

Complex is the intersection of all things pop culture, from hip - hop to sneakers, and dominates the male market of 18 - to 24 - year - olds with 55 million monthly viewers.

Stern would later institute the insidious NBA dress code, a direct attack on Iverson's personality and part of the effort to move the NBA away from hip - hop culture.

We've had local professors who have written about hip - hop culture from U Albany and Siena College.

«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.

Well where do I start erm... my name is andre I'm a open minded guy that enjoys the little moments in lbecause moments last forever, I like to try foods for different cultures, I like all kind music from hip hop to old school reggae it just depends on my mood really, anything else you want o know...

About Blog Fashbox is about fashionable living from an urban contemporary culture point of view, which I guess stems from hop hip culture.

Props to HCAS for never shying away from any art form or culture, including hip hop.

WHAT: Desperate to reinvigorate interest in B - Boy culture in America, hip - hop mogul Dante Graham (Laz Alonso) convinces childhood friend and former basketball coach Jason Blake (Josh Holloway) to recruit a B - Boy dream team to compete against other elite dance crews from around the world in the upcoming Battle of the Year competition.

EL - MEKKI: First of all, I think for our students of color, we need to recognize who they are, and I don't mean from the media or just from hip - hop culture.

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.

Williams chronicles his life in hip hop culture and his eventual break from that culture as he moves away from negative values (empty materialism, denigration of women) into a life of self examination.

About Blog Fashbox is about fashionable living from an urban contemporary culture point of view, which I guess stems from hop hip culture.

About Blog Fashbox is about fashionable living from an urban contemporary culture point of view, which I guess stems from hop hip culture.

We call ourselves The Koalition because we all come from different backgrounds, countries, and races and share a unified love for video games, hip - hop, and overall geek culture.

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.

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.

Biggers destabilizes linear notions of history, identity, and spirituality with a syncretic visual language culled from slave narratives, hip - hop culture, Afrofuturism, Buddhism, and Art History.

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.

His references span from the deep and dark corners of the carefully mannered art world to the more esoteric branches of culture such as inglorious comic books, unsung hip hop heroes, and freakish, hallucinatory imagery from the drug - fueled political past.

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.

They're usually depicted against colourful patterns that, of course, have deep references to textiles and decorative motifs of various cultures, from 19th century Judaica paper cut - outs, the Islamic symbolism, French Rococo and urban hip hop to Martha Stewart's interior color swatches.

They're as comfortable leaving their imprint on the streets as they are making paintings on wood and canvas to be shown in galleries, and cull their imagery as much from outsider art, Brazilian folklore, and global hip - hop culture, as from their own private mythology.

Biggers's work is known for its combination of meditative rigor and improvisatory edge, resulting in multilayered compositions that draw from the Buddhist idea of «both / and,» hip - hop culture, constellations, Afrofuturism, slave quilts, Jazz, and mandalas.

Growing from the group of «taggers» belonging to the cultures of hip - hop and punk rock, street art no longer solely describes the artists who spray - canned the train - yards, subway rails and abandoned nightclubs of New York City, Los Angeles, and London in the 1970s.

Willard's curatorial work includes Beat Nation: Art Hip Hop and Aboriginal Culture, co-curated with Kathleen Ritter that toured from Vancouver Art Gallery to Montreal, Toronto, Kamloops, Halifax and Regina.

The exhibit Based on a True Story tells reimagined folk history mixed with hip - hop culture while The One - Eyed Thief collection from Swiss duo Taiyo Onorato and Nico Krebs showcases bold photographs that are both humorous and poignant.

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.

The exhibition title, Devil's Pie, is derived from singer - songwriter D'Angelo's 1998 lyrical meditation on temptation and retribution, reaffirming the artist's longstanding relationship with music, especially hip - hop sounds and culture, as well as his continued exploration of Biblical themes, as demonstrated throughout the exhibition.

Sampling heavily from hip - hop and Pop culture, he selects and appropriates a disparate array of visual components, restructuring them into recognizable statements and symbols.

Chris Ofili's intricately constructed works, combining beadlike dots of paint, collaged images from popular media, and elephant dung, create a unique iconography that marries African artistic and ritual practices with Western art historical traditions and contemporary hip - hop culture.

A range of influences, from hip - hop culture to ancient Incan history, combine in his practice and offer a sense of what displacement might feel like.

From the snow cone stand and the street to the gallery space, learn how Sachs's boomboxes have evolved alongside this emblem of hip - hop and pop culture.

The artist draws from a range of Japanese and African - American cultural trends in her «a3» (Afro - Asiatic Allegory) series: ukiyo - e, hip hop culture, blackface performance tradition, and ganguro.

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.

In his Art Works series, AVone also extracted elements from comics and Hip - Hop culture.

Incorporating the black youth culture that was gaining prominence in modern society in the 1990s, Ofili drew together taboo - breaking influences from hip - hop, contemporary jazz and comic book artwork, to the often political art of his American predecessors Jean - Michel Basquiat and David Hammons.

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.

Rashaad Newsome's work examines the visual language of power and status, sampling heavily from hip - hop and pop culture.

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.

Since publishing his book, Schreiber has received a lot of attention from both the art and music worlds, but the name of Schreiber's exhibition and book, True Hip - Hop, has more to do with his belief that photography should be honest, rather than any specific statement about hip - hop cultuHip - Hop, has more to do with his belief that photography should be honest, rather than any specific statement about hip - hop cultuHop, has more to do with his belief that photography should be honest, rather than any specific statement about hip - hop cultuhip - hop cultuhop culture.

While this exhibition takes its starting point from hip hop, it branches out to include artists who use pop culture, graffiti, fashion and other signifiers of urban life in combination with more traditional forms of Aboriginal identity.

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.

About Blog Fashbox is about fashionable living from an urban contemporary culture point of view, which I guess stems from hop hip culture.