Sentences with phrase «history of black»

The fourth Native Title Report described the essential contribution of Indigenous Australians to the development of the pastoral industry, and the long history of black and white Australians living and working side by side on pastoral properties.

I don't want to downplay America's long history of black cinema (a history that already includes a handful of black superheroes).

The history of Black lawyers, judges and professors in America precedes the Civil War, but the Reconstruction Era (1865 - 1877) and a national legacy of racism severely hampered the progress of Black men and women in the law, particularly in the South, through the twentieth century Civil Rights Movement and beyond.

Because today's society faces such conflicting messages, it is especially important for younger generations of Americans (and Canadians — let's not forget the recent cross-burning in Nova Scotia) to be educated on the full history of black people in America.

The international and intergenerational group of artists and their works allow us a glimpse into the art history of black color and emphasize the long tradition of abstract art as well but also provide for us a glimpse into new trends of contemporary art, since over a third of the featured works are newly created.

Thomas told me his biggest artistic influence is his mother, Deborah Willis, an artist and art historian who is the author of such books as Reflections in Black: A History of Black Photographers 1840 to the Present and the chair of the photography department at New York University, Thomas's alma mater.

And there's a long history of black artists making abstract work, too.

Among these new works is an environmental installation with sound entitled Pinocchio Is On Fire, which examines key moments in the history of the black community in Los Angeles from the early 1980s to the present (with cultural references that include the rise of HIV and crack cocaine during the 1980s, gangster rap, and mega-churches, along with aspects of the artist's own biography).

Lee uses photography, collage, and video to examine the history of black bodies in soil, particularly in relationship to slavery in U.S. history, when African - Americans worked with the land.

Writer, musician, and producer Greg Tate reads from a manifesto, «Kalahari Hopscotch, or Notes Toward a 20 Volume History of Black Science Fiction and Afrofuturism» at the Atlanta Contemporary Art Center on Sept. 15, 2012.

BOOK: Exploring the intersection of black culture, masculinity, and fashion this volume documents the history of black dandyism.

With her artwork, she hopes to motivate people to do more research on the medical history of black women.

His work has been published in The Self in Black and White: Race and Subjectivity in Postwar American Photography (Dartmouth, 2010), Committed to the Image: Contemporary Black Photographers (Brooklyn Museum of Art, 2001), Nueva Luz: A Photographic Journal Volumes 5 - 8 (En Foco, 1997), Reflections in Black: A History of Black Photographers (W.W. Norton, 2000) and An Illustrated Bio-Bibliography of Black Photographers, 1940 - 1988 (Garland, 1989).

After producing multi-panel series on Toussaint L'Ouverture, Frederick Douglass and Harriet Tubman, Lawrence continued to study the history of black perseverance, spending time around the fall of 1940 at the Schomburg Center for Research in Black Culture in Harlem conducting research for his celebrated Migration series.

African American Vernacular Photography reproduces 70 of Cowin's most exceptional color plates with essays by Brian Wallis, Director of Exhibitions and Chief Curator at the International Center of Photography, and Deborah Willis, MacArthur Fellow and author of Reflections in Black: A History of Black Photographers 1840 to the Present and, with Carla Williams, The Black Female Body: A Photographic History.

Radical Presence provides a critical framework to discuss the history of black performance traditions within the visual arts beginning with the «happenings» of the early 1960s, throughout the 1980s, and into the present practices of contemporary artists.

In its move to Atlanta, the exhibition opens up a new strand of conversation around the history of the Black subject in the United States and asks viewers to make connections between the British and American formations of empire, racism, and colonialism.

Fifteen years ago, Ligon wandered around the Givens Collection of African American Literature at the University of Minnesota and it soon became clear to him that «one could trace a history of black people in the United States simply by examining how we were represented on book covers.»

Radical Presence: Black Performance in Contemporary Art at Grey Art Gallery is the first of a two - part exhibition originating at the Contemporary Arts Museum Houston [the second is at the Studio Museum of Harlem] that addresses the history of black performance art since the 1970s.

«Black Sabbath: The Secret Musical History of Black - Jewish Relations.»

The retrospective largely traces nearly four decades of the artist's paintings of black figures, and pictures a contemporary, vast, and localized history of black American life.

«Gibson's exploration of the interaction of light and form has secured his place in the history of black and white photography.»

Featuring an introduction by SCAD alumnus Masud Olufani (M.F.A., sculpture, 2013), the lecture explores the brief but poignant history of Black Mountain College, the impactful summer Jacob Lawrence spent teaching there in 1946, and Lawrence's significant encounter with German - American abstract painter and Bauhaus pedagogue Josef Albers, then rector and head of the college's art program.

CAAM curator Naima J. Keith says, «Fade to Black provides a nuanced history of black representation in motion pictures from the early to mid-20th century.

Selected by Site's Artistic Director, Laura Sillars, Curator of a Making Ways Sheffield exhibition, Jeanine Griffin and Head of Exhibitions at Museum's Sheffield, Kirstie Hamilton, Holmes's project, Dot Dot Dit Dit Dot Dot Dash investigates black British cultural production, unspoken coded languages and the history of black personae in popular culture.

Conceived as the companion to Black in the Abstract, Part 1: Epistrophy, which explored the fragmentation of the figurative as well as the loose and expansive nature of abstraction, this section chronicles the history of black artists whose work relies on the drama of restraint.

While not by any means unsung, the importance of the Jargon Society's publications is certainly not given near its proper canonical place in American publishing, in poetry, nor in its highly significant, indeed central, place in regards to the history of Black Mountain College.

Exhibition catalogue: The exhibition is accompanied by a publication designed by the graphic design studio cyan with numerous illustrations and reproduced documents about the history of Black Mountain College as well as 12 essays i.a. by Gabriele Brandstetter, Brenda Danilowitz, Mary Emma Harris, Annette Jael Lehmann, Andi Schoon and the editors of the catalogue Eugen Blume, Matilda Felix, Gabriele Knapstein and Catherine Nichols.

The artist probes the frequently - suppressed history of Black people who were used as trial and error subjects in medical operations and tests — often being denied anesthesia and surviving multiple surgeries in the process.

He added that he felt entitled to create the Woolford work because «there is a long history of black characters created by white authors... I don't understand needing permission to do it.»

Features a preface by Errol Lloyd, an introduction and a 9000 word essay by Eddie Chambers, taking a critical look at the modern history of Black artists in the United Kingdom, from the early 1980s onwards.

With an eye toward the history of black paintings and the gestural quality of Abstract Expressionism, Jones invites viewers to go beyond the associations of black with mourning and ill intent, to encompass ideas of richness, mystery, and warmth.

Two works of art at the entrance to the exhibition signify both the specificity and capaciousness intrinsic to the unusual history of black folk art. Steven Ashby's Untitled (Hunter and Victim)(nd; collection of Robert A. Roth, Chicago) makes clear Majeed's intention to connect the art to contemporary audiences living in the era of Black Lives Matter (fig. 1).

The Secret Musical History of Black - Jewish Relations, an exhibition on view from March 31, 2011.

It came to me while reading a serious history of The Black Panther Party while on holiday in January.

From South African exiles — most of them artists, writers and musicians (Dumile Feni, Louis Maqhubela, Gavin Jantjes, Louis Moholo, Chris McGregor, Alex la Guma, Pallo Jordan, etc.)-- to the Caribbean community in Handsworth, George Hallett's images stand as a remarkable contribution to the history of Black people in England.

From 1982 to 1984, Adrian Piper staged a number of happenings or participative actions under the title Funk Lessons through which she educated a wide audience about the African roots of this music genre and therefore the history of the black culture.

Radical Presence provides a critical framework to discuss the history of black performance traditions within the visual arts beginning with the «happenings» of the early 1960s, throughout the 1980s, and into the contemporary practices of a new generation of artists.

A new exhibition at Tate Modern entitled; Soul of a Nation aims to explore the history of black American art in the 60s and 70s.

Flanking these works with monochromatic paintings emblazoned with «native» and «should have picked your own cotton,» these paintings reveal the troublesome and little - discussed history of black soldiers enlisted for the South.

Where hegemony has tended to define black performance art as an extension of theater, this publication provides a critical framework for discussing the history of black performance within the visual arts over the last 50 years.

At the core you always see «a deep engagement with the history of conceptual art,» Golden says, «but also the history of black people.»

His interdisciplinary attitude and commitment to a balanced exchange of ideas made him one of the most inspiring teachers in the history of Black Mountain College.

Internazionale discusses the history of the Black Panther Party and Stephen Shames, the group's «offical» photographer.

This beautiful monochromatic print has been created to accompany Armando Andrade Tudela's work included in Adventures of the Black Square: Abstract Art and Society 1915 — 2015, an exhibition at the Whitechapel Gallery, 14th January — April 2015) which presents a survey of the history of the black square in modern and contemporary art.

Marshall creates large - scale paintings that explore African American culture from the Civil Rights to today, drawing from and weaving a history of black experience into his narratives.

Boyce's exhibition «Scat: Sound and Collaboration,» presented by Iniva in 2013, focused on the significance of sound in art bringing together two immersive video works along with artefacts from the Devotional Collection, Boyce's archive of CDs, cassettes, vinyl records and other ephemera charting the history of black women in the music industry.

In addition to providing a comprehensive account of Bradford's career to date, with an emphasis on his work as a painter, this exhibition will foreground new works, including an environmental installation with sound entitled Pinocchio Is on Fire, which examines key moments in the history of the black community in Los Angeles from the early 1980s to the present.

While Whitten will be remembered as a giant of American painting and a singular figure in the creative history of black diaspora, he kept his eye fixed on the deeper currents that connect people across broad cultural divides and vast historical distances.

With Nick Stillman he looks back at the history of black performance art and forward to his MoMA exhibition Anthology.