Not exact matches
Drawing on the DIY aesthetic of punk, dub and early hip
hop music and the tradition of street fly - posting to promote gigs and events, Simmons» rainbow saturated coloured paintings reveal traces of the long forgotten individual and collective creative voices that have informed and shaped contemporary
culture.
Working across photography, installation, performance,
drawing and zines, SADIE BARNETTE «is interested in consumerism, economics and quotidian aspects of West Coast hip
hop culture.»
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.
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.
Drawing on Sugar Hill Gang's party - starting anthem «Rapper's Delight» (1979)- «You see I'm six foot one and I'm tons of fun and I dress to a T / Ya see I got more clothes than Muhammad Ali and I dress so viciously» - I explored innovation and conspicuous consumption in hip
hop 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.
Rashaad Newsome's works, employing a visual vocabulary of hip
hop culture and co-opted heraldic and royal motifs, are what confront you as soon as you enter the gallery; Phoebe Boswell has taken over the whole of the lower ground floor space with a multi-layered installation that involves wall
drawing, works on paper as well as tiny animations that sit somewhere between Kara Walker and Tony Oursler.
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.
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.