Sentences with phrase «important for black artists»

I think it's important for Black artists to do their best to find ways to be featured in museum exhibitions, in either solos or group shows.

Not exact matches

Carl Van Vechten & the Harlem Renaissance: A Portrait in Black & White By Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a wBlack & White By Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a wblack artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a wblack primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a whole?

Founded in 1933, Black Mountain College was to become an important training ground and artistic laboratory for some of the most influential artists in the postwar period.

While certainly all of the leading artists who were part of the abstract expressionist movement were involved with color at various points in their career, many of the important masterworks of the movement — such as those by Jackson Pollock, Franz Kline, Robert Motherwell, and key series by Willem de Kooning and Barnett Newman — are notable for their lack of strong color in favor of black and white.

Catherine Morris, Sackler Senior Curator for the Elizabeth A. Sackler Center for Feminist Art, and co-curator of the Brooklyn presentation, added, «The exhibition is a remarkable scholarly achievement, expanding the canon and complicating known narratives of conceptual art and radical art - making, while building on the legacy of important and ambitious exhibitions at the Elizabeth A. Sackler Center for Feminist Art, including We Wanted a Revolution: Black Radical Women, 1965 — 85, Materializing «Six Years»: Lucy R. Lippard and the Emergence of Conceptual Art, and Seductive Subversion: Women Pop Artists, 1958 — 1968.»

While black performance has been largely contextualized as an extension of theater, visual artists have integrated performance into their work for more than five decades, generating an important history that has gone largely unrecognized until now.

Kelly's sculpture relates to two important early works: Study for Black and White Panels, 1954, a collage created during the artist's time in Paris, and Black Over White, a 1966 painting made in New York City, both of which will be on view in the gallery as part of the opening exhibition.

Other important exhibitions include Adventure of the Black Square: Abstract Art and Society 1915 — 2015 (2015), Whitechapel Gallery, London; The Disappearance of the Fireflies, Collection Lambert, Avignon, France, 2014; Love Story - Anne and Wolfgang Titze Collection, 21er Haus and Winter Palace, Vienna, Austria, 2014; Radical Presence: Black Performance in Contemporary Art, Walker Art Center, Minneapolis, 2014; Joan Jonas & Adam Pendleton, Galeria Pedro Cera, Lisbon, 2014; We Love Video This Summer, Pace Gallery, Beijing, China, 2014; Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum, Houston (2013); Ecstatic Alphabets / Heaps of Language, The Museum of Modern Art, New York (2012); Greater New York, P.S. 1 Contemporary Art Center, Long Island City, New York (2010); The Generational: Younger Than Jesus, New Museum, New York (2010); Afro - Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy, High Museum of Art, Atlanta (2008); Object, The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago (2007); Performa 07, New York (2007); Talk Show, Institute of Contemporary Art, London (2007); Resistance Is, Whitney Museum of American Art, New York (2007); Frequency, Studio Museum of Harlem, New York (2005 - 06); and Double Consciousness: Black Conceptual Art Since the 1970s, Contemporary Arts Museum, Houston (2005).

Baltimore collectors Tom and Nancy O'Neil have given the institution two dozen color and black - and - white works by 19 important artists of our time, including Dawoud Bey, celebrated for his portrait photography, and Edward Burtynsky, whose photos document humanity's impact on the environment.

In doing this they created an important space for questioning the role of black artists within arts curriculum and exhibiting institutions in the UK.

The use of black is also a recurring trait in Kelly's practice; the artist is drawn to its sense of authority, absolute and its important role in art history, for example in Malevich's experiments with the black square.

Important precedents for Happenings included Oskar Schlemmer's Bauhaus experiments in abstract theatre, Antonin Artaud's Theatre of Cruelty and the Theatre of the Absurd, and the simultaneous actions coordinated by John Cage at Black Mountain College in 1952, which included the poet Charles Olson, the dancer and choreographer Merce Cunningham, and the artist Robert Rauschenberg, who went on to create a number of Happenings throughout the 1960s.

Many of these same important abstract artists were selected, along with Bowling, for the historic 1971 exhibition «Contemporary Black Artists in America», curated by Roberartists were selected, along with Bowling, for the historic 1971 exhibition «Contemporary Black Artists in America», curated by RoberArtists in America», curated by Robert Doty.

Other important contributors to action painting include: Mark Tobey noted for his White Writing style of calligraphic gesturalism; Franz Kline, an artist whose works include colour field compositions as well as vigorous gestural work, sometimes compared to gigantically enlarged fragments of Chinese calligraphy); Robert Motherwell (in his series entitled Elegy to the Spanish Republic, and his powerful black and white paintings); Cy Twombly (in his gestural works based on calligraphic, linear symbols) and Adolph Gottlieb (noted for his abstract surrealist series including Pictographs, Imaginary Landscapes and Bursts).

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

In a career shift that was part serendipity and part the result of being black - listed by the major shelter magazines for his stance against the Vietnam War, he later concentrated on documenting the work and lives of two important American artists, Alexander Calder and Louise Nevelson.