Sentences with phrase «influenced white artists»

Bronx street kings mingled with Andy Warhol and David Bowie in hipster venues like the Mudd Club and the Roxy, while hip - hop influenced white artists such as the Clash, Tom Tom Club and Blondie, whose Debbie Harry declared, «Flash is fast, Flash is cool» on their 1981 hit Rapture.

Not exact matches

Special Features In Walt's Words: «Snow White And The Seven Dwarfs» - Hear Walt himself talk about Snow White Iconography - Explore how this film influences pop culture, art and fashion Disney / Animation: Designing Disney's First Princess - Modern - day Disney artists discuss the design of Snow White and how it influenced the look of some of your favorite Disney characters The Fairest Facts Of Them All - Disney channel star Sofia Carson reveals seven intriguing facts about Snow White And Much More!

Based on Presley's own words - plus the examinations of artists like Tom Petty and Bruce Springsteen, who obviously looked to the King as a premiere influence - Zimney is examining what Gospel, Soul, R&B, Country / Western and even Pop Music meant to a Southern white man who grew up dirt poor, practically without a father, and possibly without a future beyond music.

Featuring 28 works by 19 artists — both black and white — the exhibition explores how visual perspectives of blackness «have been influenced at particular historical moments by specific political, cultural, and aesthetic interests, as well as the motives and beliefs of the artists.»

Developed by the Tate Modern in London and debuting in the US at Crystal Bridges, Soul of a Nation: Art in the Age of Black Power examines the influences, including the civil rights movement, Minimalism, and abstraction, on artists such as Romare Bearden, Noah Purifoy, Martin Puryear, Faith Ringgold, Betye Saar, Alma Thomas, Charles White, and William T. Williams.

The past 12 months have seen the rise of artist - initiated platforms that extend their influence beyond the white cube, such as For Freedoms, an artist - run super PAC founded by Hank Willis Thomas and Eric Gottesman, and the collective Black Women Artists for Black Lives Matter, facilitated by Simone Leigh.

In connection with «White Paintings» the artist will give a talk on her work and influences at the gallery on Saturday May 12 at 2 pm.

Her instantly recognizable — and frequently appropriated — visual style of delivering highly charged, terse phrases in white Futura Bold font over red blocks has radiated its influence on other visual artists, graphic design, mass media, and high fashion streetwear.

To explore the historic influence of artists such as David Hammons, John Outterbridge, Betye Saar and Charles White on the city's art scene, check out «Now Dig This!

Sadie Benning Douglas Coupland Sarah Crowner Svenja Deininger Tony DeLap Thomas Demand Olafur Eliasson Liam Gillick Mark Grotjahn Andreas Gursky Jim Hodges Roni Horn Wyatt Kahn Ellsworth Kelly Agnes Martin Kaz Oshiro R. H. Quaytman Julia Rommel Sérgio Sister Blair Thurman Rebecca Ward Rachel Whiteread Inspired by Ellsworth Kelly's superimposed canvases Blue Relief over Green, 2004, and Dark Red Relief with White, 2005, Space Between investigates the legacy and influence of abstraction on Western art, presenting a selection of artists that enter into a conversation on history, process, and form.

Dreamers Awake is a group show, curated by Susanna Grieves, at White Cube Bermondsey which explores the enduring influence of Surrealism through the work of more than fifty women artists.

This works showed the influence of American artist Robert Rauschenberg and his canvases painted in white.

The thick strips of aqua and white in the work of Jennifer Ditacchio seem to be derived from the natural environment and the artist herself once pointed out that she was deeply influenced by the light and colors of the Cape Cod landscape where she grew up.

I would love to see a side exhibition of artists influenced by Charles White: Kerry James Marshall, me and others.

MoMA, in collaboration with the Hammer Museum, presents over 290 works by the artist, from early paintings made in the 1960s — prismatic explorations of perception under the influence of LSD — to her white panopticon, What It's Like, What It Is # 3 (1991), to The Probable Trust Registry: The Rules of the Game # 1 — 3 (2013)-- an exercise in social contracting that won the Golden Lion Award at the 2015 Venice Biennale.

Jean Nagai: I'm influenced by people who are confronting white supremacy and environmental issues, whether it's artists, scientists or activists.

The times, rather, are surreal and thus it feels fitting that the achievements and influence of the surrealists should be especially visible in the UK in the past year: in the reassessment of artists such as Penny Slinger (with the release of a new documentary, Out of the Shadows); in the Royal Academy of Art's inspired «Dalí / Duchamp» exhibition and in White Cube's warmly received summer show, «Dreamers Awake».

It's hard for me to know how they influenced my work, but I know that it hasn't been conscious — in part because these artists weren't getting big features like Richard Serra or other white artists who were having major shows and retrospectives.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

As well as Yves Klein, these works showed the influence of Lucio Fontana and Alberto Burri and the American artist Robert Rauschenberg, who had painted neutral white canvases in 1951.

Alongside the commissioned texts artists Katie Paterson, Liliane Lijn and Neal White reflect on Latham's influence.

The Influence of Cartoons in Contemporary Art (2003); the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005); Black Light / White Noise: Sound and Light in Contemporary Art (2007); Cinema Remixed and Reloaded: Black Women Artists and the Moving Image with Dr. Andrea Barnwell Brownlee (2009); Hand + Made: The Performative Impulse in Art and Craft (2010); a major retrospective on Benjamin Patterson, Born in the State of Flux / us, as well as the survey Donald Moffett: The Extravagant Vein (2011).

An American constituency was also key at Nathalie Obadia, a Paris and Brussels gallery that had a beautiful, austere selection of black - and - white photographs by the late Malian photographer Seydou Keïta, who Obadia noted was a major influence on popular contemporary American artists such as Mickalene Thomas and Kehinde Wiley.

«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003

From early examples of music in film to the work of music video masters such as David Bowie and Madonna and contemporary artists such as The White Stripes and Kanye West, the exhibition reveals the enormous influence music videos have had on contemporary culture over the past 35 years.

These works (later known as Equivalents) influenced Ansel Adams and Minor White — both artists created specific sequences to evoke the rhythms of nature or the poetry of time passing.

Afro - Modernism How black artists and intellectuals have influenced modernism, including works by African - American Glenn Ligon (one of whose paintings hangs in Michelle Obama's White House office).

The Influence of Cartoons in Contemporary Art (2003); the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005); Black Light / White Noise: Sound and Light in Contemporary Art (2007); Cinema Remixed and Reloaded: Black Women Artists and the Moving Image with Dr. Andrea Barnwell Brownlee (2009); and Radical Presence: Black Performance in Contemporary Art (2012 — 15); among others.

From the 1960s are Charles Green Shaw's Black on White against Yellow (1968), in which Shaw revived the polygon from his art of the 1930s to create a new minimalist statement, Leon Berkowitz's Cathedral, No. 11 (1968), a work by the Washington Color School artist in which imperceptible shifts of color and an emanating luminosity produce a meditational quality, and Betty Parsons's Miami (1966), which evokes the artist's enthusiasm for Native American art, while demonstrating the influences on her work of the leading abstract painters of the era, whose art she championed at her gallery on 57 th Street.

Artists include: Sadie Benning Douglas Coupland Sarah Crowner Svenja Deininger Tony DeLap Thomas Demand Olafur Eliasson Liam Gillick Mark Grotjahn Andreas Gursky Jim Hodges Roni Horn Wyatt Kahn Ellsworth Kelly Agnes Martin Kaz Oshiro R. H. Quaytman Julia Rommel Sérgio Sister Blair Thurman Rebecca Ward Rachel Whiteread Inspired by Ellsworth Kelly's superimposed canvases Blue Relief over Green, 2004, and Dark Red Relief with White, 2005, Space Between investigates the legacy and influence of abstraction on Western art, presenting a selection of artists that enter into a conversation on history, process, anArtists include: Sadie Benning Douglas Coupland Sarah Crowner Svenja Deininger Tony DeLap Thomas Demand Olafur Eliasson Liam Gillick Mark Grotjahn Andreas Gursky Jim Hodges Roni Horn Wyatt Kahn Ellsworth Kelly Agnes Martin Kaz Oshiro R. H. Quaytman Julia Rommel Sérgio Sister Blair Thurman Rebecca Ward Rachel Whiteread Inspired by Ellsworth Kelly's superimposed canvases Blue Relief over Green, 2004, and Dark Red Relief with White, 2005, Space Between investigates the legacy and influence of abstraction on Western art, presenting a selection of artists that enter into a conversation on history, process, anartists that enter into a conversation on history, process, and form.

Commentary from artists such as Julie Ault, Andrea Bowers, Jim Hodges, Mike Kelley, and Pae White, among others, does much to argue for Kent's influence on various trajectories of contemporary art production, especially those that investigate the malleability of language, appropriate popular and commercial imagery, and foment activism.