Sentences with phrase «many white artists»

And it's done by both black and white artists all the time.

Indicative of Brewer's own interests as a young white artist in tune with black culture, it's an overarching melting - pot approach, and it somehow works, even if it kowtows to the unspoken Hollywood rule that the color not apply to the marquee characters or their families.

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.

Since then, they've made three more films together and along the way won plenty of awards for their 2011 silent black - and - white The Artist — including Oscars for Best Feature and Best Director for Michel.

«I approach the possibility of concern with great respect and humility,» Winters tells me, «and with an understanding that there has been a history of white artists appropriating black voices and black works for their own ends.

Dia's choices hinge on an ideal of obsession and control, a history of great white artists with no room for, say, Martin Puryear or Melvin Edwards.

Rubin sees in Lam only what is in his own eyes: colorless or white artists.

Arnett told the Post: «Lonnie was so far ahead of the white artists in the world you can't even believe it.

The white artist again gives us a fragmented portrayal, breaking bodies apart, removing their features, and rearranging them at will in a formal way.

What this exhibition also draws our attention to, and what Als, an African - American critic and writer, wants to draw our attention to, is that Neel was one of the very few white artists painting people of colour.

September 6 — October 18, 2017 Wendy White The Artist and The Athlete Dominican University, River Forest, IL Visit Website

But many more were inspired by the strife of the 1960s, including black artists whose work is primarily conceptual or abstract, and white artists with mainstream popularity.

Aruna D'Souza's new book Whitewalling: Art, Race & Protest in 3 Acts (Badlands Unlimited) presents, in reverse chronology, three events that sparked protest against racism at New York art institutions: the inclusion of Dana Schutz's painting of Emmett Till in the 2017 Whitney Biennial, the white artist Donald Newman's solo show titled «The Nigger Drawings» at Artists Space in 1979, and «Harlem On My Mind,» an exhibition of all - white artists at the Metropolitan Museum of Art in 1969.

During the year you've been working on this one, there have been protests over racially charged work by several white artists.

In the case of Schutz, it turns on a white artist's right to speak to out about racism.

The exhibition will also have work by Alice White the artist in residence at the London Zoo (seriously this is probably the coolest residency in London she gets to see baby animals every day).

(The asterisks are for works by white artists that the VMFA uses to address race in an interesting way, as in the case of Jefferson Gauntt's Violet Anthony, a rare named portraits of an enslaved American.)

As a white artist who has worked with and featured people of color in my work, when I look in to my thoughts and feelings about the discussions surrounding Dana Schutz's painting of Emmitt Till I find myself uneasy, still working out my thoughts.

Initially interested in portraiture, Motley found it difficult to earn a living, due in part to the fact that most of the wealthy white patrons favored white artists, and black patrons were either financially unable to or uninterested in supporting black portrait painters.

On the other hand, had he been white, he might have been as easily forgotten posthumously as most white artists of the post-WWII era have been.

In what some people view as a second black civil rights movement, combative lines are drawn, and their tautness is evident even in the cushioned art world, which is shocked to discover, all of a sudden, that white artists are no longer automatically free to collect big rewards for telling the story of African America.

-- As a white artist, Neel was invested in discussion of unjust policies and racial discrimination before these issues entered so - called mainstream representation in art.

Tensions surfaced last September in protests against the Contemporary Art Museum here around a show of work by a white artist, Kelley Walker, that included images of black bodies smeared with chocolate and rainbow - colored toothpaste.

Described as a young African - American woman in press materials, she is, in fact, a creation of the mid-career white artist Joe Scanlan.

But viewers and art professionals protested what they saw as the appropriation of the image of an African - American man slain by whites by a white artist.

Uslip's departure follows weeks of controversy over CAM's current solo exhibition by white artist Kelley Walker that some found demeaning to African - Americans.

The images» continuing power, more than 60 years later, to speak about race and violence is being demonstrated once again in protests that have arisen online and at the newly opened Whitney Biennial over the decision of a white artist, Dana Schutz, to make a painting based on the photographs.

Dana Schutz, critics note, has had only privilege — the privilege of a white artist from a comfortable Detroit suburb making it in the art world.

Except for a smear of blue by Norman Lewis, Michael Rosenfeld avoids color, but with a striking mix of black and white artists, both men and women, from the 1930s to today.

Their freewheeling style and flirting with illusion also recall white artists who did not quite play by the rules as well, like Al Held and Jack Tworkov.

It plays to the feel - good side of politics for many white artists as well.

(Donelle Woolford, it should be noted, is the fiction of a white artist, Joe Scanlon, and «her» inclusion prompted an actual black collective, YAMS, to quit the Biennial.)

A white artist born in Germany, she paints and rubs away at her painting, crinkles it up, and attaches it to more painting.

The betrayals extend to white artists of much the same generation.

The critical «intention» of a male white artist is trumped by those with a greater claim to the identity at stake — «As a black woman, I'm offended».

Historically, white artists — especially male — have had more opportunities to show their work than people of colour and other marginalised groups.

If the curators thought they would balance the scales by including Open Casket, thereby showing that White artists were open to engagement with racial issues, they blundered by neglecting to recognize that a White artist's engagement must be with the racial imaginary of Whiteness in order to matter.

When in 2014 white artist Joe Scanlan introduces a character played by a black woman into the Whitney Biennial, the mostly queer and black Yams Collective withdraws from the show.

What role Schutz's painting was intended to play in the biennial's racial dialogue is unclear, although it represents the lone instance of a White artist attempting to wrestle directly with questions of race.

Awards and honors include the Art in Embassies Program at the American Embassy in Mauritius; a fellowship to the Julia & David White Artist's Colony; a studio at the Elizabeth Foundation for the Arts; and a grant from the Delaware Valley Arts Alliance Fellowship for the Visual Arts.

Parker Bright protests in front of a work in New York's Whitney Biennial, depicting murdered black teenager Emmett Till — the painting, by white artist Dan Schutz, has caused outrage.

Dedicated to avant - garde art, Barnett Aden was the first gallery in the nation's segregated capital to exhibit work by both black and white artists.

What the text does not mention as alarming is that a white artist's variation of blackface, even on a wax replica, is no show of racial solidarity.

In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till.

Co-curated by Teresa A. Carbone, the museum's curator of American art and Kellie Jones, associate professor of art history at Columbia University, «Witness» assembles a refreshing mix of African American artists (Emma Amos, Benny Andrews, Elizabeth Catlett, Sam Gilliam, David Hammons, Barkley Hendricks, Jae Jarrell, Jacob Lawrence, John T. Riddle Jr., Charles White, William T. Williams) and artists of other racial and ethnic backgrounds, including several prominent white artists (Phillip Guston, Robert Indiana, Norman Rockwell, Ed Ruscha) inspired by the volatile climate of the era that would come to define a great part of America's character.

These counterpoints are all the more pressing as the debacle has ultimately foregrounded a white artist's perspective on these issues.

Chase - Riboud shares her dark mysteries with white artists herself, like the steles and Surrealism of Louise Nevelson or the craft and knotted fabric of Sheila Hicks — and she has lived in France for much of her career while casting bronze in Italy.

Protesters have called for its removal and destruction, questioning whether Schutz, a white artist, has a claim to this story, and whether her gaze re-enacts something of its original violence.

In The Flesh is a 5 - min black - and - white artist film by Adeline de Monseignat inspired by Alison Leitch's text «Visualizing the Mountain» (2007) about the marble quarry as being «alive», «weeping at night» and having a «soul».

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos