Sentences with phrase «modern identity politics»

Written by champion battle rapper Alex «Kid Twist» Larsen, the film takes aim at everyone as it interrogates the boundaries of modern identity politics — and brings the no - holds - barred art of battling to the big screen with searing rhymes and incendiary insults.

Not exact matches

He's one of the best thinkers in modern times — explaining concepts like postmodernism and identity politics in the context of the Soviet Union and in the context of common sense.

You need to counter the strength of a competing candidate with a similar strength of your own; and being a protected minority is a major winning point in modern American identity - based politics (and being a Dead White Male is a weakness in most juridictions except deep red south).

In spite of its «modern» aspects (extended families, separated and remarried parents, step - fathers and half - siblings, the father's progressive politics, the mother's struggles), it's a time capsule of an America that is no more: white suburbs, established rites of passage, unquestioned gender and ethnic identities, a national territory unchallenged by the rest of the world, no real vanishing point.

It has something to say to modern audiences grappling with identity politics and intersectionality.

Highlighting artists from across the globe and generations, Self Proliferation explores female identity politics and the construct of «self» as modern culture has defined women, but with a common backdrop of varied landscapes.

When Ohad Meromi sets a primitivist sculpture next to an early modern tower, it approaches identity politics, without having much of an identity.

He takes a poetic and symbolic approach to exploring the wide - ranging repercussions of Western cultural hegemony and colonialism on non-Western cultures, investigating identity politics of historical and colonial eras, and in our modern, globalized world.

He takes a poetic and symbolic approach to exploring the wide - ranging repercussions of Western cultural hegemony and colonialism on non-Western cultures, investigating identity politics of historical and colonial eras, as well as in our modern, globalized world.

Animated by flânerie — the idle, detached observation of street life that 19th - century writers associated with the rise of modern cities, that was an important strategy of the French Impressionists — and making reference to African tribal art, Ward's oeuvre resonates with the Barnes collection and speaks with penetrating insight and imagination to a broad range of subjects, including black history and culture, the dynamics of power and politics, and Caribbean diaspora identity.

Here, using black models, Wiley reimagined these classical portraits for a modern age to powerfully confront entrenched conceptions of race, identity politics and status.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

A historian of South Asian and Himalayan art, with secondary areas of interest relating to issues of gender and identity in South Asian contemporary art and film, her interests are in the early modern period focus on the ritual and ideological functions of Buddhist art in South Asia, including theories of ritual performance and politics of identity.

These include the New Museum's recent «NYC 1993,» and the Tate Modern's permanent - collection gallery on identity politics — as well as Ellen Gallagher's current exhibitions at both (in New York through September 15 and London through September 1).

Tackling African - American identity and its intersection with gender, race, and politics, Lorna Simpson was the first African - American woman to show in the Venice Biennale (in 1993) and to have a solo exhibition in the Projects series of the Museum of Modern Art.

Throughout modern history, female artists pushed for social changes by questioning feminist identities, gender roles and sexual politics — now, following the recent and long - overdue appreciation of female artists at museums, Art on the Underground looks to take feminist artistic concerns a step forward by giving their works an entire year of public attention.