Sentences with phrase «of black identity»

, an exhibition that examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 through rare historical printed media shown in dialogue with contemporary works of art.

Unlike many artists, this comprehensive exhibition was critically revered across the country for its illuminating exploration of black identity, history, and politics.

The show pairs historical printed media with contemporary works to explore evolving perspectives of Black identity in American culture and history from 1912 onward.

He's interested primarily in the investigation of the construction of black identity through popular culture in the 17th and 18th century but also in the more recent times.

The work suggest ideals of a better future even while it reminds us of stereotypes of black identity and the way the media presents them.

That group exhibition insists on the diversity of black identity, art, and experience, and both artists have an uneasy relationship to that theme.

This exhibition examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 through contemporary works of art and rare historical printed media.

Police brutality, racial divides and unresolved issues of black identity found expression in two landmark documentaries (O.J.: Made in America and I Am Not Your Negro), as well as the indie of the year, Moonlight.

This spring, the Serpentine presents the first European solo exhibition of American artist Sondra Perry (b. 1986, Perth Amboy, New Jersey), who explores the intersection of black identity, digital culture

Her work investigates the histories, symbols, and images that construct notions of Black identity within black personhood.

From painting to sculpture to photography and video installation, his oeuvre represents an intense examination of the history of black identity in America and in Western art.

«Where Issues of Black Identity Meet the Concerns of Every Artist», The New York Times, November 18, 2005, p. E37 Dederko, Dean.

While her subjects are always African - American, Sherald renders their skin - tone exclusively in grisaille — an absence of color that directly challenges perceptions of black identity and seeks, in the artist's words, «to exclude the idea of color as race.»

Africans in America, the exhibition, doesn't seek to provide a monolithic idea of black identity or give the term, African American, the total weight of a unified black narrative.

highlights individuals who have redefined our entire world, while reshaping our concept of Black identity.»

«He contemplates different elements of culture, other aspects of black identity.»

Winning first prize at Frame for Toronto's Cooper Cole gallery, Jamaican sculptor Tau Lewis sewed found materials into passionate expressions of black identity.

Working with digital media, film, and installation, Syms examines the construction and performance of black identity as a response to the experience of surveillance and consumer culture, while operating publication platforms such as Dominica Publishing, a press that has published and distributed work by Laurie Anderson, Diamond Stingily, and Hannah Black.

I have not seen her in almost 20 years but I love her still for how she treated me - with love and dignity during a time when I was unsure about the meaning of my black identity.)

He is a despised character within the film designed to show the audience how loathsome many representations of black identity have been, from The Birth of a Nation onwards.

They exemplify why this movie is audaciously black, yes, but also why it's a tale of black identity and black responsibility.

Featuring more than 200 works by African American artists such as Horace Pippin, Aaron Douglas, Jacob Lawrence, Bob Thompson, William H. Johnson, Faith Ringgold, Ellen Gallagher, Glenn Ligon, Whitfield Lovell, Mickalene Thomas and David Hammons, «The Color Line,» a major show in Paris asks, «What role did art play in the quest for equality and the affirmation of black identity in segregated America?»

American artist Hank Willis Thomas discusses his work and the construction of black identity through popular culture.

Two other sculptures quietly carried phrases associated with particular articulations of black identity.

Syms's personal reflection on the mechanisms of production of black identity resonates poignantly with the works in the group exhibition, which challenge, with a rebellious attitude, the boundaries — physical and psychological — of the space assigned to femininity.

Artists working in two dimensions such as Kerry James Marshall, Kara Walker, and Wangechi Mutu have gained currency by creating work that makes the construction of black identity -LSB-.....]

[3] Colescott emphasizes that historical myths and images are derived from white perception of the Other, rather than a reflection of black identity.

However, the context in which his work was placed — a room exclusively containing abstract paintings and sculptures — also pointed to one of the exhibition's most problematic aspects, namely its attempt to link virtually every work or style, even the most purely formalist, to matters of black identity.

For decades now, Kerry James Marshall used large - scale paintings, sculptural installations, collage, videos and photography to provide us with his thoughts on the presence of black identity in Western arts.

Recognized since the 1970s as signifier of Black identity and activism, the hair accessory's importance as cultural icon is evidenced by its monumental scale.

Finally, in the last room, a single video work made by Bradford in 2005 alludes to the evolution and resilience of black identity.

Whitten says it references «the double edge of black identity: it cuts both ways.»

Deploying mediums such as creative writing, visual and performance art and audio narrative, White Collar Black Body provides a space to unpack and affirm layers of Black identity and ultimately dissect the heart of what it means to be Black at work in 21st century America.

In his interdisciplinary research project «Revisioning Black Urbanism,» from 2006 to 2010 he principally explored topics relating to urbanism and the negotiation of black identity in cities such as London, Lisbon and Paris.

Using painting, sculptural installations, collage, video and photograph, Kerry James Marshall comments on the story of black identity both in the United States and in Wester Art.

He paints images that make reference to religious iconography and at the same time repeat the familiar details of black identity culture.

Through artful composition, these portraits poignantly contrast Frazier with her matriarchs, her family with portrayals of Black identity in the media, and their bodies with the town of Braddock.

This group of multicultural, cross-generational painters, colored pencil, and mixed - media artists present diverse visions of Black identity, while expressing the social and political progress that defined the past half - century.

The motif of black activism is communicated in the silver gelatin print, The New Negro Escapist Social and Athletic Club (Kiss), though the theme of black identity and notions of African «otherness» underlies most works in the exhibition, which provides a unified result.

Her use of digital tools and material, ranging from blue screen technology and 3D avatars to found footage from the internet, reflects on these modes of representation and the abstraction of black identity in art and media.

Paralleling the growth of black identity in the arts throughout the late 1960s, the Studio Museum in Harlem was established in September, 1968, pledged to give the newly discovered — and in some cases rediscovered — poets, painters and filmmakers badly needed public exposure.

Johnson (born 1977) explores the complexities and contradictions of black identity in the United States, incorporating commonplace objects from his childhood in a process he describes as «hijacking the domestic,» and transforming materials such as wood, mirrors, tiles, rugs, CB radios, shea butter and plants into conceptually loaded and visually compelling works that shatter assumptions about the homogeneity of black subjecthood.

This paper reviews current research on the mixed ancestry experience and proposes a mixed ancestry racial / ethnic identity development model that incorporates Rockquemore and Brunsma's (2002) work on mixed ancestry identity types, Cross and Fhagen - Smith's (1996, 2001) life - span model of Black identity development, Cross's (1991) Nigrescence theory, Phinney's (1989) Ethnic Identity Development Model and Erikson's (1968) and Marcia's (1980) work on ego identity development.

He began making text paintings in the late 1980s, drawing on the candid speech of Richard Pryor, blunt lyrics by Ice Cube and the eloquent, passionate and insightful words of literary figures James Baldwin, Ralph Ellison and Zora Neale Hurston in an ongoing exploration of black identity and the challenges of navigating White America.