Sentences with phrase «of black female»

Dwyer, who is an assistant deputy minister at the Indigenous Education and Well Being division at the Ontario Ministry of Education and founder of the Black Female Lawyers Network, would go on to study economics and political science, earning a bachelor of arts degree from McGill University, and then going on to graduate from the University of Windsor Law School.

Cortor's body of work is pioneering because he emphasized the beauty of the black female figure, a rarity among African American artists in his era.

Sampling such diverse sources as African traditions, international politics, the fashion industry, pornography, and science fiction, her work explores gender, race, war, colonialism, global consumption, and the exoticization of the black female body.

Drawing from their shared limbo - land experience of African - American vs American - African, both women investigate urgent questions of race, identity politics, and the objectification of the black female body.

You also joined the Ad Hoc Women's Art Committee and co-founded Where We At, Black Women Artists, Inc., a collective of black female artists.

The exhibition presents a collection of large - scale sculptures of the black female characters that occupy many of Strother's paintings.

Picking up from her now iconic Kitchen Series, the new work of artist Carrie Mae Weems expands on questions of image appropriation and on - screen representation of black female culture.

: 28 + Opportunities to See and Support the Work of Black Female Artists and Curators This Fall

By inserting them into the western art - historical canon, black women are given visibility, provoking a conversation about the representation of the black female body in popular culture, its absence from that canon, and how much this visual representation in art has evolved over time.

The special edition was published with four different covers, two of them featuring the work of black female artists — Amy Sherald and Lorna Simpson.

No less outrageous are Kalup Linzy's mock soap opera videos in which he plays gender - bending roles, or Mickalene Thomas» satirical paintings depicting kitschy interpretations of black female sexuality, or Kara Walker's mock - Victorian paper cutout depictions of the elegant depravity of antebellum plantation life.

Thematically Siwani's work interrogates the patriarchal framing of the black female body and black female experience within a South African context.

Simone Leigh's practice incorporates sculpture, video and installation, all informed by her ongoing exploration of black female subjectivity and ethnography.

In attempting to read the work the viewer is provoked into confronting histories of appropriation and consumption of the black female body.

Confronting issues as commanding and disturbing as consumerism or the objectification of women and more particularly the hyper - sexualization of the black female in Western culture, Mutu also tackles various other heretical topics, including fornication, mutilation, or gynecological diseases of the female organs.

This term is a means to navigate the residue of history through examining the exotification, and the perception of the black female body when taken out of context through the view of the Other.

The works allude to questions of lineage, context, and the imaging of the black female body.

Tschabalala Self belongs to a new generation of painters depicting a three - dimensional representation of the Black female experience.

TV shows such as Issa Rae's Insecure and Michaela Coel's Chewing Gum are moving away from the rigid perfection of the Black female protagonists as in shows like Scandal and Being Mary Jane.

Simone Leigh's small but impactful show of new work at the Hammer Museum probes the construction of the black female subject within the historical context...

Simone Leigh's small but impactful show of new work at the Hammer Museum probes the construction of the black female subject within the historical context of the African diaspora.

Simone Leigh's practice is an object - based ongoing exploration of black female subjectivity.

Agnes Gund, president emerita of the Museum of Modern Art, attended the show and suggested that Barron put on a show of black female photographers for this year's festival.

The three fit neatly into three generations of black female artists concerned with both identity and the social issues affected by systemic racism.

In the year and a half since finishing her MFA at Yale, 26 - year - old Self has garnered a wide audience for her dynamic representations of the black female body.

Walking into Thomas's two - channel film installation is like being invited into a cozy living room to celebrate the diversity of womanhood, and in particular, the many layers of black female identity.

The theme of black female empowerment, love, and community are the heart of the exhibition.

They rotate clips of black female celebrities as diverse as Josephine Baker, Whitney Houston, and Wanda Sykes, as if to remind us that comedy and entertainment is a space for revolutionary ideas.

Valérie Oka, Ivorian - French artist addresses the dehumanising and objectification of the black female body while provoking the viewer into an act of looking which involves procedures of translation and the questioning his own implicit role in the perpetuation of these prejudices.

Ashton Cooper talks with Self about her depictions of the black female body, the characters she creates, and the power of parties.

While Okore's environmentally conscious large - scale wall - sculptures expand the societally imposed classifications of black female art to limitless possibilities, Fullerton - Batten and Kerstens meditate on the transition from adolescence to womanhood and the paternal need to capture the fleeting essence of childhood respectively.

Simone Leigh's practice focuses on an exploration of black female subjectivity, informed by her interest in African art, ethnographic research, feminism and performance.

According to Finn, ««Mentors, Muses, and Celebrities» is a timely and important celebration of the Black female body.

For her performance Purge, Garner recreates the monument to Sims that stands in Central Park, enacting the very gynecological surgery that Sims became famous for upon this silicone body with a group of Black female performers.

Mickalene Thomas, born 1971 in Camden New Jersey and currently living an working in Brooklyn, works with a nostalgia - infused investigation of representations of black female sexuality, playing on a Blaxploitation - style foxiness fraught with complexity.

These pieces explore personal narratives from the artist intermingled with known and unknown historical figures in relationship to notions and constructions of the black female body as a prototype for both exotic beauty and repulsion.

This term is a means to navigate the residue of history through examining the exotification, and the perception of the black female body when taken out of context through the view of the other.

Although Thomas has noted that not every painting has a collage, every image starts with a photograph, staged in a wood - paneled corner of her studio, and which directly informs and often serves as the basis of her elaborate, rhinestone - clad paintings that explore notions of black female beauty and identity.

While on the West Coast, she created a new body of work that was shown this past summer at L.A. gallery, The Cabin; «Tropicana» continued Self's investigation of the black female body through figurative collages composed of paint, fabric, and dry leaf.

Mickalene Thomas uses her texturally rich paintings to investigate the widespread characterization of black female identity, celebrity and sexuality.

Simone Leigh describes her practice as «an object - based on - going exploration of black female subjectivity.

Questions of miscegenation, hybridity and the contours of a black female body as landscape deemed, for all intents and purposes as «ungeographic» (after all, where is «black»?)

Lubaina Himid played an active role in the Black Arts Movement in the 1980s and 1990s and curated a number of significant exhibitions of black female artists.

POSING MODERNITY: THE BLACK MODEL FROM MANET TO MATISSE AND BEYOND An unmissable examination of portrayals of black female models, including the woman who played the maid in Manet's «Olympia.»

The exhibition seeks to explore the possibility of different, critical engagements with geography through the lens of black female subjectivities and feminisms.

As we recently explored here on Artspace, the alter ego is a trenchant aspect of contemporary art — think of the recent controversy surrounding the Yams Collective's withdrawal from the Whitney Biennial because of artist Joe Scanlan's adopting of a black female identity (fictional artist «Donelle Woolford») as an avatar.

The work of Tschabalala Self is inspired by the cultural iconography of Black female bodies, mapping the points where questions of race, gender, and sexuality intersect.

One has to broaden the conversation... This series of works attempts to reconcile the presence of black female stereotypes that surrounds their presence and / or absence in art history, and the notions of beauty, spectacle, and the «grand» in painting.»

Ms. Thomas's massive, French - Impressionist - inspired, rhinestone - embellished paintings of black female nudes are gaudy fun, yes, but they are also enormously ambitious.

Working across ceramics, sculpture, video, installation, and social practice, Simone Leigh examines the construction of black female subjectivity and economies of self - preservation and exchange.