Sentences with phrase «of black female identity»

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.

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

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.

In her texturally rich paintings, Mickalene Thomas examines the popular characterization of black female identity, celebrity, and sexuality.

Mickalene Thomas: Mentors, Muses, and Celebrities, an exhibition featuring photographs, film, and video, is a richly textured, and moving portrait of the multiplicities of womanhood that builds upon the artist's ongoing reconsideration of black female identity.

The poem they perform — a piece called «Black Girl Magic» — is a celebration of black female identity and a protest against an education system entrenched in a white - dominant narrative that doesn't serve their cultural and socio - emotional needs.

Not exact matches

Given my intersectional identity (of being both black and female) this is the best analogy that I can give for why feminism is not anti-men:

... Superhero movies have long needed this kind of representation in terms of men and women of color, and for black audiences, «Black Panther» will undoubtedly be as culturally significant in the way it addresses subjects of identity, race and gender as «Wonder Woman» was to female fans.&rblack audiences, «Black Panther» will undoubtedly be as culturally significant in the way it addresses subjects of identity, race and gender as «Wonder Woman» was to female fans.&rBlack Panther» will undoubtedly be as culturally significant in the way it addresses subjects of identity, race and gender as «Wonder Woman» was to female fans.»

You are invited to join us for the third annual Women's History Month conversation where we will discuss racial identity and healing through the lens of the Black female educator experience.

You are invited to join us for a timely Women's History Month conversation where we will discuss racial identity and healing through the lens of the Black female educator experience.

There have since been 25 dinners that have explored themes like Baltimore, Race, and Identity (in honor of Freddy Gray); the 2016 shootings in Orlando and the need for sanctuary spaces; Black Female Subjectivity; Black Male Subjectivity; and Racial Subjugation in Latin American History.

Exhibitions including iona rozeal brown: a ³... black on both sides (2004), Amalia Amaki: Boxes, Buttons and the Blues (2005), Hale Woodruff, Nancy Elizabeth Prophet and the Academy (2007), Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011) are among the projects that she has curated and co-curblack on both sides (2004), Amalia Amaki: Boxes, Buttons and the Blues (2005), Hale Woodruff, Nancy Elizabeth Prophet and the Academy (2007), Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011) are among the projects that she has curated and co-curBlack Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011) are among the projects that she has curated and co-curBlack Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011) are among the projects that she has curated and co-curated.

The exhibitions Brownlee has curated or co-curated there include iona rozeal brown: a ³... black on both sides (2004), Amalia Amaki: Boxes, Buttons, and the Blues (2005), Hale Woodruff, Nancy Elizabeth Prophet, and the Academy (2007), Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2black on both sides (2004), Amalia Amaki: Boxes, Buttons, and the Blues (2005), Hale Woodruff, Nancy Elizabeth Prophet, and the Academy (2007), Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2Black Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011).

Interwoven throughout the photographs are installations of everyday objects that confront viewers with some of the historical ways in which black female identity has been prescribed — as a mammy, a pin - up, or a ghetto girl.

Neptune creates counter-narratives which examine pedagogies of resistance, black subjectivity and the nuances of identity construction amongst marginalized female bodies of color.

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.

«Undercover: Performing and Transforming Black Female Identities,» which explores the use and implications of disguise, will open September 10.

She and Karen Comer Lowe co-curated Undercover: Performing and Transforming Black Female Identities in 2009 to examine the motivations and means of people who manipulate their images.

Thomas, whose work was included in the Museum's 2013 presentation of «Posing Beauty in African American Culture» and 2009 exhibition «Undercover: Performing and Transforming Black Female Identities,» is inspired by a range of sources including art history, popular culture and feminist thought.

Past artists who have created work for Rivington Place's window include Philomena Francis who used piped black treacle in her artwork mo» lasses III to raise questions about identity and viewing the black female body, and most recently Nilbar Güres» Beekeeper, a photographic composition examining representations of femininity and cultural identity.

Exhibitions including iona rozeal brown: a ³... black on both sides (2004), Amalia Amaki: Boxes, Buttons and the Blues (2005), Hale Woodruff, Nancy Elizabeth Prophet and the Academy (2007), Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011) are among the projects that she has curated and co co-curblack on both sides (2004), Amalia Amaki: Boxes, Buttons and the Blues (2005), Hale Woodruff, Nancy Elizabeth Prophet and the Academy (2007), Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011) are among the projects that she has curated and co co-curBlack Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011) are among the projects that she has curated and co co-curBlack Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011) are among the projects that she has curated and co co-curated.

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

Her presence coincided with the high tide of multiculturalism, when particular aspects of her identity — as black, African and female — were all under local, distancing, compartmentalizing scrutiny.

Her work explores notions of beauty, sexuality and black female identity.

2009 Landscape Revisited, Park Avenue Armory, New York, NY Extended Family: Contemporary Connections, Brooklyn Museum, Brooklyn, NY Posing Beauty, New York University Tisch School of the Arts, New York, NY Dress Codes: The Third ICP Triennial of Photography and Video, The International Center of Photography, New York, NY Creating Identity: Portraits Today, 21C Museum, Louisville, KY Black Is, Black Ain't, The Artspace at the Kansas City Art Institute, Kansas City, MO Undercover: Performing and Transforming Black Female Identities, The Spelman College Museum of Fine Art, Atlanta, GA First Look: An Exhibition of Emerging Artists from Los Angeles Galleries, House of Campari, Los Angeles, CA Remix, Catharine Clark Gallery, San Francisco, CA The Female Gaze: Women Looking At Women, Cheim and Read, New York, NY Crash Proof, The Scholar and Feminist Online, Barnard Center for Research on Women, online exhibition Elsewhere, Saltworks, Atlanta, GA The Glamour Project, Lehmann Maupin, New York, NY CAN & DID — Graphics, Art, and Photography from the Obama Campaign, Danziger Projects, New York, NY

Thomas investigates her self - image, eroticism, black female celebrity and the marketing of black urban identity.

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.

Frankly addressing idea such as frailty, sexualized power, and racially bounded ideals of beauty, Reclaiming Images presents us with compelling and nuanced examinations of multiple Black female identities and experiences.

Mickalene Thomas «Origin of the Universe» at the Brooklyn Museum through Jan. 20, 2013 A solo exhibit of new paintings that explore black female identity, sexuality and beauty and evoke power and femininity.

Often employing her own autobiography to consider black female subjectivities and identity construction within the social and political structures of art and the world at large, O'Grady brings sharp focus to the experience of aging.

Using the intersectionality framework (simultaneously inhabiting multiple social identities), this study compares the social adjustment of male and female biracial / ethnic adolescents (e.g., Black / White youth) with that of corresponding monoracial / ethnic youth (e.g., Black youth and White youth).