Sentences with phrase «of black male art»

This is the thing, if you're going to talk about the efflorescence of black art in Los Angeles, what you're really talking about is an efflorescence of black male art in Los Angeles.

Not exact matches

Male, 19 and black with a Hispanic background athletic and toned anime is 55 % of my life and martial arts is 20 % and 15 my car and 10 % is gaming

single black male, 65 years of age, in good physical shape & condition, martial arts instructor, law enforcement trainer, low rider, and disc jockey, 5» 5» 160 pounds, don't smoke, drink, or do drugs.

More importantly, it makes an opportunity for a black / Asian male actor to occupy a multitude of non-stereotypical roles that may seem corny and over the top, but how many Asian actors get to open movies throughout the year that don't involve martial arts?

Qeyno established «Hackathon Academy» in 2013 with the launch of the first hackathon for Black male achievement, Startup Weekend Oakland (BMAHack), to address the diversity gap in STEAM (Science, Technology, Engineering, Art Design, and Mathematics).

Black Male: Representations of Masculinity in Contemporary American Art, curated by Thelma Golden, opens at the Whitney Museum of American Art in New York City.

TALK One of the most compelling art panels of the year, Thelma Golden, Hilton Als and Huey Copeland gather Dec. 12 to discuss «Black Male: Representations of Masculinity in Contemporary American Art» and reflect on the perception of black men and the state of the art world two decades since the Whitney Museum of American Art exhibition opened in November 19art panels of the year, Thelma Golden, Hilton Als and Huey Copeland gather Dec. 12 to discuss «Black Male: Representations of Masculinity in Contemporary American Art» and reflect on the perception of black men and the state of the art world two decades since the Whitney Museum of American Art exhibition opened in November Black Male: Representations of Masculinity in Contemporary American Art» and reflect on the perception of black men and the state of the art world two decades since the Whitney Museum of American Art exhibition opened in November 19Art» and reflect on the perception of black men and the state of the art world two decades since the Whitney Museum of American Art exhibition opened in November black men and the state of the art world two decades since the Whitney Museum of American Art exhibition opened in November 19art world two decades since the Whitney Museum of American Art exhibition opened in November 19Art exhibition opened in November 1994.

As the first black curator of the Whitney Museum, she organized landmark shows, such as «Black Male: Representations of Masculinity in Contemporary American Art» in 1994, that now seem strikingly prescblack curator of the Whitney Museum, she organized landmark shows, such as «Black Male: Representations of Masculinity in Contemporary American Art» in 1994, that now seem strikingly prescBlack Male: Representations of Masculinity in Contemporary American Art» in 1994, that now seem strikingly prescient.

A year later she joined the Whitney, where her decade - long tenure was defined by the groundbreaking exhibition, «Black Male: Representations of Masculinity in Contemporary Art (1994 — 95).»

Exhibited: The Southern New England Invitiational Art Exhibition, Fairfield University, Fairfield, CT, 1978; National Midyear Show, Butler Institute of American Art, Youngstown, OH, summer, 1979; Barkley L. Hendricks, The Studio Museum in Harlem, New York, January 20 - March 30, 1980; Black Male - Representations of Masculinity in Contemporary American Art, the Whitney Museum of American Art, New York, NY, November 10, 1994 - March 5, 1995, the Hammer Museum of Art, Los Angeles, CA, April 25 - June 18, 1995; Barkley L. Hendricks: Birth of the Cool, Nasher Museum of Art at Duke University, Durham, NC, February 7 - July 13, 2008, Santa Monica Museum of Art, Santa Monica, CA, May 9 - August 15, 2009, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, September 18 - December 20, 2009, Contemporary Arts Museum, Houston, TX, January 23, 2010 - April 18, 2010, with museum labels on the painting back.

Larry Walsh, Diego Cortez, and Unknown Man, Black Male: Representations of Masculinity in Contemporary American Artexhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Lorna Simpson, Papa Colo and Carrie Mae Weems, Black Male: Representations of Masculinity in Contemporary American Artexhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Thomas Allen Harris, Renee Cox, and Iké Udé, Black Male: Representations of Masculinity in Contemporary American Artexhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Fran Seegull, Eileen Norton, and Fred Wilson, Black Male: Representations of Masculinity in Contemporary American Artexhibition opening, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Peter Norton, bell hooks, and Suzan - Lori Parks, Black Male: Representations of Masculinity in Contemporary American Artexhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Unknown Man and Anthony Appiah, Black Male: Representations of Masculinity in Contemporary American Art exhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Local art collector Adrienne Davis said Thomas» images of black women stand in stark contrast to those of Kelley Walker, a white male artist whose Sept. 2016 exhibition outraged many visitors.

Gary Simmons and Franklin Sirmons, Black Male: Representations of Masculinity in Contemporary American Art exhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Beth Ann Hardison and Russell Simmons, Black Male: Representations of Masculinity in Contemporary American Art exhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Glenn Ligon and Arthur Fleischer, Black Male: Representations of Masculinity in Contemporary American Art exhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Black Male Representations of Masculinity in Contemporary American Art, An Introduction for Students Exhibition catalogue, Whitney Museum of American Art, 945 Madison Avenue, New York, New York 10021, 10 November 1994 — 5 March 1995 SAHLI Abderrazak Sahli Exhibition catalogue Bakou, including price list, with foreword by Rose Issa.

Carrie Mae Weems and Sharon Bowen, Black Male: Representations of Masculinity in Contemporary American Art exhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Waiters, Black Male: Representations of Masculinity in Contemporary American Art exhibition dinner, Whitney Museum of American Art (Breuer), New York, November 9, 1994

Installation view of Fred Wilson's Guarded View (1991) included in Thelma Golden's «The Black Male: Representations of Masculinity in Contemporary American Art» (1994 - 95) at the Whitney

Over a decade at the Whitney, she organized numerous groundbreaking exhibitions, including Black Male: Representations of Masculinity in American Art, in 1994.

Jibade - Khalil Huffman (b. 1981) will present a new body of work at Anat Ebgi that focuses on the black male figure in art history, film and literature, while Jamal Cyrus (b. 1973) will explore the cultural politics of Black American music and the civil rights movement of the 1960s and 1970s at Inman Galblack male figure in art history, film and literature, while Jamal Cyrus (b. 1973) will explore the cultural politics of Black American music and the civil rights movement of the 1960s and 1970s at Inman GalBlack American music and the civil rights movement of the 1960s and 1970s at Inman Gallery.

The New York Times» T Magazine reported on the exhibition whose genesis was President Obama's second inauguration and inspiration Thelma Golden's 1994 «Black Male: Representations of Masculinity in Contemporary Art» exhibition at the Whitney Museum.

Exhibitions like Thelma Golden's «The Black Male: Representations of Masculinity in Contemporary American Art» (1994 - 95) that followed were exemplary of an institutional change to come within the Whitney itself.

Courtesy Question Bridge: Black Males and Jack Shainman Gallery, New York via Norton Museum of Art

1994 Black Male: Representations of Masculinity in Contemporary American Art, Whitney Museum of American Art, New York, NY, Traveled to Hammer Museum, Los Angeles, CA Sincerity and Other Peccadillos, — LAX /» 94, The Los Angeles Exhibition Gallery at Barnsdall Art Park, Los Angeles, CA Telling... Stories, Randolph Street Gallery, Chicago, IL

She served on the curatorial team of the Whitney Museum from 1988 - 2000, where her groundbreaking exhibitions included «Black Male: Representations of Masculinity in American Art,» and where she served as Director of the Whitney Museum at Phillip Morris.

And so today, even in some of Jack Tilton's shows where they have maybe twenty pictures of a black guy showing his butt, or when they had that show Black Male: Representations of Masculinity in Contemporary American Art [at the Whitney Museum of American Art in» 94], where the gay element had a more predominant role — I mean, it was first brought into the scene with Lyle Ashton Harris having that show [Face: Lyle Ashton Harris at the New Museum in»black guy showing his butt, or when they had that show Black Male: Representations of Masculinity in Contemporary American Art [at the Whitney Museum of American Art in» 94], where the gay element had a more predominant role — I mean, it was first brought into the scene with Lyle Ashton Harris having that show [Face: Lyle Ashton Harris at the New Museum in»Black Male: Representations of Masculinity in Contemporary American Art [at the Whitney Museum of American Art in» 94], where the gay element had a more predominant role — I mean, it was first brought into the scene with Lyle Ashton Harris having that show [Face: Lyle Ashton Harris at the New Museum in» 93].

Body as Art: Photographs by Thierry Laurence Through January 31 Elegba Folklore Society's Cultural Center In this series of black - and - white photographs, Thierry Laurence manipulates light, shadow, and water to express an artistic essence of the black male body.

Notably known for exhibitions such as «Black Male: Representations of Masculinity in Contemporary American Art» (2014) and the 1993 edition of the Whitney Biennial, Thelma Golden will join the artist and the curator of the show «True Value» to discuss art and its capacity to transform institutions, history re-writing and social practiArt» (2014) and the 1993 edition of the Whitney Biennial, Thelma Golden will join the artist and the curator of the show «True Value» to discuss art and its capacity to transform institutions, history re-writing and social practiart and its capacity to transform institutions, history re-writing and social practice.

Als edited the catalogue for the Whitney Museum of American Art exhibition entitled «Black Male: Representations of Masculinity in Contemporary American Art,» which ran from November, 1994, to March, 1995.

Taken together, Simmons oeuvre reflects the shift that curator Thelma Golden both observed and underwent herself with her exhibitions Black Male in 1994 and Freestyle in 2001: the move from highly politicized issue - based art to more apolitical considerations of identity along side the artistic process.

The impulse to control art in order to reclaim one's history is only natural, as with protests against a white male artist's fiction of a black woman in the 2014 Whitney Biennial.

2015 Interventions in Printmaking: Three Generations of African American Women, Allentown Art Museum of The Lehigh Valley, Pennsylvania, USA SELF: Portraits of Artists in Their Absence, National Academy Museum of Art, New York, USA Piece by Piece: Building a Collection, Selections from the Christy & Bill Gautreaux Collection, Kemper Museum of Contemporary Art, Kansas, USA Status Quo, The School, Jack Shainman Gallery, New York, USA Breath / Breadth: Contemporary American Black Male Identity, Maier Museum of Art at Randolph College, Lynchburg, USA To Be Young, Gifted, and Black, Goodman Gallery, Cape Town, South Africa

-- 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

Working around issues of black male identity in the exhibition Tailor, Singer, Striker, Dandy (2011) at the Gallery of Costume, Platt Hall, Manchester Art Gallery she selected from the large West African textile collection in the gallery's stores and reinterpreted the materials to express contemporary and historic male identity through appearance and clothes.

It is also exciting to see these power structures challenged in the work of emerging male artists like Kudzanai Chiurai, a Zimbabwean artist whose recent bodies of work re-represents colonial and art histories to depict black women in positions of power.

Harris, who grew up in New York City and Dar es Salaam, Tanzania, came to prominence in 1994 when Whitney Museum of American Art curator Thelma Golden included his large - format Polaroid pictures of friends, family members and himself in poses and guises challenging racial and gender identity in her seminal exhibition «Black Male: Representations of Masculinity in Contemporary American Art.»

His work has been exhibited internationally, including the influential exhibit, Black Male: Representations of Masculinity in Contemporary American Art and a survey show at the Institute for Contemporary Art, Philadelphia in 1998.

In the piece, now preserved in a simple black - and - white video format of the artist sitting at a desk, Wilson begins with the premise «Art making sucks identity from individuals who are close to it but not participating themselves and the only way to recover identity is to make art yourself» proceeding to ingest a photograph she took of her partner, a male artist, in attempt to recover her own identity becoming his equal in power and, in doing so, creating her own aArt making sucks identity from individuals who are close to it but not participating themselves and the only way to recover identity is to make art yourself» proceeding to ingest a photograph she took of her partner, a male artist, in attempt to recover her own identity becoming his equal in power and, in doing so, creating her own aart yourself» proceeding to ingest a photograph she took of her partner, a male artist, in attempt to recover her own identity becoming his equal in power and, in doing so, creating her own artart.

She comments on her groundbreaking exhibition «Black Male: Representations of Masculinity in Contemporary American Art,» which opened at the Whitney Museum in November 1994; Promotes the Studio Museum's current exhibition, Charles Gaines: Gridwork 1974 - 1989,» an exploration of the work of Charles Gaines, an important conceptual artist and influential educator based in Los Angeles; And weighs in on the intersection of art and fashion when queried about being married to London - based designer Duro Olowu, whose silhouettes, vibrant color palette and mixed print aesthetic are influenced by his Jamaican - Nigerian heritaArt,» which opened at the Whitney Museum in November 1994; Promotes the Studio Museum's current exhibition, Charles Gaines: Gridwork 1974 - 1989,» an exploration of the work of Charles Gaines, an important conceptual artist and influential educator based in Los Angeles; And weighs in on the intersection of art and fashion when queried about being married to London - based designer Duro Olowu, whose silhouettes, vibrant color palette and mixed print aesthetic are influenced by his Jamaican - Nigerian heritaart and fashion when queried about being married to London - based designer Duro Olowu, whose silhouettes, vibrant color palette and mixed print aesthetic are influenced by his Jamaican - Nigerian heritage.

I feel that the time is ripe to mount an installation or cubby hole featuring small intimate portraits in my iconic make - up style of famous female courtesans and concubines from the Belle Epoch to Hollywood's Golden Era plus tiny sculptural art objects similar to my votive bread effigies of well endowed male hustlers, rent boys which of course will include some well known names of mainstream he - man box office stars and of the legendary art rock band The Voluptuous Horror of Karen Black, «We all monkey down the street.»

Todd Gray in Breath / Breadth: Contemporary American Black Male Identity at Maier Museum of Art, Randolph College, Virginia September 3 to December 11, 2015.

The Whitney once boasted one, Thelma Golden, who in 1994 — 20 years ago — organized a provocative survey of «The Black Male: Masculinity in Contemporary Art.»

Stretching Boundaries Radical Presence, the survey of black performance art that is up at NYU's Grey Art Gallery and continues at the Studio Museum, might be male - dominated, but it has some serious female heavy hitters: Senga Nengudi, Lorraine O'Grady, Xaviera Simmons, Carrie Mae Weems, Tameka Norris, Coco Fusco, Chitra Ganesh, Simone Leigh, and Maren Hassingart that is up at NYU's Grey Art Gallery and continues at the Studio Museum, might be male - dominated, but it has some serious female heavy hitters: Senga Nengudi, Lorraine O'Grady, Xaviera Simmons, Carrie Mae Weems, Tameka Norris, Coco Fusco, Chitra Ganesh, Simone Leigh, and Maren HassingArt Gallery and continues at the Studio Museum, might be male - dominated, but it has some serious female heavy hitters: Senga Nengudi, Lorraine O'Grady, Xaviera Simmons, Carrie Mae Weems, Tameka Norris, Coco Fusco, Chitra Ganesh, Simone Leigh, and Maren Hassinger.

But a sweep of emotional criticism is already brewing locally over «Black Male: Representations of Masculinity in Contemporary Art,» a show that originated at New York's Whitney Museum of American Art last fall.