Sentences with phrase «old white artist»

The 2014 Whitney Biennial was also somewhat controversial for its lack of diversity, 9 out of the 109 artists were black or African American, [13] including Donelle Woolford, a fictional character developed by 52 - year - old white artist Joe Scanlan.

Not exact matches

The organizers of the upcoming event: All White Party, old and new school Christmas night have heard the complains concerning the supporting artists of Pat THOMAS the highlife legend.

The red, white and blue condoms are distributed by the Old Glory Corporation, the brainchild of artist and AIDS activist Jay Critchley.

The white haze in this artist's drawing shows where a narrow bridge of old stars connects the Magellanic Clouds.

Dance; 18 19 Year Old; Denmark sex tube Plumper; White; German hd Hardcore; Uncut EXCLUSIVE: Artist Hetty Douglas, from Nottingham, was called a «spolit rich girl» and «ghastly» for her Instgram post mocking the workmen as they stood in

Dance; 18 19 Year Old; Denmark sex tube Plumper; White; German hd Hardcore; Uncut Picollage 2015 Rated Stars 56 Newgrounds artists work together to collaboratively celebrate 20 years of Newgrounds!

Sharing honors from the Society Dramatic Authors and Composers, given annually to a French film in Fortnight, were two very different tales of romantic possibility in Paris: Philippe Garrel's black - and - white «Lover for a Day» («L'Amant d'un Jour»), about a 23 - year - old woman who learns that her father is dating a girl her age, and Claire Denis» «Let the Sunshine In» («Un Beau Soleil Intérieur»), starring Juliette Binoche as a divorced artist looking for love in many of the wrong places.

The 42 - year - old Golden Globe nominee wore a black beret, pearls, and a modest golden dress, and her graphic artist husband Peter White wore an unbuttoned white tuWhite wore an unbuttoned white tuwhite tuxedo.

The 44 - year - old actor and Ellar, 20, were joined by their Boyhood co-star Patricia Arquette and her artist boyfriend Eric White, producer John Sloss, and director Richard Linklater at the ceremony where they took home the Gotham Independent Film Audience Award.

On the other hand, I'm not old school enough to go ga - ga over festival favorite The Artist, an Oscar - buzzy weepie set in 1920s Hollywood and almost entirely silent and in black and white.

Thirty years later she returned for White Material, which takes on many of the same issues from an older, more experienced perspective, both in terms of the artist and our protagonist.

This would be a minefield even if its creator weren't dealing with rumors regarding his own alleged bad behavior; as it is, the movie's questioning of whether great art excuses artists with personal failings and how privilege plays into it («I guess only poor people are pedophiles,» says one character) comes with C.K.'s usual sharp wit, anything - goes experimentation (that black - and - white cinematography, those old - school Hollywood credits) and a refusal to offer up easy answers.

A lovely trifle, «The Artist» is a film lover's film, presented in black and white in Academy ratio (i.e. squarish like your old TV) and with (almost) no dialogue.

Visitors to her two - story home / studio combo are greeted by a mural of the artist's current canine companion, a bouncing 9 - year - old black - and - white greyhound named Poppy Seed who was rescued from the world of dog racing.

Nearby, in the midst of the protest grounds and the White House itself, the new Trump International Hotel in the Old Post Office building played home to a momentous installation work refurbished by the First Family's resident art expert — even if few artists in town knew about it.

Linder features recent and older works, including the Star series (2007), in which the artist imposes giant roses and other lush flowers on naked female torsos, and the Pretty Girl series (1997), a suite of images in which the heads of black - and - white pinups are replaced by home appliances.

The Scottish - born artist Peter Doig moved with his family to Canada — from Trinidad — when he was seven years old, where the vast white winter landscapes made an immediate and lasting impression on him.

, Old Dominion University, University Gallery, Norfolk, VA 1997 «Restart:», Gallery 111, Johannesburg, Gauteng, Republic of South Africa 1996 «Arts in the Park - Then and Now: Tenth Anniversary Exhibit», Memphis Brooks Museum of Art, Memphis, TN CURATED ARTIST REGISTRIES The Drawing Center, New York, NY White Columns, New York, NY The Painting Center, New York, NY Culturehall (www.culturehall.com) SELECTED COLLECTIONS Promus Hotel Corporation, Memphis, TN First Tennessee Memphis Collection, First Tennessee Bancorporation Marriott Hotels, Inc..

Neel's famous naked self - portrait (1980) depicts the artist in old age, perched on a blue and white striped sofa surrounded by blocks of vital color — green, yellow, blue — calm and fearless in herself, staring at the viewer through slightly skewed glasses (her only attire), mouth firmly downturned and cheeks ruddy above the deliquescence of her aged body, a sinking galleon of pale flesh.

The participating artists are Nina Canell: Perpetuum Mobile (40 kg)(2009 - 2010), Pavel Büchler: Modern Paintings (1999 - 2000), Johannes Vogl: Untitled (Machine to produce jam breads, 2007, Monica Bonvicini: Plastered (1998), Ariel Orozco: Doble Desgaste (2005), Michael Landy: Breakdown (2001), Arcangelo Sassolino: Untitled (2007), Liz Larner: Corner Basher (1988), Jonathan Schipper: The Slow Inevitable Death of American Muscle (2007 - 2008), Christian Marlcay: Guitar Drag (2000), Roman Signer: Rampe (ramp, 2008), Nina Beier and Marie Lund: History makes a Young Man Old (2008)(rolling a crystal ball), Kris Martin: 100 years (2004)(bomb), Ariel Schlesinger: Bubble Machine (2006), Alex Hubbard: Cinéopolis (2007), Martin Kersels: Tumble Room (2001), Jimmie Durham: St. Frigo (1996), Alexander Gutke: The White Light of the Void (2002), Michael Sailstorfer.

An associate curator at the ICA Philadelphia who also runs the underground artist publication organ White Walls, Elms has interests that run across disciplines, including performance (he is featuring many in the exhibition), literary pursuits, and that old chestnut, painting.

There was no discussion of this spring's Whitney Biennial, in New York, that didn't include the controversy over a painting by Dana Schutz, who is white, of the mutilated body of Emmett Till, a 15 - year - old African American boy who was lynched in Mississippi in 1955, and the protests by a group of black artists over its presence in the biennial.

Ellsworth Kelly White Form at Matthew Marks (C06) Placed next to contemporary artists like Gary Hume and Anne Truitt, this 2012 painted - aluminum piece demonstrates how 91 - year - old Ellsworth Kelly is still producing relevant works today.

The mirror effects of the black and white series Flowers in the mirror and the Moon in the water, the installation 1000 Chinese strangers — which consists of nearly one thousand photo booth portraits of Chinese workers at the time of Mao (1949 - 70)-- and the series of old image montages Where have all the flowers gone testify to the artist's reflections on history and tradition.

Re-signifying the traditional white gallery wall as an older - model box TV, the artist initiates a playful critique of art institutions, technology, and entertainment in our everyday lives.

Museums are looking beyond white male Americans, while galleries are rediscovering older artists, even as they tout the new.

When he unveiled his often lukewarm collaborative pieces with Warhol in 1985, the New York Times savaged him as an «art - world mascot» and an «all too willing accessory,» as if he were merely an instrument in the hands of the older, white, artist (in actuality, as Boom for Real shows, the pair shared a genuine artistic affinity, and were mutually beguiled by each other's work).

SELECTED GROUP SHOWS: 2018 Open SpacesKansas City, MO 2018 Color of the Year Presented by Pantone and X-RiteUrban Institute for Contemporary Art, Grand Rapids, MI 2017 Solar Flair: Celestial Bodies in MotionAlbrecht Kemper Museum of Art, St. Joseph, MO 2017Light and ShadowMildred M. Cox Gallery Kemper Center for the Arts William Woods University, Fulton, MO 2017The 19th Annual National Juried Competition,: «Works of Paper» 2017Long Beach Foundation of the Arts & Sciences, Long Beach Island, NJ 2017 - 2018 Teardrops That Wound: the Absurdity of War, George Tsutakawa Art Gallery, Wing Luke Museum of the Asian and Pacific American Experience, Commission Work «Break Into Blossom», In collaboration with Phong Nguyen and Justin Shaw 2016 Vision: An Artist's Perspective, Gutfeund Cornett Art Kaleid Gallery San Jose, CA 2016 Novus Conceptum, Hannah Bacol Busch Gallery Bellaire, TX 2015 Generations: Forty Hues Between Black and White, OCCCA (Orange County Center for Contemporary Art), Santa Ana, CA 2015 Somewhere Between Black and White, Fiber Art Network, Arizona State University, Tempe, AZ 2015 Old Enough To Know Better, Cranes Art Gallery 105, Philadelphia, PA 2014 The 2nd Annual Juried Artist's Book Exhibition, WoCA Projects, Fort Worth, Texas 2014 The Living Mark Verum Ultimum Art Gallery, Portland OR 2014 Subconscious, Flow Art Gallery, St Louis MO 2014 A Dream and a Memory, St. Louis Artist Guild, St. Louis MO 2013 Missouri 50, Fine Art Building Sedalia, MO 2013 Art / Identity, Gallery 263, Cambridge, MA 2013 26th Annual Women's Work, Old Court House, Woodstock, IL 2012 Contemporary Women Artists XVI, Saint Louis University Art Museum, St. Louis MO 2012 UCM Faculty Show, UCM Gallery of Art and Design, Warrensburg, MO 2012 Color!

This stunning ceramic hand sculpture created by artist and ceramicist Christopher David White looks exactly like old wood.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

This was a breakthrough period for the twenty - two - year - old African American artist, whose extraordinary succession of six solo shows that year propelled him to unprecedented global stardom in a predominantly white - dominated industry.

MOCAA's opening show features work by artists young and old, black and white, South African, West African, African - American, and Afro - Caribbean — Afro - global, if you will.

He founded Portikus, a white box housed in shipping containers that gave now - legendary shows to old friends like Oldenburg, Kawara, and Gerhard Richter, as well as still - emerging artists like Wolfgang Tillmans (in 1995), Sarah Lucas (1996), and Matthew Barney (1997).

Between the late 1980s and early»90s, says Matthew Higgs, director of White Columns, New York's oldest alternative art space, «artists like Pierre Huyghe and Rirkrit Tiravanija rethought conceptual practice, and artists like Elizabeth Peyton and Peter Doig rethought traditional painting.

It was on Duke Street that the 30 - year - old Jay Jopling opened his tiny first - floor gallery at no. 44 called White Cube, where he showed many of the Young British Artists.

It explores the tradition of painting in black and white by old masters such as Van Eyck, Dürer, Rembrandt, and Ingres alongside works by contemporary artists working today, including Bridget Riley

HELEN FRANKENTHALER (B. 1928) White Portal (Harrison 10) lithograph in colors, 1967, on Arches, signed and dated in pencil, numbered 18/18 (there were also 4 artist's proofs), with the ULAE blindstamp, West Islip, New York, with full margins, 6 tiny pin holes in the blue areas, time staining at the extreme margin edges, minor remains of old tape at the reverse of the margin corners, otherwise in very good condition.

A fictional artist, a 30 - something - year - old well - educated black lesbian artist from Georgia (now from Detroit) who is actually a 53 - year - old white male artist, was one of the only nine participating black artists / groups in the Whitney Biennial (whose totally contributors numbered more than 100)?

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

Perhaps the most compelling and historically significant inclusion is Pindell's video, in which the artist plays two parts: herself, a black woman describing instances of racial discrimination in her life, and the titular free, white, and 21 - year - old woman who disbelieves and admonishes her.

The 46 - year - old artist, whose room - size installations comprising glass beads have earned her solo shows at major museums and prestigious galleries like London's White Cube, had a less streamlined, though certainly magical, path to prominence.

A light - hearted response to an earlier all - man show called Larry's and followed by an all - gay group called Garry's, the six - years - old publication features a pile of pages pressed behind glass and showing the artists working, taking a shower and forming a human pyramid, all dressed in the same white t - shirts and denim shorts.

And while it could be argued that the dazzling boom and bust of a few 26 - year - old white male skateboarders - cum - abstract - painters isn't representative of thousands of other emerging artists, the spectacular market failure of that one, tiny group had a much broader cooling effect on the market: With collectors suddenly questioning the value of their not - insignificant investments (no matter how rich you are, watching your $ 100,000 painting go to $ 20,000 in a few months has to be unpleasant), a crisis of confidence resulted in some very good galleries going under.

Aandrea Stang, who oversees the education department at Hauser Wirth & Schimmel, says that the piece is the sort of action that can help build community between groups of artists who don't ordinarily come together — old and young, black and white and brown, sculptors and photographers and painters.

«He's a white Zimbabwean artist living in South Africa,» says WHATIFTHEWORLD curator Ashleigh McLean of 39 - year - old Halter, who is on his way to matching his South African fame in the States.

«The older artists particularly recognized that the fundamental issue was the question of their identity as black artists in a white society — an issue that had emerged in the Harlem Renaissance of the 1920s and been restated in the Harlem Artists Guild's discussions in theartists particularly recognized that the fundamental issue was the question of their identity as black artists in a white society — an issue that had emerged in the Harlem Renaissance of the 1920s and been restated in the Harlem Artists Guild's discussions in theartists in a white society — an issue that had emerged in the Harlem Renaissance of the 1920s and been restated in the Harlem Artists Guild's discussions in theArtists Guild's discussions in the 1930s.

Renowned for thinking outside of the white cube model the eight year old London fair took over the Greenpoint Terminal Warehouse in Brooklyn with a stellar presentation of street art, artist lectures and panel discussions, film screenings and murals in the surrounding neighborhood.

One disturbing example: an artist told me she was turned away from Paul McCarthy's White Snow at the Armory with her two - week - old baby because «no one under seventeen could be admitted.»

Avant - garde Japanese artist Kusama breathed new life into a 179 - year - old story with her densely layered black - and - white illustrations.

Shown on a small monitor in the next gallery, Yoko Ono's film Eye Blink (1966) is silent and almost half a century older, yet the artist's gaze, reflected back to us from what seems an impossibly distant black and white past, remains potent.