Sentences with phrase «painted by a black man»

THE MOST EXPENSIVE WORK OF ART by an American artist ever sold at auction was painted by a black man.

Not exact matches

Painted blue to match Bugatti's signature color that was inspired by the 1937 Bugatti Type 57 G that won Le Mans, the car also wears various black accent pieces.

Wiley's signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.

His powerful figurative paintings highlight the daily lives of black queer men and the difficulties faced by defining one's identity as such in contemporary society.

Judith Linhares» oil paintings of dreamy female nudes are also intensely colored, but they relate in an unexpected and intimate way to a pair of black and white photographs by Rory Mulligan showing a torso of a woman and the back of a man gazing at a night sky.

Central to the exhibition is The Black Man in Africa has Strong Warriors and Beautiful Cities (2018), a powerfully incandescent rendering composed of fluid lines which blur the division between painting and sculpture, taking inspiration from Robert Rauschenberg's Green Shirt (1965) and featuring imagery from the storied Black Panther Coloring Book created in 1968 by artist and aspiring Black Panther Party member Mike Teemer.

Infused with hints of Rococo and men's fashion, Mockrin offers enticing figurative paintings; dark visions of luxury, her works are populated by androgynous characters set in jewel - toned textiles and velvety black backgrounds.

In 1910 Kandinsky made the first modern abstract painting; in 1911, the Italian Futurists Bruno Corra and Arnaldo Ginna made the first abstract films; in 1913, inspired by the Futurists, Wyndham Lewis made his first Vorticist abstractions; in 1915, Malevich painted his «Black Square»; in 1916, Mondrian and Van Doesburg founded De Stijl; and in 1921, Man Ray made his first photograms.

Before he gained attention by turning European painting into a fashion spread for black men, like a dumbed - down version of Barkley L. Hendricks or Lynette Yiadom - Boakye.

-- 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

His Black Painting (2003), for example, inspired by Ralph Ellison's book Invisible Man (1952) is a barely legible image of black figures emerging from a black grBlack Painting (2003), for example, inspired by Ralph Ellison's book Invisible Man (1952) is a barely legible image of black figures emerging from a black grblack figures emerging from a black grblack ground.

Zaatari's two - part contribution to dOCUMENTA (13) similarly challenges the expectations audiences may bring by casting his latest works on archives not in the context of politics, history and memory but rather as a love story for two men played by three actors, in the black and white, 16 mm silent film The End of Time (2012), and as a mentor — apprentice drama in Time Capsule (2012), an extended performance for which the artist buried a concrete - encased collection of small monochromatic paintings — a tribute to an unnamed photographer said to be losing his sight — in a hole in the ground that was dug next to the Fulda River in the Karlsaue Park, with four spokes of rebar marking the spot.

By painting from images captured by renowned photographer Mark Berghash, Ozeri's black and white somber self - portraits portray a man vulnerable and introspectivBy painting from images captured by renowned photographer Mark Berghash, Ozeri's black and white somber self - portraits portray a man vulnerable and introspectivby renowned photographer Mark Berghash, Ozeri's black and white somber self - portraits portray a man vulnerable and introspective.

By dint of their subject matter, her larger - than - life paintings of black men she met on the streets of Harlem inevitably recall the recent survey of portraits by Alice Neel of her neighbors in Spanish Harlem and on the Upper West Side, organized by Hilton Als at David Zwirner gallerBy dint of their subject matter, her larger - than - life paintings of black men she met on the streets of Harlem inevitably recall the recent survey of portraits by Alice Neel of her neighbors in Spanish Harlem and on the Upper West Side, organized by Hilton Als at David Zwirner gallerby Alice Neel of her neighbors in Spanish Harlem and on the Upper West Side, organized by Hilton Als at David Zwirner gallerby Hilton Als at David Zwirner gallery.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Invisible Man, the inaugural exhibition in the new downtown Manhattan gallery, mounts painting, installation, and sculpture by Torkwase Dyson, Kayode Ojo, Pope.L, and Jessica Vaughn, four black artists who address aspects of blackness in abstract and conceptual forms that imply bodies unseen.

The incredibly talented, Kehinde Wiley, a New York - based portrait painter creates incredibly naturalistic paintings of everyday black men and women in reimagined paintings by old masters — such as Tiziano Vecellio and Giovanni Battista Tiepolo.

The exhibition will include new large - format color photographs by Beshty, a new wall sculpture by Lefcourt, a large charcoal drawing by McKenzie, color photographs by Moholy - Nagy, a black and white painting by Oehlen, two automatic paintings by Man Ray, two sculptures by Stockholder, and new photographs from Welling's Quadrilaterals series.

Kehinde Wiley is represented by an «Untitled» early painting in his career of a contemporary black man in a T - shirt inside an Old Master setting that has a striking «reveal» on close viewing.

Ken Johnson: «A Tintin - style painting for a Bittercomix cover shows a happy white man on safari in an antique car driven by a black servant.

After Doyle's inclusion in the Corcoran Gallery of Art's pivotal exhibition «Black Folk Art in America 1930 — 1980» (1982), curated by Jane Livingston, the artist's work brought him notoriety and praise — the late Jean - Michel Basquiat on one occasion traded his own artworks for Doyle's and Ed Ruscha paid postmortem tribute to the artist with his painting «Where Are You Going, Man?

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

One of his paintings is an image of Philando Castille that should have generated a public conversation about police killing black men, but its impact has been muted by the controversy over a Dana Schutz painting of Emmett Till in his coffin, that also appears in the biennial exhibition.

The exhibition features a new series of Black Lives Matter paintings conceived by the Richmond, Va. - born artist in response to the Michael Brown and Eric Garner killings and the rallying of communities across the United States in protest of police use of lethal force on unarmed black men and yBlack Lives Matter paintings conceived by the Richmond, Va. - born artist in response to the Michael Brown and Eric Garner killings and the rallying of communities across the United States in protest of police use of lethal force on unarmed black men and yblack men and youth.

The vertical painting replicates the size of a door and features a repeated excerpt from the 1961 book «Black Like Me,» by John Howard Griffin, a white man who used makeup and a pharmaceutical product to disguise himself as a black man for a six - week sociological experiBlack Like Me,» by John Howard Griffin, a white man who used makeup and a pharmaceutical product to disguise himself as a black man for a six - week sociological experiblack man for a six - week sociological experiment.

The suppression of colour in De Kooning's first one - man show and in paintings of an earlier period by Pollock and Clyfford Still found a favorable response in the commanding black - and - white canvases executed by Robert Motherwell in 1950, beginning with his Granada series, and then in the dramatic first one - man show of Franz Kline (1910 - 62) in 1950.

The Turner prize - winning British artist debuts a fresh series of her signature figurative paintings, absorbing and elegant oils populated by black men and women.

In a work dominated by bluish blacks, a lone steel lattice tower — one of the very few man - made artifacts in these paintings — weathers a wintry storm at sea, distantly echoing J.M.W. Turner's late paintings of shipwrecks.