Sentences with phrase «painting as a white man»

A graduate of Cooper Union, he disavowed painting as a white man's medium and picked up the camera, being one of the first artists to spearhead photography as a legitimate art form and thereby making it his own.

Not exact matches

The Sun love this story as it allows them to paint it as an attack on their core readership, which is stereotypically seen as the «white van man».

To continue to paint Christ as a blond - haired, blue eyed white man is to deny that an historically important figure was something other than white.

Spielberg's «Lincoln» tries to work the middle ground between the two, but it can't help coming down on the side of Lincoln the Saint most of the time, painting him as a font of wisdom who flits about the White House dispensing the wisdom of the ages as he pokes and prods men to do the right thing and tries to keep his hands clean in the process.

Haywood - Carter uses him to paint Allen as a man so good - hearted, he's unaware of racism even existing in the Jim Crow South: When the two are caught hunting on another man's property, and Moultrie theorizes about his fate if he hadn't been with a white aristocrat, Allen is shocked beyond belief.

When Wark proclaims that he's «always had trouble drawing nigger faces,» and so paints white men's faces on the bodies of black slaves, the poignancy of that movement, independent of its inherent poignancy, identifies Junebug as something like an allegory for the ways that we deny the things we can't escape.

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

of course being the handyman, cough cough, that Mr Beach Cottage is, he relished the idea not only of this getting some of my beach cottage white paint, but, more, he likes to think of himself as a bit of a Mr Fix It and thought he could do some of that thing that men do when they are supposed to be doing jobs that are important but instead «fix» things that are totally irrelevant to the running of a cottage for five..

Solo exhibitions include «The Birth of Form», Mothers Tankstation Limited, Dublin, 2017; «Doubles», Ideas Platform, Artspace, Sydney; «Jungle Paintings», Murray White Room, Melbourne; «Moods», The Young, Wellington, 2016; «Nine Times Modern Man and Moon», Siegfried Contemporary, London; «House of Joy / Hello Ladies», Chapter House Lane, Melbourne; «Alasdair McLuckie», with Mothers Tankstation, Liste, Basel, 2015; «Two Lovers Sit on a Beach Dreaming at the Night Sky as the Waves Wave Hello to their Eternal Moon Friend, Who Smiles and Waves Right Back», Murray White Room, Melbourne; and «Cosmic Soul Sugar», Studio 12, Gertrude Contemporary, Melbourne, 2014.

I always think of the Yasmina Reza play «Art» when I see a Fontana (one of his slashed canvasses served as the book's cover) about a bourgeois man whose relationships crumble after he buys an all - white abstract painting that divides the opinions of his friends.

Also reproduced here are a group of 1952 — 54 collages that Kelly made in Paris as a young man, including «Study for Black and White Panels,» as well as the 1966 painting «Black over White.»

-- 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

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.

In Lute Music to a Heathen (2016), she paints a portrait of a black man seated facing sideways, looking away from his viewer; the sitter is dressed in black sleeveless t - shirt and trousers accentuated with a white belt, one hand tucked into his trouser as another holds up a small bird against a monochrome harlequin background.

Such a brass - tacks perspective would seem to make Forge's pointillist abstractions strange bedfellows with the all - white paintings of the American pragmatist Robert Ryman — both artists approach each new work as tabula rasa, an unpremeditated engagement with the empty surface (in a 1985 interview, Forge cites Monet's claim that he painted «as though he were a blind man who had just recovered his sight»)-- but there is an experiential connection as well.

The suave, white - suited man named Steve in Barkley L. Hendricks's 1976 painting of that name, radiates every bit as much star - power as Elvis Presley does in a double - panel Warhol homage, and he's treated with a lot more respect than is the busty, grinning title figure in Willem de Kooning's «Woman and Bicycle» from the early 1950s.

«Exemplary of [The Chicago Effect: Redefining the Middle's] strengths is a brief interlude in the middle of the main gallery marked by a stripe of grey paint that hangs on the walls and floor between two halves of the white cube... Isolated Fictions: A Reenactment, as the sub-show is titled, presents a provocative case study in the generative possibilities between art schools, small galleries, art centers, and other «middle men» of the art economy.»

Group Exhibitions 2018 Official Selection, Garden State Film Festival, Asbury Park, NJ 2017 Worm's Work, curated by Mild Climate, The Finishing School, Athens GA Unloaded, Marcia Wood Gallery, Atlanta GA Official Selection, 5th Annual Short Shorts, White Space Atlanta GA Official Selection, Best Shorts Competition (Award of Recognition), La Jolla, CA Official Selection, The World's Independent Film Festival, San Francisco, CA 2016 Acts of Sedition: A Group Exhibition, White Box, NYC, NY Transitions: States of Being, Zuckerman Museum of Art, Kennesaw GA Little Things Mean A Lot, Swan Coach House Gallery, Atlanta GA 2015 Drawing Experiment, Chastain Gallery, Atlanta GA Birdwatching, Gallery Walk at Terminus, Atlanta GA 2014 Exquisite Exhibit, curated by Joey Orr, Atlanta Contemporary Art Center, Atlanta GA Score: Artists in Overtime, MOCA GA, Atlanta GA 2013 Ant Linkage, Welch Gallery, Georgia State University, Atlanta GA Drawing Inside the Perimeter, High Museum of Art, Atlanta GA 2012 Paper Moon, Clayton Gallery, Kennesaw State University Museum and Galleries, Kennesaw GA Soltem Os Bichos, Atlelie397, Sao Paulo, SP, Brazil 2011 Watching Hands: Artists Respond to Staying Healthy, David J. Spencer Museum at the CDC, Atlanta GA Something Along The Lines of Rock «N» Roll, Solomon Projects, Atlanta GA New Media from the Permanent Collection, MOCA GA, Atlanta GA 2010 Hand to Hand, AthICA, Athens GA Limitless, Agnes Scott College, Dalton Gallery, Decatur GA Everything and the Space between Everything, Agnus Scott College, McCain Library, Round Wall Gallery, Decatur GA Hand to Hand, Chaffee Art Center, Rutledge VT 2009 More Mergers and Acquisitions, Atlanta Contemporary Art Center, Atlanta GA Accessing the Artist's Brain: Drawing as Metaphor, AVA Gallery, Chattanooga TN Three Small Deaths (film screening), DiverseWorks, Houston TX Everything and the Space between Everything, Jackson - Hartsfeild Airport, Atrium Gallery Atlanta and Agnes Scott College, McCain Library, Round Wall Gallery, Decatur GA Hand to Hand, Western Kentucky University Gallery, Bowling Green KY 2008 The World's Smallest Art Fair, Anna Kustera Gallery, NYC NY Hand to Hand, Spruill Gallery, Atlanta, GA 2007 Little Things Mean A Lot, Swan Coach House Gallery, Atlanta GA Tablet: Contemporary Southern Painting, Tanner Hill Gallery, Chattanooga TN Tenth Annual Arizona State University Art Museum Short Film and Video Festival, ASU Museum of Art, Tempe, AZ Exile From The Land Of Reason, Eyedrum, Atlanta GA The Petrified Man, Welch School of Art and Design Art Gallery, Georgia State University, Atlanta GA 2006 Flamingo Sculpture Garden, Scope Art Fair, Miami FL Run For Your Lives, DiverseWorks, Houston TX Hand to Hand, Ruby Green Gallery, Nashville TN 2005 Toy, Fe Gallery, Pittsburgh PA SouthXeast: Contemporary Southeastern Art, University Galleries, Florida Atlantic University, Boca Raton FL Gas, Food, Lodging: Imagining Escape, Welch School of Art and Design Art Gallery, Ga..

I try to be sincere throughout my process to make honest paintings and I try not to take up space as a white cis male painter in México or in Perú, where I used to live, because there are enough white men taking up space in these majority brown countries.

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 experiment.

Printed as a diptych toward the center of the novel, Glenn Ligon's 1991 painting reads, «I Feel Most Colored When I Am Thrown Against A Sharp White Background,» unequivocally communicating the frustrations Black men and women are made to feel in predominantly white spWhite Background,» unequivocally communicating the frustrations Black men and women are made to feel in predominantly white spwhite spaces.

Also on view are a group of 1952 - 54 collages Kelly made in Paris as a young man, including Study for Black and White Panels, and a 1966 painting Black Over White.

Apart from his paintings, an installation by both artists, «I Catch the Little White Man,» (2003), features a wooden cabinet filled with strings of white figures, and refers to a mental institution in Sweden that doubles as a center for creative reseWhite Man,» (2003), features a wooden cabinet filled with strings of white figures, and refers to a mental institution in Sweden that doubles as a center for creative resewhite figures, and refers to a mental institution in Sweden that doubles as a center for creative research.

The man doesn't have much of an opinion about our home projects, but on my desire to paint the cabinets white (as we did in our last home) he has expressed his strong desire not to.