Sentences with phrase «primarily white artists»

As such, it's probably clear by now that I take issue with some of the assumptions of the novella — that the «garage - ness» of Cherry & Lucic is any impediment to its potential ability to institutionalize as a curatorial project that shows primarily white artists.

Not exact matches

In our Historic guest rooms and suites, you'll find nationally and internationally recognized contemporary artists working primarily in black and white photography.

But many more were inspired by the strife of the 1960s, including black artists whose work is primarily conceptual or abstract, and white artists with mainstream popularity.

Jochen Lempert (f. 1958, Germany) has a background in Biology but is since the early 90's active as an artist working with black and white photography as his primarily medium.

«We Wanted a Revolution» focuses on the work of black women artists during the emergence of second - wave feminism — a primarily white, middle - class movement (Judy Chicago's The Dinner Party might ring a bell).

The Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, KenArtist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, KenArtist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, KenArtist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kenartist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, KenArtist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kentucky.

The mostly small - scale work, including many early black - and - white, hand - colored, and sepia - toned photographs, is culled primarily from the artist's family members» collections and her own, and includes the pieces that laid the groundwork for her first major success, the acclaimed Film Stills series.

Given Rauschenberg's known lack of financial resources in the 1950s and his propensity for reusing canvases, it is likely that the White Paintings began to be remade and repainted almost immediately after their completion in fall 1951, a fact that testifies to the artist's understanding of these works as primarily conceptual rather than material.

Michelle Dizon and Viet Le's White Gaze is an artist book that uses an archive of National Geographic magazines primarily published between the mid-1950s and 60s.

Jeebesh Bagchi of Raqs Media Collective — one of Indian contemporary art's more conceptually orientated artists — sees the new biennial as the beginning of a way out of the previously market - orientated scene: «Most of the artists here primarily show work within domestic circuits in the confines of the white cube.

The new layer, applied primarily to the upper left quarter of the painting, was intended to cover small drips of white paint that had accidentally fallen on the work while the artist's studio was being painted.

Described as the first - ever exhibition to present the perspectives of women of color «distinct from the primarily white, middle - class mainstream feminist movement — in order to reorient conversations around race, feminism, political action, art production, and art history,» featured artists include Camille Billops, Beverly Buchanan, Elizabeth Catlett, Jeff Donaldson, Jae Jarrell, Wadsworth Jarrell, Samella Lewis, Lorraine O'Grady, Faith Ringgold, Betye Saar, Lorna Simpson, and Carrie Mae Weems, among others.

This transformation was facilitated by a rezoning that depended on artists and gallerists like Owens and Brown to create a draw for the primarily white and wealthy clientele that luxury developers hope to attract.

Featured works came primarily from emerging artists of color and feminist artists — including Martin Puryear, Nancy Spero, Ida Applebroog, and Alfredo Jaar — who were trying to define a new aesthetics of representation and to counter (white male) hegemony.

This exhibition highlights some of their work by displaying selected prints and books from the Tozzer Library collection, looking beyond the familiar 19th century white male painters to include women artists, Native artists, and even one living artist.The exhibition also includes artists who were primarily illustrators, designers, and printmakers rather than painters.

HELEN FRANKENTHALER (B. 1928) Pranzo Italiano (Harrison 44) etching and aquatint in colors, 1973, on White Fabriano, signed and dated in pencil, numbered 34/43 (there were also 3 artist's proofs), published by 2RC Edizioni d'Arte, Rome, with full margins, two pale foxmarks in the lower margin, moisture staining at the lower sheet edge (associated pale foxing, primarily visible on the reverse), occasional pale surface soiling in the margins, otherwise in good condition P. 8 1/2 x 7 7/8 in.

One of the few female artists associated with the 1960's Light & Space Movement in Southern California, Corse is primarily known for her minimalist, monochromatic white or black paintings.