Sentences with phrase «racial identity of an artist»

[1] How does the racial identity of an artist affect the way they create art and the perception of it by the masses?

Not exact matches

At the California African American Museum, Keith conceived and executed the solo museum exhibitions for contemporary mixed media artists Hank Willis Thomas and Genevieve Gaignard, each of which examined themes of racial identity and inequality in America.

The portrait, titled Hold It in Your Mouth a Little Longer, explores notions of identity while challenging gender and racial stereotypes, themes the artist continues to explore in her first solo museum exhibition in New York, «To Wander Determined,» opening today at the Whitney.

History, Memory, and Identity During the 1990s many artists began examining how representation has traditionally inscribed difference and «otherness» in terms of sexual orientation, racial identity, and ethnicity, thus opening a new threshold in cultural consciIdentity During the 1990s many artists began examining how representation has traditionally inscribed difference and «otherness» in terms of sexual orientation, racial identity, and ethnicity, thus opening a new threshold in cultural consciidentity, and ethnicity, thus opening a new threshold in cultural consciousness.

«Americans,» rather than «African Americans» or «Black Americans,» because nationality is a statement of fact, while racial identity is a question each artist answers in his or her own way, or not at all.

But on the road, he came upon a retrospective of conceptual artist Adrian Piper at the Museu d'Art Contemporani de Barcelona, instantly drawn to her explorations of racial identity.

The list is more overtly political than in previous years, featuring artists tackling issues of post-colonialism and migration, queer identity, human rights abuses and racial violence.

June 15 — August 11, 2007 Transformer featured dynamic artists who address issues of role - playing, racial and gender stereotypes, and gender identity through employing alter egos in their work.

Featuring masterpieces by such iconic figures as Charles Alston, Elizabeth Catlett, Lois Mailou Jones, Jacob Lawrence, Hughie Lee - Smith, Norman Lewis, Horace Pippin, and Charles White, the exhibition and its related programs allow visitors to reflect upon a broad range of African American experiences, and examines the ways different African American artists have expressed personal, political, and racial identity over approximately 100 years.

Regional artists manuel arturo abreu and Christopher Paul Jordan explore the abstracted visual and emotional cues that influence how a sense of «place» is communicated through signifiers of the cultural, economic, and racial influences within inherited identity.

Some commentators seeking to unpack the role of the artist's racial identity have invoked the painting of Philando Castile, also on view, by Henry Taylor (a black artist).

Not all the artists are black, of course, and racial and cultural identity do not preside — but are instead replaced by — as Ligon writes, curatorial erudition, and the «formal, political, and metaphysical ways the colors have been used.»

In an effort to identify truth, reality, and meaning, each of the artists in the exhibition confronts these questions by inventing, criticizing, or retelling reality — simultaneously grappling with issues of racial identity, sexuality, violence, protest, globalism, and ethics.

As the show evolved, the Rubells said they decided to call the exhibition «30 Americans rather than African - Americans or Black Americans because nationality is a statement of fact, while racial identity is a question each artist answers in his or her own way, or not at all.

Michel's style exists in the same space as a number of high - profile African - American artists — writer Paul Beatty, artist Kara Walker, even rapper Kendrick Lamar — who use racial assumptions and issues of identity in open - ended, ambiguous, and non-preachy ways.

While their identity as black Americans is not the motivation for their inclusion in the show, this identity is nonetheless significant in that many found themselves marginalized in a white - dominated art world that granted limited admission to black artists and again within the Black Arts movement, which rested on a revolutionary ethos that saw abstraction as a site of established privilege, limited in its ability to express political dissent and contribute to the struggle for racial equality.

Benjamin, a multidisciplinary artist whose installations are a meditation on the color black as an entry point into discussions of identity, race and masculinity and the exploration of the complexities of racial identity, received a $ 25,000 cash award and a two - week residency at The Hambidge Center for Creative Arts and Sciences.

He is part of a generation of artists - such as Coco Fusco, Guillermo Gómez - Peña, Pepón Osorio, and Papo Colo - who in the 1980s and»90s explored questions of ethnic, racial, and national identity in their work.

Just as Häussler's protagonists hint at alternative ways of understanding history, other artists concern themselves with redressing the record or telling the stories that fall through the cracks, especially when racial identity plays a part.

Issues of racial identity, time and space, and a utopian future take shape in the twisted visions of some of today's most imaginative contemporary artists.

For this sculpture, Nayland Blake, a multi-disciplinary artist whose works address themes of sexual and racial identity, collaborated with Costello Tagliapietra, a husband - husband fashion design team known for their lumberjack style of plaid flannel shirts, suspenders, and bushy beards.

At 81, the conceptual artist and writer is still mining the timely themes of racial identity, cultural legacies, and what it means to be female — as seen in Lorraine O'Grady: Where Margins Become Centers, at the Carpenter Center for the Visual Arts (CCVA), October 29 - January 10.

A Professor of History and an artist herself, Painter frequently explores issues of racial and gender identity and how they have figured into the history of America and the West.

While some black artists desire to be referred to simply as «artists» without a qualifying racial identifier, others make their racial identity and the black experience the center of their practice, challenging the established cultural stereotypes and generalizations.

Regarded as one of Brazil's most accomplished contemporary artists, Varejão often references cultural and historic research through an intense investigation into anthropology, colonial trade, demography, and racial identity.

At the California African American Museum, Keith conceived and executed the solo museum exhibitions for contemporary mixed - media artists Hank Willis Thomas and Genevieve Gaignard, each of which examined themes of racial identity and inequality in America.

This exhibition allows students to reflect on a variety of African American experiences and examine how artists have expressed personal, political, and racial identity over approximately 100 years.

«Americans,» rather than «African - Americans» or «Black Americans» because nationality is a statement of fact, while racial identity is a question each artist answers in his or her own way, or not at all.

The artist, a strong supporter of individual freedoms and a devout Socialist (he was a close friend of Leon Trotsky), was deeply concerned with the plight of the Pueblo Indians and what he viewed as their centuries - long oppression intended to eradicate their racial and cultural identities.

«Americans,» rather than «African Americans» or «Black Americans,» because nationality is a statement of fact, while racial identity is a question each artist answers in his or her own way, or not at all,» Don and Mera Rubell explain in a Museum statement.

Artists have drawn on their own racial identities to create ennobling depictions of historically marginalized individuals, such as the detailed portraits of African American individuals and families by Charles White.

Particularly for artists (or subjects) of color, it often becomes a socio - political tool, a pointed declaration of ethnic or racial identity.

Inspired by a diverse array of visual artists, actors, musicians, writers, activists, and philosophers, including W. E. B. Du Bois, Joseph Beuys, Joseph Cornell, Parliament Funkadelic and Sun Ra, Johnson engages with questions of personal, racial, and cultural identity through his work, producing an amalgamation of historical and material references grounded in art and African - American history.

An Atlanta - based multidisciplinary artist, Benjamin's «installations are a meditation on the color black as an entry point into discussions of identity, race and masculinity and the exploration of the complexities of racial identity.»

Allan deSouza is a multimedia artist whose work investigates the themes of travel, diaspora, and migration and their role in forming the racial and sexual identity of the body in a social and psychological context.

Her versatile painting and sculpture - making skills, coupled with thorough investigations about colonialism, anthropology, cultural cannibalism and racial identity in Brazil, have made Varejão one of the most relevant South American contemporary artists in the past two decades.

Devin N. Morris is a Baltimore born, Brooklyn based artist who is interested in abstracting American life and subverting traditional value systems through the exploration of racial and sexual identity in mixed media paintings, photographs, writings and video.

This artist regularly investigates grim themes such as birth and death, stressing both the physical reality of the human body and its psychological value, using it to critique contemporary ideas of racial, sexual and social identity deeply rooted in the history of all of us.