Sentences with phrase «racial violence all»

Because who wouldn't rather fight a Babadook than fight racists who are spreading fake news about racial violence in an attempt to undermine an uplifting success story?

Countries around the world, including the US, were seeing racial violence in the streets we now know was directly correlated with racist rhetoric on Facebook.

The racial violence at South Philadelphia High School has certainly been a topic of discussion throughout the community, but a federal lawsuit filed by a Vietnamese parent at the school is now drawing even more attention to the issue.

Taking away the Human Rights Commission's authority over hate speech will make it much harder to prevent hate speech online, will continue to encourage racism and could lead to more racial violence and intolerance.

The UK Guardian reported: «Speaking at the opening of a new national memorial and museum chronicling America's history of lynching and racial violence in Montgomery, Alabama, Gore said that the US could expect to see many more major disasters of the ilk of Hurricanes Harvey, Irma and Maria last summer.

There are a few beautiful portraits that address the legacy of racial violence by Dawoud Bey (plus, speaking of tension, one of President Obama), two elegant works by the late, great Pictures Generation artist Sarah Charlesworth, a lone Gretchen Bender (lovingly remade by Phillip Vanderhyden).

The Negro Motorist Green Book, commonly known as The Green Book, was a travel guide that helped black road - trippers avoid the dangers, injustices, and racial violence of segregation during the Jim Crow era in America.

I think the work I chose speaks to the current social climate and the demands of respectability politics, and how this «double - binds» African - Americans in the face of prejudices and racial violence.

Inspired by recent events, the watercolors, drawings, and collage works in the exhibition were made in the summer of 2017 in the wake of heightened political division and escalating racial violence across the country.

This group exhibition was organized in response to «the racial violence and vitriol that has been occurring in the United States» and seeks to examine race and racism through art and history.

Melvin Edwards» (b. 1937) welded steel Lynch Fragments reference African - American civil rights activism, racial violence, and more recently, his immersion into Senegalese culture.

Drawing on Negro Spirituals that call for the end times, what Lamar calls Doom Spirituals, this installation at ONE Archives exhumes legacies of racial violence while longing for the forthcoming destruction of white supremacy

The works from this series span three periods: the early 1960s, when he responded to racial violence in American history; in 1973, when his activism concerning the Vietnam War motivated him to return to the series; and from 1978 to the present, when he began making Lynch Fragments to honor individuals, and to explore memory and his interest in African culture.

From his earlier landscapes of the tumultuous Chilean geography to his portrayal of the horrific realities of World War II, the racial violence in the United States in the 1960s, and the war in Vietnam, Matta's energized canvases reflect a profound awareness of his surroundings and a unique ability to grasp and portray the realities of our shared social history.

From his earlier landscapes of the tumultuous Chilean geography to his portrayal of the horrific realities of World War II, the racial violence in the United States in the 1960s and the war in Vietnam, Matta's energized canvases reflect a profound awareness of the world and a unique ability to portray the realities of our shared social history.

«Through her monumental paintings, Abney gives us the chance to have a meaningful conversation about issues of racial violence and social justice.»

These protests stand in direct parallel to the Black Lives Matter movement in arguing for recognition of the institutional and systemic nature of racial violence in the US.

Lew and Locks have selected a thorough diversity of ages, genders, races, and regions, and consistently foregrounded vital issues like racial violence and income inequality.

He is best known for his sculptural series «Lynch Fragments», which spans three periods: the early 1960s, when he responded to racial violence in the United States; the early 1970s, when his activism concerning the Vietnam War motivated him to return to the series; and from 1978 to the present, as he continues to explore a range of themes.

A haunting and revealing series of photographs are to go on show in south London, demonstrating the sad history of racial violence in our supposedly «civilised» society.

Talking to Action addresses critical issues such as migration and memory, spatial mapping, environmental issues, gender rights and legislation, indigenous knowledge, and racial violence in work created by contemporary social practice artists and collectives from Argentina, Brazil, Chile, Colombia, Ecuador, Mexico, and the United States.

In each of their essays, the curators weave art - historical narratives into narratives about the South as a center of slavery, ongoing racism, and social justice: analyses of the assemblages of Southern artists Robert Rauschenberg and Jasper Johns, or the color photography of William Eggleston and William Christenberry, mix with accounts of the civil rights movements and racial violence.

One of the best moments is an onslaught of sculpture by three artists made from found objects: Terry Adkins's combinations of musical instruments shine, and Melvin Edwards's small clenched welded - steel wall sculptures, made from bits of chain and tools, dominate, raising the troubling history of racial violence despite their beauty.

In 1907 the family moved to the Logan Circle neighborhood of Washington, D.C., relocating due to racial violence in Georgia and the public school system of Washington.

They cover three distinct periods in his personal history; the 1960s, where they evolved out of Edwards» response to racial violence in America; the 1970s, out of his protest against the Vietnam War; and from 1978 to the present, where they became a vehicle to honour individuals, to explore nostalgia, and to investigate his interest in African culture.

At the Studio Museum in Harlem, the Institute of Contemporary Art (ICA) in Philadelphia, and MoMA PS1 in New York, McMillian's shows laid bare the complexities of racial violence and injustice in the United States.

His best known series «Lynch Fragment» is an ongoing project on which he has worked, variously, in response to racial violence (1963 - 67); as a form of activism against the Vietnam War (1973 - 74); and as a reconceived means of recognizing admirable individuals and exploring a personal fascination with African culture (1978 --RRB-.

It explores the subject of racial violence and intimidation, incorporating imagery based on the memorial carving of Confederate leaders at Georgia's Stone Mountain into a disturbing composition of silhouetted figures.

He is best known for his sculptural series Lynch Fragments, which spans three periods: the early 1960s, when he responded to racial violence in the United States; the early 1970s, when his activism concerning the Vietnam War motivated him to return to the series; and from 1978 to the present, as he continues to explore a variety of themes.

The work was made that summer, drawing on timely issues of racial violence and political conflict.

The week includes workshops by writers and artists whose work focuses on social and political issues, including the environment, climate change, gun violence, racial violence, police brutality, violence against women, racial equity, homophobia, and immigration, all through the lens of creative action.

His work often incorporates found objects, and has frequently addressed social issues and racial violence.

The installation Five Car Stud is a life - sized reproduction of a scene of racial violence.

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.

The importance of raw materials, such as wood and steel, is evident within the brutal sculptures that comprise the Lynch Fragments series by Melvin Edwards (b1937), which was a response to racial violence faced by African Americans.

But he took the catastrophes of the 1960s hard: Vietnam, assassinations, racial violence, Aquarian self - destruction — Joplin's, for example.

The painting, with a title taken from an American popular song, acts as an ironic commentary on the racial violence of her time.

It will include work from Melvin Edwards, a pioneer in the history of contemporary African - American art and sculpture who is renowned for his 1960s Lynch Fragment series in which he responded to racial violence in America.

As black people were murdered by mobs around the country, the flag would appear, marking one of New York City's busiest thoroughfares with a protest of constant racial violence.

Originally a photographer and self - described «visual culture archaeologist,» Hank Willis Thomas confronts the realities of racial violence in the United States by revisiting horrors that have become obfuscated with time.

Robert Indiana took as text the sites of racial violence.

The show explores the spectrum of ideas between Kelly's rigorous investigation of color and shape in «Blue Black» and Mr. Ligon's own luminous meditation on racial violence, in a neon sculpture called «A Small Band,» placed at the center of the Pulitzer's main gallery.

There will be occasional outbursts of racial violence in which both groups are involved, but the great discipline of the Negro middle classes in events of the last decade suggests that violence will be a consequence of police activity or inactivity rather than a consequence of policy decisions by the «respectable middle classes.»

Patrick Phillips, author of Blood at the Root: A Racial Cleansing in America and Jason Ward, author of Hanging Bridge: Racial Violence and America's Civil Rights Century, discuss their respective books.

But knowing that Whitehead is trying in this book to call our attention to the illusion of freedom and equality in America today, I think Cora also represents the current plight of black women, at the bottom of the pay scale (due to the double whammy of racism and sexism), and with so many of them also forced to make their way on their own, given how racial violence impacts on black men.

The imaginary subterranean railroad here works the same way as it did in history: We never escape the uncertainties, discomforts, dangers and terrors of the quest for sanctuary from racial violence, for either the passengers or the agents.

The «war on terror» is a misnomer because the vast majority of Americans don't live in terror of a foreign enemy; Americans of color, though, have always lived and still live in terror of racial violence, some of it from our own government (i.e. police).

In this masterfully performed audiobook, Turpin narrates from the point of view of 16 - year - old Starr Carter, caught between her black neighborhood and white private school when racial violence erupts.

This dissertation explains how, during the onslaught of racial violence and disenfranchisement in the late nineteenth - century South, black men and women used public black colleges to retain limited access to political power and to train future leaders.

Admittedly, other events were occurring at that time, among them the Vietnam War, racial violence, and celebration of nontraditional lifestyles, making it difficult to disentangle the relative importance of all the possible causes of the problem the report had identified.