Sentences with phrase «which other black artists»

Not exact matches

The best explanation for such an object, which doesn't appear at other wavelengths, is an intermediate - mass black hole (imagined by an artist, above).

The other nominees are Call Me by Your Name, a Best Picture contender written by Hollywood luminary James Ivory; Dee Rees and Virgil Williams's literary, astute Mudbound, which marks the first time a black woman has ever been nominated in this category; Aaron Sorkin's 10 - quips - per - minute poker drama Molly's Game; and Scott Neustadter and Michael H. Weber's The Disaster Artist.

Other features include a lengthy, amazing conversation between Marshall and Los Angeles artist Charles Gaines; an essay by Greg Tate on the artist's figures, which he calls «Marvellously Black Familiars»; and a chronology illustrated by the catalogs and brochures that have documented Marshall's exhibitions over the years.

Work by Williams and other AfriCOBRA artists is featured in «Soul of a Nation: Art in the Age of Black Power,» the group exhibition organized by the Tate Modern in London, which is scheduled to debut in the United States at the Crystal Bridges Museum of American Art on Feb. 3, 2018, before traveling to the Brooklyn Museum.

Black is the primary color, out of which all others evolve and the texture and geometric patterning of the artist's new canvases seem to articulate a sensibility about primal ordering.

Linder features recent and older works, including the Star series (2007), in which the artist imposes giant roses and other lush flowers on naked female torsos, and the Pretty Girl series (1997), a suite of images in which the heads of black - and - white pinups are replaced by home appliances.

This silver dust jacket has black and red lettering which pops - out and is a stunning tribute to the artists.I can only hope that there will be more books on these «Other Artists of the New York School of Painters and Sculptors».

Simard was a partner in Jack Shainman Gallery, which represents Cave and a number of other prominent black artists including El Anatsui, Barkley Hendricks, Kerry James...

From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived tradition of African - American abstract painting (which has historically had a primarily black audience) is intermingled with the tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work

It takes place alongside two other major UK presentations of Himid's work: Invisible Strategies, a solo exhibition at Modern Art Oxford and The Place is Here, a group show at Nottingham Contemporary which traces conversations between black artists, writers and thinkers in 1980s Britain.

For Pace, Wilson will reconfigure Afro Kismet which includes two chandeliers, two monumental Iznik tile walls, four black glass drip works, and a globe sculpture, as well as installations and vitrine pieces that gather cowrie shells, engravings, photographs, a Yoruba mask, and furniture, among other objects that the artist discovered in his frequent trips to Istanbul throughout 2016 and 2017.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

«100 % Other: Artists and Psycho - Demographic Transitions» follows several recent critically acclaimed exhibitions, including «Patriot Acts» (the first installment of «Future of Nations») and «Incognegro,» which offered a contemporary critique of race through the exploration of infamous black - face performance.

The piece, which aims to compare Christianity with other world traditions, includes artifacts used in several non-Western religious traditions and video of the artist's spiritual music group, the Black Monks of Mississippi.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human black - and - white photographs of inanimate objects animated with human legs.

In 1963, he co-founded the Spiral Group (along with Romare Bearden, Norman Lewis, Hale Woodruff, and others), which sought to contribute to the Civil Rights movement through the visual arts in part by increasing gallery and museum representation for black artists.

The show will exhibit a group of artworks in the gallery, and also feature a corresponding internet component of digital works in an online gallery, which have been organized based on a system of artists inviting other artists whose work they admire (shown in black boxes, linked to the artists who have invited them).

Other nostalgic highs include Rosalind Fox Solomon's black - and - white documentary photographs of down - and - out artists, AIDS patients, graffiti - covered subways, Reagan posters, and Princeton grads, which poignantly expose the contradictions of a city marred by class divisions.

But we also stand to learn much from works by other artists, which take a more holistic and affirmative approach to black history and experience.

On view in ICA Miami's second floor galleries through January 16, 2016, the exhibition includes the first comprehensive presentation of photographs from the artist's ongoing series Black Box Collision A, which since 2012 has seen the artist isolating and documenting the letter «A» from the vestiges of sign, advertisement, message, and other modes of visual communication.

In 1976 he co-founded the World Saxophone Quartet (along with two other Black Artists» Group members, Julius Hemphill and Oliver Lake), which soon became jazz music's most renowned saxophone quartet.

Previously Van Eck worked 13 years as a curator at Museum of Contemporary Art, Chicago organizing more than 70 exhibitions and programs including Theaster Gates first solo museum exhibition, Kiss by Tino Sehgal, Jan Tichy's Cabrini Green, Mark Bradford's Chicago residency and exhibition, and many other exhibitions which featured Chicago artists including Kerry James Marshall's One True Thing: Black Aesthetics.

It takes place alongside two other major UK presentations of Himid's work: Invisible Strategies, a simultaneous solo exhibition at Modern Art Oxford and The Place is Here, a group show at Nottingham Contemporary which traces conversations between black artists, writers and thinkers in 1980s Britain.

In 1969, he became a founding member of the Black Emergency Cultural Coalition (BECC), which formed coalitions with other artists» groups, protested the exclusion of women and men of color from institutional and historical canons, and advocated for greater representation of black artists, curators, and intellectuals within major musBlack Emergency Cultural Coalition (BECC), which formed coalitions with other artists» groups, protested the exclusion of women and men of color from institutional and historical canons, and advocated for greater representation of black artists, curators, and intellectuals within major musblack artists, curators, and intellectuals within major museums.

A painter, sculptor, and printmaker, Sultan is regarded for his ongoing large - scale painted still lifes featuring structural renderings of fruit, flowers, and other everyday objects, often abstracted and set against a rich, black background; but he is also noted for his significant industrial landscape series that began in the early 1980s entitled the Disaster Paintings, on which the artist worked for nearly a decade.

During the summers of 1946 and» 47, he taught the history of photography at Black Mountain College in North Carolina, an experimental school which included on its faculty other thinkers, architects, and artists such as Walter Gropius, Josef Albers, Anni Albers, and Jacob Lawrence.

This exhibition features 39 black female artists, spanning three generations and a range of mediums, whose works consider other women or in which they turn inward in an exercise of self - examination.

There is also within this show, and coming out of my conversations with artists, how black becomes a force within the context of other colors, which goes back to [Henri] Matisse and how he used to talk about black in relation with other colors.

Lewis and other black artists are also missing from iconic photographs of that time, which gives the false impression that only white painters worked in an Abstract Expressionist style.

However, the group's critique of institutional racism in and beyond Britain's art world [6] became a part of the impetus that led to The Other Story, a seminal survey of African and Asian artists at London's Hayward Gallery in 1989 as well as the founding of the Association of Black Photographers and the establishment of Iniva, the Institute of International Visual Arts — some of which have exhibited Piper's work.

Other BMA initiatives during Black History Month include a Wikipedia Edit - a-Thon on Feb. 13, in which participants will create, update and improve the Wikipedia pages of African - American artists, and a self - guided tour on Feb. 7 of African American artists on view at the museum.

With À la Lumière des Deux Mondes (At the Light of Both Worlds, 2005), a site - specific work created for the Louvre's glass pyramid — the first time a contemporary artist had exhibited in the institution — Tunga used one of the building's columns as a pivot on which various symbolically charged objects were balanced: gold and black skulls and a giant walking stick intertwined with braided hair on one side; a chain of skulls caught in a dark net falling towards a floor littered with golden and black reproductions of heads from the Louvre's classical sculptures on the other.

One of the most important was the Black Mountain College, from which a narrative or causal relation to each other as interdisciplinary artists, provided a collective marking.

It is so good, so convincing, that it almost blinds you to the merits of every other artist in Afro Modern: Journeys through the Black Atlantic, which opens today at Tate Liverpool.

For this, Owens collected performance scores from other American black artists, which he then realized, often involving the audience.

There is something profound and urgent in understanding the differences that have long separated the motivations of black artists from others in the canon — especially given the recent killings of unarmed black Americans, which have led many in the black community to wonder how much has really changed.

Other notable work has included Nelson's Ship in a Bottle, which was displayed on the Fourth Plinth in Trafalgar Square from 2010 -2012 — it was the first commission by a black British artist and is now on permanent display outside the Maritime Museum in Greenwich.

The controversy polarized the art world; one camp criticized Shutz and the Whitney curators for exploiting the violence and suffering endured by Black Americans, the other camp felt the criticisms threatened free speech and limited artists by restricting which subjects are considered fair game.

The exhibition begins with a dramatic presentation of works from Ebner's ongoing series «Black Box Collision A» which, since 2012, has seen the artist photograph the letter «A» mined from the vestiges of signs, advertisements, messages, and other modes of visual communication.

Fionn Meade is an curator and writer who has previously worked at the Walker Art Center where exhibitions included Less ThanOne and Andrea Büttner, Radical Presence: Black Performance in Contemporary Art, and Question the Wall Itself, which presents a range of works conceived as rooms and interior architecture, and includes major installations by Tom Burr, Nina Beier, Cerith Wyn Evans, Lucy McKenzie, Akram Zaatari, Paul Sietsema, Jonathas de Andrade, Walid Raad, and Marc Camille Chaimowicz, among others; as well as Merce Cunningham: Common Time, a retrospective survey of Merce Cunningham's dynamic artistic collaborations, including work from more than seventy artists working across disciplines.

There are other works (interestingly, many of which spring from the word «train») that retain their ambiguity through abstraction, such as the intensely blue, self - explanatory «AS THE CROW FLIES (the distance between my studio and the Drawing Center (3666 miles) drawn on scale 1/1, 5900000 lines of 39.37 inch» (2014) by Kris Van Dessel; the colorful, hard - edge monoprint silkscreen from the artist known as HENSE, «Shape» (2014); and Carl Fudge's black - and - white woodcut «Bricklayer 1» (2014).

Goldblatt's photographs, which included works from his Ex-offenders series as well as other recent black and white and colour prints, were shown at Giardini within the star - shaped and wallpapered «Para-Pavilion» conceived by Polish artist Monika Sosnowska.

Other demands that were made, which were met, were that there be kind of a program of solo exhibitions by Black artists at the Whitney and that actually did happen.

Other artists included in the exhibition, which has been co-curated by History of Art MA student and Bristol Gallery Manager, Holly Lopez, are works by Chantal Powel, Nick Davis, Jimmy Galvin, Mark Boyce, Hywel Livingstone, Ian Campbell - Briggs, Alison Black and international artist Julien Masson.

Fifty years later and in celebration of the opening of its first American gallery, Hauser & Wirth will present Allan Kaprow's seminal Environment Yard, an enduringly influential work — a veritable mountain of black rubber auto tires and tarpaper - wrapped forms through which visitors jumped and crawled — first made by the artist in 1961 and radically reinterpreted in other locations ten times before his death in 2006.

It is a large work, and the artist chose not to crop it like many of the other black paintings, many of which he executed directly on rolls of cotton duck.