Sentences with phrase «white art institutions»

The exhibition questioned each member's personal histories, cultural background and beliefs as a means of unsettling the idea of a homogenised black experience and its acceptance by white art institutions and discourse.

The exhibition is one which questions each member's personal histories, cultural background and beliefs as a means of unsettling the idea of a homogenised black experience and its acceptance by white art institutions and discourse.

Not exact matches

Four Seasons Hotel Miami positions you minutes away from the best of Miami's dynamic nightlife, thriving arts scene, cultural institutions and dazzling white beaches.

White has lectured extensively at institutions including Pratt Institute, School of the Art Institute of Chicago, Hunter College, Cranbrook Academy, School of Visual Arts, Rhode Island School of Design, School of the Museum of Fine Arts, Boston, and Bard.

Modernism seemed an obstacle to facing the truth — including the truth about dead white males and art institutions.

Aruna D'Souza's new book Whitewalling: Art, Race & Protest in 3 Acts (Badlands Unlimited) presents, in reverse chronology, three events that sparked protest against racism at New York art institutions: the inclusion of Dana Schutz's painting of Emmett Till in the 2017 Whitney Biennial, the white artist Donald Newman's solo show titled «The Nigger Drawings» at Artists Space in 1979, and «Harlem On My Mind,» an exhibition of all - white artists at the Metropolitan Museum of Art in 19Art, Race & Protest in 3 Acts (Badlands Unlimited) presents, in reverse chronology, three events that sparked protest against racism at New York art institutions: the inclusion of Dana Schutz's painting of Emmett Till in the 2017 Whitney Biennial, the white artist Donald Newman's solo show titled «The Nigger Drawings» at Artists Space in 1979, and «Harlem On My Mind,» an exhibition of all - white artists at the Metropolitan Museum of Art in 19art institutions: the inclusion of Dana Schutz's painting of Emmett Till in the 2017 Whitney Biennial, the white artist Donald Newman's solo show titled «The Nigger Drawings» at Artists Space in 1979, and «Harlem On My Mind,» an exhibition of all - white artists at the Metropolitan Museum of Art in 19Art in 1969.

This, some argue, is connected to a philosophical shift in museums and art institutions, as the canon is expanded beyond a narrow, white, male definition of Modernism.

Syjuco prompts viewers to question the effectiveness of political action / intention among (art) communities so ingrained within economic institutions and a world that demands black - and - white extremes — not gray.

Whether or not Hilary makes the White House, women are indeed commanding the 2016 - 2017 art season, with almost all the major New York institutions celebrating female artists.

Since 2015, Pasternak has served as the Shelby White and Leon Levy Director of the Brooklyn Museum, one of the oldest and largest fine arts institutions in the nation.

O'Hare has participated in exhibitions in such galleries and institutions as Kirkland Art Center, Ronald Feldman Gallery, Parsons School of Design, Rotunda Gallery, Sideshow Gallery, and Black and White Gallery, all in New York.

For more than 30 years the French artist Daniel Buren established a «visual vocabulary» of uniform 8.7 cm wide colored and white stripes as being the central features of his conceptual works and site specific installations in public space and in numerous art institutions.

To be sure, many of the most commercially successful and critically established black artists are represented by white gallerists, who have the connections to important white collectors (since most wealth in the U.S. is still in white hands) and public institutions that have helped these artists establish wider markets and have their art placed in august institutions.

The thesis of my book takes as its operative assumption that the art system — its history, institutions, market, press, and so forth — is a hegemony that privileges white male creativity to the exclusion of all Other artists.

S. 1; Tate Modern, London; Hirschhorn Museum and Sculpture Garden D.C.; Kunstmuseum Lucerne, Switzerland; Philadelphia Museum of Art; Denver Art Museum; Indianapolis Museum of Art; Museum of Contemporary Art Chicago; Mass MoCA; MoCA Cleveland; San Francisco Museum of Modern Art; High Museum of Art Atlanta; Los Angeles County Museum of Art; Stedelijk Museum, Amsterdam; Kunsthalle Bern, Switzerland; ICA Boston; Albright - Knox Gallery, Buffalo; El Museo del Barrio NY; The Jewish Museum NY; Socrates Sculpture Park; Sculpture Center NY; ICA Philadelphia; New Museum NY; Bronx Museum; Brooklyn Museum; Creative Time NY; Pinchuk Art Centre Kiev; American Academy in Rome; Guggenheim NY, Venice, Bilbao & Berlin; White Columns; Art in General; Studio Museum in Harlem; Zacheta National Gallery of Art Poland; Artists Space NY; The Menil Collection Houston; J Paul Getty Museum LA and many other museums nationally and internationally; as well as every major cultural institution in South Florida.

The white - suited doctor in the foreground, appearing to be blind to the pain of a patient beside him, was characteristic of the critique of institutions and society present in Chinese contemporary art of the 80s and 90s.

And yet, their work has been the subject of exhibitions at prominent galleries and institutions like Gagosian Gallery in New York, the White Cube Gallery in London, the Tate Britain in London, the Triumph Gallery in Moscow, and PS1 Contemporary Art Center in New York.

Her work has been acquired by some of the most prominent American institutions, including The Metropolitan Museum of Art, Philadelphia Museum, Smithsonian American Art Museum, The White House Historical Association and the Whitney Museum of American Art.

He has participated in group exhibitions at a number of institutions and galleries, including MAXXI Museum (Rome, Italy), White Rabbit Gallery (Sydney, Australia), Minsheng Art Museum (Beijing, China), Today Art Museum, Klein Sun Gallery (New York, America), Whitebox Art Center, LIN & LIN Gallery (Taipei, China), and Pace Gallery (Beijing, China).

Dominated by a small cadre of the white and wealthy, our cultural institutions are diluting their authority through their ongoing absorption of investment criteria rather than historical and aesthetic concerns for art.

New York's Brooklyn Museum has been criticized for appointing a white woman as its new curator of African art, with several people on social media platforms arguing that the institution should have hired a person of colour for the role.

Re-signifying the traditional white gallery wall as an older - model box TV, the artist initiates a playful critique of art institutions, technology, and entertainment in our everyday lives.

The black - and - white images in each spread depict the tiny dwellings — small structures, mounds of mud, heaps of rocks — of an imagined group of what he called Little People, for whom Simonds constructed diorama - sized site - specific villages that were nested in and around art institutions and crumbling buildings in New York and in other

The artist has been included in various international exhibitions at prominent institutions, notably Museum Boijmans Van Beuningen, Rotterdam, the Netherlands; Ullens Center for Contemporary Art, Beijing; Zhejiang Art Museum, Hangzhou; Museum Ludwig, Cologne, Germany; Museum for Modern and Contemporary Art Bozen / Bolzano, Bozen, Italy; White Rabbit Art Museum, Sydney, Australia; The Orange County Museum of Art, California, U.S.A and Rubell Family Collection and Contemporary Arts Foundation, Miami, U.S.A.. His works were included in Busan Biennale at Busan Cultural Center, Busan, Korea in 2010 and Prague Biennale 4 in Prague, Czechoslovakia in 2009.

His work has been exhibited nationally and internationally in such museums and institutions as ZKM, Karlsruhe, 2015, LAXART, Los Angeles, Flora: Ars and Nature, Bogota, 2015, Sharjah Art Foundation, 2014, Manifesta 10, St. Petersburg, 2014, Redcat, Los Angeles, 2014, MuKHA, Antwerp, 2013, Townhouse Gallery, Cairo, 2013, MAK, Vienna, 2011, Kunsthalle Charlottenborg, 2011, Temporary Kunsthalle, Berlin, 2009, NBGK, Berlin, 2007, Kunsthaus Graz, 2006 and Kunsthaus, Zurich, 2006, ICA London, 2004 and 2005, Los Angeles Contemporary Museum of Art 1996 and 2006, The Studio Museum, 2003, The California Museum of Photography, Riverside, 2002, The Whitney Museum of American Art, 2001, Artists Space, 2001, The ICA Philadelphia, 1995, Villa Arson, Nice, 1994, MOMA - PS1, 1991, The MIT List Visual Art Center, 1991, Palais de Tokyo, 1991, The Museum of Contemporary Art, Chicago, 1989, The Walker Art Center, 1989, The Queens Museum, 1989, White Columns, New York City, 1989, Ludwig Museum, Koln, 1988.

He has also curated programs, series, and events for New York institutions such as White Columns, SculptureCenter, Performa, Anthology Film Archives, and Electronic Arts Intermix.

In his black and white lilies series, he pays significant attention to picture grains, light effects, and contrasts to enhance the idea of nature imitating art and his particular visual commentary on the subject of the closely cultivated garden, has seen him hold several solo exhibitions in many institutions around the world.

She has exhibited with numerous galleries and institutions including The Whitney Museum of American Art; Boise Art Museum; The Melbourne International Arts Festival; Nottdance Festival, Nottingham, England; Swiss Institute, NYC; Cristin Tierney Gallery, NYC; White Columns, NYC; Artists Space, NYC; Yerba Buena Center for the Arts, San Francisco; Sonoma Valley Museum of Art; Henry Art Gallery, Seattle; and A Gentil Carioca Gallery, Rio de Janeiro, Brazil; Gallery Pfeister, Gudhjem, Denmark.

The Los Angeles artist Paul McCarthy's «WS,» an NC - 17 retelling of the Snow White fable at the Park Avenue Armory, has become the art institution's second - most - attended exhibition.

Thus starting from Konstanet as a white constantly open camping tent (of exactly the same plan and dimensions) and Kunsthalle Linz as a DIY cardboard white cube levitating inside Konstanet the online - installations continue to explore the questions of art - institution's self - image, artist's relation to it and resistance, possibilities of its re-imagining, hosts, guests and parasitism to which there is no outside but a proclivity to levitate...

The distressing Neither, from 2004 and now at the Brazilian art institution Inhotim, is a room that at first appears to be an empty white cube, but on closer inspection the white plaster walls are revealed to contain steel mesh fencing.

The Production Line of Happiness brings norm - flouting exhibition design to arts institutions (the academic Art Institute of Chicago, the high - gloss MoMA, and the public Whitechapel Gallery) in an effort to draw attention to the naturalised codes of the white cube.

Amid flashing black - and - white distortions on a giant screen in MoMA's atrium, and heavy bass from their set, the duo gave a radical take on how sound art is changing the museum landscape — a fact attested to by the reverb that literally shook the institution's walls.

Though the notion of viewing art is often linked to the vast halls of a monolithic institution or the white - washed walls of a contemporary gallery, some exhibitions actually take place en plein air.

The artists represent a mix of full - time faculty and adjuncts who teach at area colleges and other institutions around the region: Janet Filomeno, Montclair State University and William Paterson University; Valeri Larko, New Jersey Center for the Visual Arts, Summit; Stephen Mueller, Princeton University; Lynn Mullins, Raritan Community College, Margaret Murphy, William Paterson University; Laura Newman, Vassar College; Gabriel Phipps, SUNY New Paltz; Russell Roberts, Montclair State University and New Jersey City University; Jackie Saccoccio, Princeton University; Thomas Sarrantonio, SUNY New Paltz; Amy Sillman, Bard College; Raul Villarreal, New Jersey City University; Melanie Vote, Hofstra University and New Jersey City University; and Tommy White, Princeton University and Columbia University.

His work has been exhibited at institutions such as White Columns in New York, Saatchi Gallery in London, CCA Wattis Institute for Contemporary Arts in San Francisco, Museum für Moderne Kunst in Frankfurt, and The State Hermitage Museum in St. Petersburg, among others.

«I & hearts; John Giorno» is spread across twelve institutions throughout the city, including the Swiss Institute, Red Bull Arts New York, New York University's 80WSE Gallery, the Kitchen, High Line Art, the New Museum, Artists Space, and White Columns.

In the light of arts minister David Lammy's recent comments about Britain's «too white» museums, which have been causing ructions in the arts world, Eshun said: «It's not about institutions having to embrace diversity in weird and strange ways, it's actually just about acknowledging the world around you.

Equally, art, its history and institutions were perceived as white and western - centric.

His projects include art spaces Mighty Robot (1998 - 2004), Secret Project Robot (2004 - current), and Happyfun Hideaway (2013 - current) and collaborations with artists, musicians and institutions including Rachel Nelson, Chris Uphues, Brian Chase, Black Dice, Rob Corradetti, Raúl de Nieves, White Magic, Oneida, MoMA PS1, the Kitchen, Issue Project Room and The Knitting Factory.

This was the apex of the civil rights movement, a time that saw a pivotal change in the elitist (white) ethos prevailing in New York City's art museums — government - based education programs were implemented along with a new emphasis toward decentralization of cultural and public institutions.

One might be excused for believing it if «conceptual art» is defined by the overwhelmingly white and male canon of American artists lionized by institutions such as MoMA over the past several decades.

Like the Dada - collagist Hannah Höch before her; Kruger's work has a feminist leaning, and is not afraid to bite the hand that feeds it through subversive slogans that often attack the very nature of the institution; including the white cube that displays the artist's work, or at least those who inhabit it — with «Fatuous fools, bloated egos» and «Doers, artists, air kissers» sprawled across Modern Art Oxford's gallery floor.

There is no other conceivable explanation for the way institutions continue to represent the nation's art largely as the work of individuals who are White and male.

He has served on the boards of numerous arts organizations and institutions, including The University of the Arts, PGL, Philadelphia (Philadelphia Game Lab), AAI Avenue of the Arts, Philadelphia Photo Arts Center, and White Box Theaarts organizations and institutions, including The University of the Arts, PGL, Philadelphia (Philadelphia Game Lab), AAI Avenue of the Arts, Philadelphia Photo Arts Center, and White Box TheaArts, PGL, Philadelphia (Philadelphia Game Lab), AAI Avenue of the Arts, Philadelphia Photo Arts Center, and White Box TheaArts, Philadelphia Photo Arts Center, and White Box TheaArts Center, and White Box Theater.

Chris Dorland's work has been exhibited internationally at institutions such as The Queens Museum of Art, NYC, USA; Museo Nacional De Bellas Artes, Santiago, Chile; White Flag Projects, St - Louis, MO, USA and The Suburban, Oak Park, IL, USA.

Geyer's work has been exhibited widely at institutions including San Francisco Museum of Modern Art in California; The Museum of Modern Art, the Whitney Museum of American Art, Artists Space and White Columns, in New York City; Contemporary Art Museum Houston, Houston, Texas; A Space Gallery, Toronto, Canada; KINDL — Centre for Contemporary Art, Berlin, Germany, the Stedelijk Museum, Amsterdam; Red Cat and LACE, in Los Angeles; Tate Modern and Serpentine Gallery, London; Kunstmuseum St.Gallen, Switzerland; Göteborgs Konsthall, Gothenburg, Sweden; Generali Foundation and Secession, Vienna; Museum der Moderne, Salzburg; Govett - Brewster Art Gallery, New Zealand; the Turin Biennale; the São Paulo Biennial; and dOCUMENTA (12), Kassel, Germany.

Her work has been exhibited widely at institutions including San Francisco Museum of Modern Art in California; The Museum of Modern Art, the Whitney Museum of American Art, Artists Space and White Columns, in New York City; Contemporary Art Museum Houston, Houston, Texas; A Space Gallery, Toronto, Canada; KINDL — Centre for Contemporary Art, Berlin, Germany, the Stedelijk Museum, Amsterdam; Red Cat and LACE, in Los Angeles; Tate Modern and Serpentine Gallery, London; Kunstmuseum St.Gallen, Switzerland; Göteborgs Konsthall, Gothenburg, Sweden; Generali Foundation and Secession, Vienna; Museum der Moderne, Salzburg; Govett - Brewster Art Gallery, New Zealand; the Turin Biennale; the São Paulo Biennial; and dOCUMENTA (12), Kassel, Germany.

But even with a sizable amount of its annual budget of over $ 200,000 coming from the New York State Council on the Arts, little of the institution's significance spills over to the outside, white art world.

Gilmore was included in the 2010 Whitney Biennial and her work has been exhibited in solo shows at institutions such as White Columns, the Institute of Contemporary Art in Philadelphia, and the Museum of Contemporary Art in Cleveland.