Sentences with phrase «white artists act»

Do they offer up an assertive and needed model by placing constellations of subjects of color in relation to one another, refusing to have white artists act as comparators or standard - bearers?

Not exact matches

Film Editors Spencer Averick — «13th,» «Selma» Alexandre de Franceschi — «Lion,» «Bright Star» Keiko Deguchi * — «God Knows Where I Am,» «Fur: An Imaginary Portrait of Diane Arbus» Tracy Granger — «Still Life,» «Boys Don't Cry» Sabine Hoffman — «Maggie's Plan,» «Elvis & Nixon» Edie Ichioka — «The Boxtrolls,» «Toy Story 2» Janus Billeskov Jansen * — «The Hunt,» «The Act of Killing» Céline Kélépikis — «The Red Turtle,» «Now or Never» Melissa Kent — «American Pastoral,» «The Age of Adaline» Juan Carlos Macías — «Wild Horses,» «The Official Story» Jim May — «Goosebumps,» «The Chronicles of Narnia: The Lion, the Witch and the Wardrobe» Fredrik Morheden — «A Man Called Ove,» «The New Country» Christopher Murrie * — «Kubo and the Two Strings,» «Coraline» Tania Michel Nehme — «Tanna,» «Charlie's Country» Tia Nolan — «Annie,» «Friends with Benefits» Anne Østerud — «The Hunt,» «The Girl with the Dragon Tattoo» Gregory Perler — «Sing,» «Despicable Me» Jacopo Quadri — «Fire at Sea,» «The Dreamers» Fabienne Rawley — «Zootopia,» «MonsterHouse» Jake Roberts — «Hell or High Water,» «Brooklyn» Hayedeh Safiyari — «The Salesman,» «A Separation» Nat Sanders — «Moonlight,» «Short Term 12» Per Sandholt — «Land of Mine,» «A Funny Man» Suzanne Spangler — «Imperial Dreams,» «Smashed» Molly Malene Stensgaard — «Land of Mine,» «Melancholia» Alexandra Strauss — «I Am Not Your Negro,» «A Pigeon Sat on a Branch Reflecting on Existence» Christian Wagner — «The Fate of the Furious,» «Furious Seven» Monika Willi — «Amour,» «The Piano Teacher» Kate Williams — «The Whole Truth,» «Frozen River» Dan Zimmerman — «The Dark Tower,» «The Maze Runner» Lucia Zucchetti — «Their Finest,» «The Queen» Eric Zumbrunnen — «Her,» «Adaptation» Makeup Artists and Hairstylists Richard Alonzo — «Star Trek Beyond,» «Alice in Wonderland» Alessandro Bertolazzi — «Suicide Squad,» «Fury» Christine Beveridge — «The Monuments Men,» «Under the Skin» Felicity Bowring — «Gold,» «Tinker, Tailor, Soldier, Spy» Jerry DeCarlo — «Carol,» «Julie & Julia» Patricia DeHaney — «Sully,» «Interstellar» Naomi Donne — «Cinderella,» «Philomena» Linda Dowds — «RoboCop,» «Rampart» Audrey Doyle — «Legend,» «Mad Max: Fury Road» Tina Earnshaw — «The Promise,» «Titanic» Rick Findlater — «L'Odyssée (The Odyssey),» «The Hobbit: An Unexpected Journey» Paul Gooch — «Miss Peregrine's Home for Peculiar Children,» «Maleficent» Fae Hammond — «Fantastic Beasts and Where to Find Them,» «The Legend of Tarzan» Miia Kovero — «Inherent Vice,» «The Master» Michael Marino — «American Pastoral,» «The Wrestler» Frances Mathias — «Saving Mr. Banks,» «Beginners» Christopher Nelson — «Suicide Squad,» «Frank Miller's Sin City» Elaine Offers — «The Kids Are All Right,» «Far from Heaven» Conor O'Sullivan — «The Dark Knight,» «Saving Private Ryan» Daniel Phillips — «Florence Foster Jenkins,» «The Queen» Luigi Rocchetti — «Ben - Hur,» «The Nativity Story» Morag Ross — «Hugo,» «The Aviator» Nikoletta Skarlatos — «Free State of Jones,» «The Hunger Games: Mockingjay (Parts 1 & 2)» Vittorio Sodano — «Il Divo,» «Apocalypto» Shane Thomas — «The Dressmaker,» «Hacksaw Ridge» Kenneth Walker — «Loving,» «For Colored Girls» Kerry Warn — «The Great Gatsby,» «Australia» Carla White — «Hands of Stone,» «August: Osage County» Ann Pala Williams — «Live by Night,» «Click» Jeremy Woodhead — «Doctor Strange,» «Snowpiercer»

Of course, not every artist is dead or even white and male, and (pace Harold Bloom) not every creative act is an oedipal struggle.

In 2007, film critic Jonathan Romney described Starr's new silent film Theda: «In a 40 - minute black - and - white film Theda British artist Georgina Starr, best known for her series of works inspired by the 1965 thriller Bunny Lake is Missing, pays tribute to this stormiest of divas and undertakes an archeology of gestural art of the silent - era actress (Theda Bara), drawing on the styles of several other now forgotten grande - dames, such as Barbara La Marr and Maud Allan... the film is divided into three parts «prelude», «act» and «epilogue»... but «prelude» is the real coup: in a long single take, Starr runs through the codified expressive repertoire of the Theda - era performer with such precision that any ironic distance evaporate.

2009 Beall, Dickson, SLAM for the holidays, West End World, 23 December Dawson, Jessica, Yinka Shonibare, skewing history with his images, The Washington Post, 20 November Judkis, Maura, Yinka Shonibare MBE: «As Artists, We are Liars», Washington City Paper, 13 November Geldard, Rebecca, Time Out, 6 November Lewis, Sarah, Yinka Shonibare: Brooklyn Museum, New York, Artforum, October Cole, Teju, Shonibare's fantasies of empowerment, 234 next.com, 10 July Hoffman, Barbara, Headless Bods, New York Post, 10 July Genocchio, Benjamin, The Rich Were Different (and Perhaps Still Are), The New York Times, 10 July Kazakine, Katya, Adam Smith, Ocelots Channel History in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African Art?

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Abstraction and Realism during the Postwar Years This balancing act between a race consciousness in art and visual assimilation into the white cultural mainstream — exemplified most emphatically in a nonfigurative, abstract art — was undermined by several artists in the post — World War II years.

Concurrently in the Ted & Gloria Maloof Honorary Gallery, Second Act, artist Myrtie Cope's black & white interiors of two landmark theatres: The Fox and The Tivoli.

This balancing act between a race consciousness in art and visual assimilation into the white cultural mainstream — exemplified most emphatically in a nonfigurative, abstract art — was undermined by several artists in the post — World War II years.

A few movements in white paint constituted the final act and the picture was hung on the wall; then the artist decided there was nothing more he could do with it.

However, unlike these artists he chose to examine the act of painting and the materials used to do this, reducing his work to a simple equation of canvas or other support, and white or off - white paint.

Kara Walker's racially charged gouaches in sepia tinged hues act as a sarcastically delicate counterbalance to Terence Koh's white chocolate monoliths; Tino Sehgal's harmonic narrative «This Is Propaganda,» performed by a female guard, adds an air of the ethereal to an otherwise politically heavy - handed section of the exhibition; artist team Tim Noble and Sue Webster's «Black Narcissus» (2006) draws us back into the corporeal with their penile and phalange inflected shadow - cast portraiture; and Cindy Sherman's work from the early 80s shocks with its carnal ferocity.

In one series, titled May June July August, «57 / «09, comprising 123 vintage and contemporary black - and - white photographs, Simpson juxtaposes images of a young African American woman (and an occasional male figure) who posed for pinups in Los Angeles in 1957 with self - portraits in which the artist acts as a doppelganger for the model.

At Independent New York, the artist filled the floor with black and white clothes purchased from charity thrift stores, and covered the walls in text that called into question acts of charity.

In one series, titled May June July August «57 / «09, comprising 123 vintage and contemporary black - and - white photographs, Simpson juxtaposes images of young African American women (and an occasional male figure) who posed for pinups in Los Angeles in 1957 with self - portraits in which the artist acts as a doppelganger for each model.

The emblematic Towards White, 1976 — a set of photographs of the artist covering everything in her studio in white paper and fabric — situates the work of this legendary figure of the Bucharest art scene in terms of process and act, identity and sWhite, 1976 — a set of photographs of the artist covering everything in her studio in white paper and fabric — situates the work of this legendary figure of the Bucharest art scene in terms of process and act, identity and swhite paper and fabric — situates the work of this legendary figure of the Bucharest art scene in terms of process and act, identity and space.

The VIP gala reception will feature an auction of key lots led by Phillips de Pury chairman, Simon de Pury, a painting performance by artist Dave White and an exciting live music act.

Standing before Tracey Emin's tiny new paintings in the vast galleries of White Cube Bermondsey, the entire reason for art's existence unfurls: every line is a snatch of emotion, every drip a careful meditation, equal parts memory and fantasy, brought from artist to audience in an act of pure communication.

And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa TeAct 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa TeACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas

Over the past forty - eight years, hundreds of artists have benefited from early exposure and support at White Columns, including: Gordon Matta - Clark, Jene Highstein, Barry Le Va, Alice Aycock, Richard Nonas, Jackie Winsor, Willoughby Sharp, Susan Rothenberg, Kiki Smith, Harmony Hammond, William Wegman, Peter Fend, Sonic Youth, Barbara Ess, John Miller, David Robbins, Jack Goldstein, John Stezaker, David Wojnarowicz, Michael Smith, Douglas Blau, Ashley Bickerton, Group Material, Felix Gonzalez - Torres, Andres Serrano, Fred Wilson, Sturtevant, Cady Noland, ACT - UP, Lorna Simpson, John Currin, Sean Landers, Verne Dawson, Marlene McCarty, Lutz Bacher, Tom Burr, Jim Hodges, Glenn Ligon, Jack Pierson, Kathe Burkhart, Richard Phillips, Sarah Sze, and Aida Ruilova, amongst many others.