Sentences with phrase «within black culture»

This Spring Kwame Asafo - Adjei, founder and artistic director of Spoken Movement tackles the concept of identity within Black culture and how it influences and exists across space and time.

This perverted behavior is typical within the black culture, even those who claim to be religious.

Not exact matches

He tells iHeart Radio that his track «Family Feud» is about separation within the culture, and he speaks about the power of building wealth within the black community.

Speaking to popular culture blog Assignment X, the author said this as he again described the difference between his work and Tolkien's: «I think ultimately the battle between good and evil is weighed within the individual human heart, not necessarily between an army of people dressed in white and an army of people dressed in black.

Such studies, however, have not yet been produced.19 There is also, within liberation theology, a lack of more profound theological analyses of the culture of Brazilian populations, both black and indigenous.

For black or biracial singles looking to date within their culture, BlackPeopleMeet is a niche dating site designed to bring a vast community within your reach.

If you're a black man who prefers dating within his own culture it may be difficult to find lovely, but single, black BBW to date.

Part of the power of Black Panther's imagery comes from Afrofuturism, a movement that fuses African culture within a futuristic narrative.

Fordham and Ogbu traced the roots of the «oppositional culture» to institutionalized racism within American society, which they contend led blacks to define academic achievement as the prerogative of whites and to invest themselves instead in alternative pursuits.

UNBRANDED: REFLECTIONS IN BLACK AND A CENTURY OF WHITE WOMEN Selected by Stephanie Cristello Foreword by Janet Dees and Tamar Kharatishvili > click here to download PDF For over fifteen years, conceptual artist Hank Willis Thomas has consistently explored the representation of stereotypes within mass media and American consumer culture, particularly as it relates to African --LSB-...]

Jetzer points to the work of the Guerrilla Girls and Barbara Kruger — whose black, red and white block lettered poster works are now iconic — as examples since both riffed on contemporary in - your - face ad culture to bring to light issues of sexism, exploitation and privilege within American society.

Drawing from Hughes» remark on the assumption that «all of us had a sense of rhythm», this exhibition presents an original research into rhythmic sources in performative, material, and immaterial productions within African traditional and contemporary cultures, and extends this assertion to the field of contemporary art; opening up the «us», referring to black people, to a cross-cultural and multidisciplinary engagement with notions of rhythm.

But where is the black figure or black culture within this history?

The only way that I see [the] black artist [progressing] is if they're able to reinvent or reinsert themselves into their subconscious, and then create a physical expression of it within the culture.

«For people like me, struggle has been part of our culture, and within that I've been looking at the ways black people keep moving and thriving,» says the Brooklyn artist, whose ongoing series of «Floater» paintings features black figures reclining blissfully in pools.

Focusing on new stories within the diaspora, each artist contributes their own vision about post-modern society through the state of current black culture.

Shown for the first in the UK, Tschabalala Self's vibrant canvases explore the fantasies surrounding the Black female body within contemporary culture.

More generally this provocative series of photographs focuses on consumer branding within America's commodity - obsessed culture, and the extent to which advertisers target racial groups and exploit the Black male body for marketing and product promotion.

She sees bodies in their physical, social and political aspects, exploring the ideas of eroticization of Black femininity in arts and culture and social construction of racial identities within the frame of ideas found in Orientalist discourse.

For many African American artists, defining a black aesthetic has meant a long and painful attempt to find a place within a dominant white culture, a culture whose ideology and assumptions appear to be so pervasive as to seem invisible at times.

So if you were black and drew upon your experience within an oppressive dominant culture, to make an existential statement to enrich the lives of others of any race, your experience was not valued and you were marginalized as an «African American» artist, the same way women were marginalized.

Thomas is an amazing artist who examines issues of black feminine beauty within an over-arching culture where the ideals of beauty may not reinforce a sense of acceptance or joy for black women and she is known for her paintings covered with rhinestones, acrylic and enamel.

The works in Beyond the Spectrum attest to the array of approaches and styles within American abstraction, and they challenge two persistent tendencies: to conceive of abstraction as the purview of white artists and to limit notions of authenticity to figural representations of African American culture where black artists are concerned.

In 1997, Montague founded the non-profit Wedge Curatorial Projects, which promotes themes of culture and identity in art — particularly within the diasporic African and Black communities — through exhibitions, lectures and discussions.

Her work explores the marketing and consumption of Black femininity and exoticism within US popular culture.

She is a painter whose recent works explore black culture within the context of American culture.

In his book, English magnifies «an unprecedented brief swell of dissent within black political culture» that year, centering his study on the status and relevance of «color» as an aesthetic and social obsession.

She also raises questions about the constructs of masculinity within «popular black» culture.

Alongside these new paintings, visitors will be invited to participate in a museum - style «learning zone» where numerous resources and materials will be available for visitors to further explore the works that were visited during the workshops and the wider representation of black British artists within the UK's visual arts culture.

Some of the latter depict black Santas, a theme that resonates strongly within Dutch culture and connects to a prominent topic in Tedja's art: race.

These works also speak to the artist's perception of automotive and locomotive industry products as gestural markers and carriers of poetic, political resonances — as figurations emblematic of the Black modernity and futurism inscribed within the epic practices of the road tripping troubadours who created and propagated the soundtrack to Delta's mobile blues culture.

Featuring: Amna Asghar, Dana Davenport, Umber Majeed, Tammy Nguyen, Ke Peng, Sahana Ramakrishnan, Sheida Soleimani Amna Asghar speaks on the construction and translation of disparate references, cultures, geographies, and generations from Pakistan and America; Dana Davenport addresses the complexity of interminority racism within her own community and institutions from her experiences as a Black Korean American; Umber Majeed's practice attempts to unpack the temporalities within South Asia as site, familial archival material, popular culture, and modern national state narratives; Tammy Nguyen interrogates natural sciences and non-human forms to explore racial intimacies and US military involvement in the Pacific Rim; Ke Peng documents the feeling of alienation and disorientation from urbanization and immigration by taking a journey into an imagined childhood in China, Hunan, where she was born and Shenzhen, a modern city where her family relocates to; Sahana Ramakrishan explores myths and religion from Buddhist and Hindu tales to speak upon the magic of childhood and the power dynamics of sexuality, race, and violence; Sheida Soleimani is an Iranian - American artist and a daughter of political refugees, making work to highlight her critical perspective on the historical and contemporary socio - political occurrences in Iran.

While foregrounding the way we perceive black female bodies within contemporary culture, Self draws on personal experiences to address issues pertaining to race, sex, and gender.

El Anatsui, Sanford and Hank demonstrate symbolic bricolage by referencing their knowledge of culture, history, spirituality and their experiences as black men living and working within dominant society.

Wearing fashionable dress and posed within the artificial theater of the photographic studio, these faces describe the fragmentation and heterogeneity of the Black subject and emphasize the ways in which Black subjectivity has been cast out or left unidentified within (visual) culture.

Jackson's image is just one of the many striking photographic portraits included in Black Chronicles II at Spelman College Museum of Fine Art in Atlanta, Georgia, that activate an important dialogue about the history and record of Black faces and bodies within Western culture.

His book had an enormous impact on how black culture has been perceived and discussed within the field of cultural studies, stimulating ongoing critical debates.