Sentences with phrase «younger black artists working»

In Barkley L. Hendricks, like the series of younger black artists working right now, responds to the spate of killings of unarmed black citizens in America.

The Johannesburg - based artist talks to Apollo about what it means to be a young black artist working in South Africa today

Not exact matches

Indicative of Brewer's own interests as a young white artist in tune with black culture, it's an overarching melting - pot approach, and it somehow works, even if it kowtows to the unspoken Hollywood rule that the color not apply to the marquee characters or their families.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

The artist's seemingly distinct activities — the severe black abstractions, the prolific and caustic social and political graphic work, and the color slides of historical monuments, temples, and buildings that showed his equally prolific world travels and keen sense of photographic record keeping — were received in coexistence by jubilant viewers, especially young artists and art students (during the artist's lifetime it would have been career suicide to show all simultaneously practiced sides together).

FILM Rising art stars Bradford Young (cinematographer, whose work was featured in Black Radical Brooklyn exhibition over the summer) and Jason Moran (composer, who collaborates with visual artists and joined Luhring Augustine this year) add the much - anticipated «Selma» to their resumes.

After the relentless coverage of Emin and how much she panders to her public, it is the deceptively quiet, enigmatic and comparatively difficult work of this young, black British artist, now residing in Amsterdam, that has carried the day.

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.

Highlights from Michelle Grabner's crowd - pleasing selection include Dawoud Bey's presidential portrait photography (Barack Obama, 2008), Karl Haendel's Theme Time Drawings, pencil drawings of various subjects arranged in shaped frames across a massive section of wall, and works by Donelle Woolford, the fictional young black female artist «created» by Joe Scanlan and played by various actors whose Joke Painting (detumescence)(2013) investigates the notion of authenticity.

He was catapulted into the spotlight in 2001 as the youngest participant in the Studio Museum in Harlem's celebrated Freestyle exhibition, which featured black artists whose work unabashedly addresses race but eschews its potential to constrain artistic freedom.

Alongside Hirst's spot drawing,» 1 - Pentadecanol», the auction will feature work from artists including: Richard Phillips, Sarah Lucas, Julian Schnabel, Jim Lambie, Mat Collishaw, Josh Abelow, Daniel Arsham, Adam Ball, Joe Black, Sanford Biggers, Jim Drain, Stanley Donwood, Freya Douglas - Morris, Freeman / Lowe, Katrin Fridriks, Kevin Francis Gray, Michelle Grabner, Conor Harrington, Caroline Jane Harris, JPW3, JR, Margaret Lee, Chris Levine, Nicolas Lobo, James Lumsden, Nathan Mabry, Michael Craig Martin, Chris Martin, Eddie Martinez, Antony Micallef, Angel Otero, John Riepenhoff, Mariah Robertson, Remi Rough, Shelter Serra, Jonas Wood, Jonathan Yeo, Russell Young amongst others.

Himid attributes the recent interest in black art in the UK — including Tate Modern's «Soul of a Nation» exhibition — to the fact that current influential figures in arts organisations are «young enough not to be afraid of the work made by black artists».

This book explores parallels in thought and strategies between Italian Conceptualist Giulio Paolini's (born 1940) work, especially of the 1960s and the «70s, and the work of a younger generation of artists based in New York City today: Sebastian Black, Kerstin Brätsch (with Boško Blagojevic), Seth Price and Antek Walczak.

Essers also noted it was «To Be Young, Gifted and Black» which first introduced Goodman Gallery to the work of Angolan artist Kiluanji Kia Henda, who she now represents and who recently had a solo show at Goodman Gallery in Cape Town in October, coinciding with Frieze London, where the artist showed a new installation after winning the 2017 Frieze Artist artist Kiluanji Kia Henda, who she now represents and who recently had a solo show at Goodman Gallery in Cape Town in October, coinciding with Frieze London, where the artist showed a new installation after winning the 2017 Frieze Artist artist showed a new installation after winning the 2017 Frieze Artist Artist Award.

Later works include Warhol's black - and - white photographs of newspaper vending boxes, his grids of «sewn» photographs featuring newspaper headlines, significant silkscreened paintings, and his collaborations from the 1980s with younger artists Haring and Jean - Michel Basquiat.

White Cube, which has an outpost in Hong Kong, sold one of Damien Hirst's Black Scalpel Blade cityscapes of Shanghai for about $ 1.2 million, while White Space of Beijing reported that 70 percent of its works sold within the first two days, including several works by the young Chinese conceptual artist He Xiangyu.

In keeping with our mission to investigate critical moments in the interconnected histories of global black life, Goodman Gallery is pleased to present To Be Young, Gifted, and Black the next edition of the ongoing series Working Title, an exhibition curated by one of our most thoughtful and provocative artists, Hank Willis Thblack life, Goodman Gallery is pleased to present To Be Young, Gifted, and Black the next edition of the ongoing series Working Title, an exhibition curated by one of our most thoughtful and provocative artists, Hank Willis ThBlack the next edition of the ongoing series Working Title, an exhibition curated by one of our most thoughtful and provocative artists, Hank Willis Thomas.

The gallery has been responsible for placement of its artists» work in many leading museums including the Metropolitan Museum of Art, J. Paul Getty Museum, National Portrait Gallery - Smithsonian Institution, Detroit Institute of Arts, Los Angeles County Museum of Art, de Young Museum, Schomburg Center for Research in Black Culture, The New York Public Library, Minneapolis Institute of Arts, San Diego Museum of Art and Virginia Museum of Fine Arts.

1997 African - American Art: 20th Century Masterworks, IV, Michael Rosenfeld Gallery, New York, NY; Fisk University Galleries, Nashville, TN Rhapsodies in Black: Art of the Harlem Renaissance, Hayward Gallery, London; Arnolfini, Bristol; Mead Gallery, University of Warwick, England; M.H. de Young Memorial Museum, San Francisco; The Corcoran Gallery of Art, Washington, DC Queens Artists: Highlights of the 20th Century, Queens Museum of Art, Flushing, NY Revisiting American Art: Works from the Collections of Historically Black Colleges and Universities, Katonah Museum of Art, Katonah, NY

It was exhibited at the Brooklyn museum as part of the Sensation group show of young British artists» work and depicted a black madonna and child, embellished with cuttings from pornographic magazines and pieces of varnished elephant dung.

by Kostas Prapoglou Departing from the disturbing image of a young black boy, broadly smiling while pointing a toy gun to his head (a work by French - American street photographer Elliott Erwitt), New York - based artist Rashid Johnson presents his first solo exhibition at Hauser & Wirth gallery in London.

However, for the younger and less acknowledged artists in Radical Presence, a show of this kind offers an opportunity for their work to be seen in the company of artists who have successfully crossed over to the mainstream, and so to be introduced to audiences that otherwise don't seek out black artists.

2014 Absent - minded young typist, RONGWRONG, Amsterdam I»LL MAKE THE WORK EXPLODE, Buenos Tiempos Inc., Brussels @the Shrink, Shanaynay, Paris Galerie Neu a la Douane, Galerie Chantal Crousel La Douane, Paris The Reluctant Narrator, Museo Berardo, Lisbon The Library Vaccine, Artists Space, New York New Ways Of Doing Nothing, Kunsthalle Vienna, Vienna Black House, Museum of Contemporary Art of Estonia, Tallin Read the room / you've got to, Salts, Basel House, Hollybush Gardens, London Infinite Jest, Schirn Kunsthalle, Frankfurt UPSTAIRS DOWNSTAIRS, Galerie Neu, Berlin Everything Is About To Happen, Corvi - Mora and Greengrassi, London The Hawker, Carlos / Ishikawa, London Dead Reader, Idea Store Whitechapel, London Eight Poems by Karl Holmqvist, Gavin Brown's Enterprise, New York The Fifth Dimension, Logan Center Exhibitions, Chicago The Crime Was Almost Perfect, Witte de With, Rotterdam Poetry will be Made by ALL, LUMAS Editionsgalerie — Zürich, Zürich Looking Back: The Eighth White Columns Annual — Selected by Pati Hertling, White Columns, New York

The artists in this exhibition produce works that explore the multi-faceted characteristics of the word «hood» in some fashion: a slang term for a Black neighborhood; a suffix in cultural theory concepts like «objecthood,» «personhood,» «negrohood;» and Trayvon Martin's hoodie, which, along with his being an objectified young Black male, served as a signifier in an act of radical injustice.

The stripped - down formats and the blacks and greys of his later works find many parallels in the art of their time, and in particular the work of younger generations of artists both in New York and Europe.

Painters LOIS MAILOU JONES and JOHN BIGGERS and sculptor and printmaker ELIZABETH CATLETT all aligned themselves with the younger generation of black artists, creating works that underscored their shared interest in African design sensibilities, the black figure, and the continuing struggle for civil rights.

MOCAA's opening show features work by artists young and old, black and white, South African, West African, African - American, and Afro - Caribbean — Afro - global, if you will.

Catalogue produced to accompany this major touring exhibition which sought to examine the links between «abstract» art and a younger generation of Black artists in England, by looking at the work of Sylbert Bolton, Anthony Daley and David Somerville.

A 1958 exhibition of Jackson Pollock's work at Whitechapel Gallery had a major impact on the young artist, but it wasn't until the early 1960s that Riley began to develop her signature Op Art style consisting of black and white illusionistic patterns.

The exhibition's wry title, «Daddy, I want to be a black artist», can be seen as a playful call to action for young people to find inspiration in the works of black British artists and become the artists of tomorrow.

But Fort Gansevoort flips the script on millennia of male - dominated athletics with art works by thirty - one women made between the mid-twentieth century and now, from Elizabeth Catlett's jubilant 1958 print of a barefoot girl jumping rope to a just - finished collage of a pigtailed boxer by Deborah Roberts, a young artist who borrows the Dadaist strategies of Hannah Höch for the era of Black Lives Matter.

In the wake of «Soul of a Nation: Art in the Age of Black Power» being presented at the Tate, Himid also discussed the recent interest in black art in the UK with Apollo, attributing the attention to the influence of a new generation of influential curators and arts leaders «young enough not to be afraid of the work made by black artists.&rBlack Power» being presented at the Tate, Himid also discussed the recent interest in black art in the UK with Apollo, attributing the attention to the influence of a new generation of influential curators and arts leaders «young enough not to be afraid of the work made by black artists.&rblack art in the UK with Apollo, attributing the attention to the influence of a new generation of influential curators and arts leaders «young enough not to be afraid of the work made by black artists.&rblack artists.»

Departing from the disturbing image of a young black boy, broadly smiling while pointing a toy gun to his head (a work by French - American street photographer Elliott Erwitt), New York - based artist Rashid Johnson presents his first solo exhibition at Hauser & Wirth gallery in London.

The work of these younger artists does, in any case, match very well with the atmosphere in Baltz's series of black - and - white pictures.

The «Black Art, Black Power» conference held on Friday considered the work of artists in «Soul of a Nation», and those of younger generations practicing in the UK and US, including a lively and candid conversation between Marlene Smith and Lubaina Himid in which Smith shared a letter she had written to Frank Bowling when she was 18.

In the histories of black struggle in the United Kingdom, Nottingham features significantly, not least of which for the role that young artists have played in promoting conversations, works and exhibitions related to «radical black art» and the Black Arts Moveblack struggle in the United Kingdom, Nottingham features significantly, not least of which for the role that young artists have played in promoting conversations, works and exhibitions related to «radical black art» and the Black Arts Moveblack art» and the Black Arts MoveBlack Arts Movement.

A recent solo exhibition at the former presented works from the artist's near - six - decade career — including precisely rendered watercolors with overlapping geometric washes in black and grey, which he began creating in the early 1980s — introducing the pioneering octogenarian to a younger guard that had no idea what they'd been missing.

«That show was stunning and should have been picked up by MoMA,» says the Washington, D.C., collector Peggy Cooper Cafritz, known for her prescient taste in work by young black artists.

Named after Neil Young's most used guitar — a worn out, heavily modified 1953 Gibson Les Paul Goldtop — Old Black is an ensemble of works by artists whose shared tactic is the abuse, distortion and misuse of standardized methods of making.

Laughing Gas is the pilot episode of a situation comedy titled SHE MAD, a television series that Syms initiated in 2015 with the work Pilot for a Show about Nowhere, which in its early stages took the form of an installation of documents, images, and research materials filtered through a semiautobiographical account of Syms's life as a young black woman trying to «make it» as an artist in Los Angeles.

Albion Africa, African Albion is an exhibition of work created and curated by a group of young people and inspired by the artists in Tate Liverpool's current special exhibition Afro Modern: Journeys through the Black Atlantic.

Recognizing a generational shift in black artists of the new millennium, Thelma Golden, the Studio Museum's director and chief curator, coined the semi-controversial term «post-black» to characterize this knockout assemblage of work by young black emerging artists, a term that spoke to the ongoing redefinition of blackness in contemporary culture.

It is reflected in the museum's programming, too, and it's hard not to bring up Sensation, when you defended the right of having this extraordinary young black British artist, Chris Ofili, display his work in the show — and again, in a lesser - known incident, where the Catholic diocese tried to force you to remove David Wojnarowicz's A Fire in My Belly from the «Hide / Seek» show, as they had at the Smithsonian in D.C., and which you, to your great credit, refused to do.

2007 «What Will Come» Stadel Museum, Frankfurt am Main, Germany «What Will Come», Goodman Gallery, Johannesburg 2006 «William Kentridge / The Magic Flute: drawings and projections», Marian Goodman Gallery, New York «William Kentridge: 9 Drawings for Projection», Museum of Modern Art, New York «Black Box / Chambre Noire» Johannesburg Art Gallery 2005 «William Kentridge» Johannesburg Art Gallery, Johannesburg Guggenheim Museum, Berlin, Germany 2004 «William Kentridge», Castello di Rivoli, Museo d'Arte Contemporanea, Rivoli, Italy 2001 «William Kentridge», Smithsonian Institution, Washington DC 2000 «William Kentridge: New Work», Marian Goodman Gallery, New York 1999 «Projects 68: William Kentridge», Museum of Modern Art, New York «Stereoscope», Goodman Gallery, Johannesburg 1998 «William Kentridge», The Museum of Contemporary Art, San Diego «William Kentridge», Stephen Friedman Gallery and A22 Gallery, London «William Kentridge», Palais des Beaux - Arts, Brussels 1997 «Applied Drawings», Goodman Gallery, Johannesburg 1994 «Felix in Exile», Goodman Gallery, Johannesburg 1992 «Drawings for Projection», Goodman Gallery, Johannesburg 1991 «Little Morals», Taking Liberties Gallery, Durban, with Deborah Bell and Robert Hodgins 1990 «William Kentridge: Drawings and Graphics», Cassirer Fine Art 1989 «Responsible Hedonism», Vanessa Devereux Gallery, London 1987 «In the Heart of the Beast», Vanessa Devereux Gallery, London «Standard Bank Young Artist Award» exhibition, Grahamstown, South Africa, July (touring Tatham Art Gallery, Pietermaritzburg; University Art Galleries, University of the Witwatersrand, Johannesburg; University Art Gallery UNISA, Pretoria; Durban Art Gallery, Durban) 1985 «William Kentridge», Cassirer Fine Art, Johannesburg 1981 «Domestic Scenes», The Market Gallery, Johannesburg 1979 «William Kentridge», The Market Gallery, Johannesburg

Painter Kehinde Wiley plays upon that inkling ironically in a characteristic work such as «Alexander the Great» (2005), which decks out a young black man — who happens to be a nephew of Mickalene Thomas, an artist prominently featured here — in contemporary dress and the trappings of traditional European dignitary portraiture.

Its mission was «to assist young printmakers in the production, exhibition, and marketing of their work,» and the foundation pledged to support «the work of artists whose art is seldom seen by the general public, including [that] of «indians, eskimos, asians, hispanics, and blacks [sic].