Academic literature on the topic 'Black Artists'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Black Artists.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Black Artists"
1
Traduzido por Talita Trizoli, Howardena Pindell. "CONSELHOS PARA UM JOVEM ARTISTA NEGRO / Advices to a young black artist." arte e ensaios 27, no. 42 (January 3, 2022): 336–41. http://dx.doi.org/10.37235/ae.n42.22.
Full textAbstract:
Nesse ensaio confessional, a artista afro-americana Howardena Pindell rememora alguns epis�dios de racismo em sua trajet�ria profissional como artista e curadora, al�m de oferecer alguns conselhos profissionais para jovens artistas negros, a fim de escapar de rela��es abusivas de trabalho, golpes e demais�problemas existentes no sistema das artes.Palavras-chave:Ensaio de artista. Sistema das artes. Conselhos.�AbstractIn this confessional essay, the African-American artist Howardena Pindell recalls�some episodes of racism in her professional trajectory as an artist and curator, as well as offering some professional advice to young black artists, in order to escape from abusive work relationships, scams and other problems existing in the arts system.Keywords:Artist essay. Art system. Advice.
2
Wood, Peter H., and Albert Boime. "White Artists, Black History." American Quarterly 43, no. 4 (December 1991): 675. http://dx.doi.org/10.2307/2713087.
Full text
3
Chambers, Eddie. "Black Artists in Europe." Critical Interventions 7, no. 2 (January 2013): 2–5. http://dx.doi.org/10.1080/19301944.2013.10785971.
Full text
4
Gammage, Marquita. "Pop Culture Without Culture: Examining the Public Backlash to Beyoncé’s Super Bowl 50 Performance." Journal of Black Studies 48, no. 8 (September 7, 2017): 715–31. http://dx.doi.org/10.1177/0021934717729504.
Full textAbstract:
On February 7, 2016, Beyoncé took the stage of Super Bowl 50 as a featured artist during the halftime show. Immediately after, her performance was classified as an anti-American act of terrorism. The public took to social media, not in the usual fan craze, but to condemn and damn Beyoncé for her celebration of Black culture. This condemning is a reflection of the marginalized treatment of Black popular artists which prohibits them from speaking out on Black issues. Consequently, Black popular artists are forced to shed off their cultural identities in order to achieve and maintain mainstream/pop culture success. This article provides a detailed examination of Beyoncé’s celebration of Black culture and its aftermath, along with other contemporary Black popular artists and celebrities, and will highlight the contemporary damnation of Black entertainers. These analyses will create a foundation for challenging the race-neutral categorization of Black popular artists.
5
Gehlawat, Monika. "Baldwin and the Role of the Citizen Artist." James Baldwin Review 8, no. 1 (September 27, 2022): 108–28. http://dx.doi.org/10.7227/jbr.8.6.
Full textAbstract:
Using political and critical theory, this article identifies in James Baldwin a model for citizenship unique to the Black artist who assumed the dual responsibilities of art practice and political activism. I engage with Baldwin’s fiction and his writing about other Black artists working in theater, film, dance, and music during the period of the civil rights movement. Across his career, Baldwin’s prevailing view was that, because of their history, Black artists have the singular, and indeed superlative, capacity to make art as praxis. Baldwin explains that the craft of the Black artist depends upon representing truths, rather than fantasies, about their experience, so that they are at once artists pursuing freedom and citizens pursuing justice. This article pays particular attention to the tension between living a public, political life and the need for privacy to create art, and ultimately the toll this takes on the citizen artist. Baldwin demonstrates how the community of mutual support he finds among Black artists aids in their survival. In his writings on Sidney Poitier and Lorraine Hansberry, his friendships with Beauford Delaney and Josephine Baker, as well as his reviews of music and literature, Baldwin assembles a collective he refers to as “I and my tribe.”
6
Billops, Camille, and Kellie Jones. "Introduction: [Contemporary Black Visual Artists]." Black American Literature Forum 19, no. 1 (1985): 3. http://dx.doi.org/10.2307/2904459.
Full text
7
Wargo, Mark A., Charles L. Spirrison, B. Michael Thorne, and Tracy B. Henley. "PERSONALITY CHARACTERISTICS OF MARTIAL ARTISTS." Social Behavior and Personality: an international journal 35, no. 3 (January 1, 2007): 399–408. http://dx.doi.org/10.2224/sbp.2007.35.3.399.
Full textAbstract:
This study used the MMPI-2 to explore the personalities of yellow-belt and black-belt martial artists. A total of 40 participants completed the MMPI-2 and a demographic questionnaire. Black-belt females tended to be less defensive than were other martial artists, but also displayed more paranoia and more anger than average. Females of both ranks reported a higher degree of anxiety and health concerns than did males in the study, and black-belt females also reported more family problems than did other groups. Finally, black belts in general reported more health concerns than did yellow belts.
8
Pena, Mary. "Black Public Art: On the Socially Engaged Work of Black Women Artist-Activists." Open Cultural Studies 3, no. 1 (January 1, 2019): 604–14. http://dx.doi.org/10.1515/culture-2019-0053.
Full textAbstract:
Abstract Inaugurated at the Brooklyn Museum of New York in 2017, the path-breaking exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” centers the creative expressions and lived experiences of black women artists within a primarily white, middle-class, heteronormative mainstream feminist movement. Engaging visual mediums, artist-activists rendered a black feminist politics through cultural and aesthetic productions. In so doing, artists recast extant representations of black social life, demanded inclusion within cultural institutions, and created black-oriented spaces for artistic engagement. In the contemporary global political climate of anti-blackness, artists craft socially engaged practices that creatively intervene in public space and the cultural institutional landscape. Through a critical analysis of Carrie Mae Weems’ Operation: Activate, Simone Leigh’s The Waiting Room, and LaToya Ruby Frazier’s Flint is Family, this essay concerns recent interventions that mobilize an expansive approach to art combined with activism. The myriad practices of Weems, Leigh, and Frazier recompose sites of political engagement and empowerment that enact a broader praxis of reimagining social worlds. These projects belie the representational fixity on which art economies hinge, gesturing to material formations that elicit tactile modes of relation, and challenge the bounds of subjects and objects in the world.
9
McLarney, Ellen. "Beyoncé’s Soft Power." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 1–39. http://dx.doi.org/10.1215/02705346-7584892.
Full textAbstract:
This article charts Beyoncé’s multimedia intervention into the politics of the Trump presidency as she draws on the work of black Muslim and Latinx artists to challenge white monopolies on representation in the Breitbart era. It specifically looks at the political interventions Beyoncé staged through collaborations with Warsan Shire, a British poet born in Kenya to Somali parents; Awol Erizku, an Ethiopian-born American artist raised in the Bronx; and Daniela Vesco, a Costa Rican photographer. This collective of artists forge a black aesthetics at a heightened level of visibility, using new performative technologies to intervene in the politics of #BlackLivesMatter, crackdowns on Muslim and Latinx refugees and immigrants, the proposed wall with Mexico, and neo-Nazi mobilization. Focusing on Beyoncé’s pregnancy announcement, the article explores the politics of representation of black bodies and black lives, as she transforms the trope of suffering black mothers and their martyred black youth into a celebration of black motherhood and the pregnant body. These images are consciously rooted in a genealogy of black women’s representations of black women’s bodies. Despite the political power of these interventions, accusations were leveled at Beyoncé of cultural appropriation and exploitation of suffering by the neoliberal entertainment machine. By mentoring these artists, Beyoncé sought to convey the fertility of creative foment across borders and power hierarchies, even if her star power ultimately eclipsed the message as well as the marginalized artist that she sought to highlight.
10
Muyumba, Walton. "Artists in Residence." liquid blackness 5, no. 2 (October 1, 2021): 21–37. http://dx.doi.org/10.1215/26923874-9272752.
Full textAbstract:
Abstract Mixing criticism and memoir, “Artists in Residence” offers a rumination on improvisation and collaboration in visual art-making and contemporary jazz performance. The author meditates on the 2017 Unite the Right rally and Ryan Kelly's award-winning photographs of the event and considers how artists offer models for resisting anti-Black racism and white supremacy through collaborative practices. The author analyzes the documentary films Looks of a Lot and RFK in the Land of Apartheid and reviews exhibitions by Roy DeCarava and Jason Moran, highlighting the points of intersection between jazz musicianship and visual artistry. Finally, the essay argues that artists like Kara Walker, William Kentridge, and Yusef Komunyakaa create works that express the pleasure and pain of Black Diasporic experience through practices such as blues idiom improvisation and collage. The author presents criticism as a mode of personal writing.
Dissertations / Theses on the topic "Black Artists"
1
Dalal-Clayton, Anjalie. "Coming into view : black British artists and exhibition cultures 1976-2010." Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4356/.
Full textAbstract:
This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of non-art-historical conceptual and alternative curatorial models: Afro Modern (Tate Liverpool), Action (The Bluecoat), and a retrospective of works by Chris Ofili (Tate Britain). Comparative exhibitions of the past were typically premised on concepts of difference that ultimately resulted in the notional separation of black artists from mainstream discourses on contemporary art and histories of British art. Through a close and critical textual analysis of these three recent exhibitions, which is informed by J.L. Austin’s theory of speech acts (1955), the study considers whether, and to what extent the delimiting curatorial practices of the past have been successfully abandoned by public art museums and galleries, and furthermore, whether it has been possible for British art institutions to reject the entrenched, exclusive conceptions of British culture that negated black contributions to the canon and narratives of British art in the first place. The exhibition case studies are complemented and contextualised by an in-depth history of the Bluecoat’s engagement with black creativity between 1976 and 2012, which provides a particular insight into the ways that debates about representation, difference and separatism have impacted the policies and practices of one culturally significant art gallery that is frequently overlooked in histories of black British art. With reference to the notion of legitimate coercion as defined by Zygmunt Bauman (2000), the study determines that long-standing hegemonic structures continue to inform the modes through which public art museums and galleries in Britain curate and control black creativity.
2
Skelly, Julia. "No strangers to beauty : contemporary black female artists, Saartje Baartman and the Hottentot Venus body." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97824.
Full textAbstract:
Saartje BaartJnan was a South African woman who signed a contract in 1810 that effectively made her the property of two white men wishing to exhibit her in Europe because of the shape and color of her body. In this text 1 examine two very different categories of representations of Baartman. First, I discuss images that were produced during Baartman's lifetime that discursively transformed her from a black woman with an identity into a pathologized body known as the Hottentot Venus, and second, I discuss the contemporary black female artists who are producing art inspired by Baartman in order to problematize the racist and sexist assumptions that have been inscribed on the black female body. My research encompasses important scholarship done by white feminist art historians, as well as that by black feminist theorists, and my thoughts on this subject have also been informed tremendously by work that has been done on the visual culture of slavery and on racist stereotypes by post-colonial scholars.
3
Siyotula, Yolokazi. "Practising de-assemblage : upcoming black artists on the South African scene 2008-2014." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53464.
Full textAbstract:
Reading Bhantu Steven Biko s I write what I like (1978) for the first time as an undergraduate student was challenging. I write what I like, a selection of Biko s writings published between the years 1969 and 1973, contains, amongst others, the articles Black Souls in White Skins? (1970a), We Blacks (1970b), Fragmentation of the Black Resistance (1971a), The Definition of Black Consciousness (1971b) and Black Consciousness and the Quest for True Humanity (1973). Such articles express the core of Biko s call for black consciousness. Biko wrote on Blackness post-1960, in the period marked by the banning of black political parties and the imprisonment of their leaders on Robben Island. This was a time, according to Biko (1971a:63), when no one could speak for black opinion in South Africa. Biko saw the imprisoned political leaders as having managed to assemble the black population of South Africa as a unit. His call was a call to those discriminated against and oppressed by the apartheid system to maintain this assemblage (Biko 1970a, 1970b, 1971a, 1971b, 1973) and resist all attempts at fragmenting their resistance, namely: fighting separately for certain freedoms and gains (Biko 1971a:42). What was certain to me in my first reading of Biko, as it still is in a re-reading of his work, is that South Africa is a geographical space Biko and I share, but that the dynamics of the times at which we inhabit(ed) it seem different. Biko speaks to a world of unions: African Student Association (ASA); African Students Union of South Africa (ASUSA); African National congress (ANC); Pan African Congress (PAC); University Christian Movement (UCM); National Union of South African Students (NUSAS); University of Natal Black (UNB); South African Student Organisation (SASO) and University Bantu Council (UBO) . The impact of some of these unions have spanned decades; others have disintegrated. as a social phenomenon.
· To determine caregivers views on contributing factors of malnutrition among children who are benefiting from the Child Support Grant.
· To explore the challenges experienced by caregivers who receive the Child Support Grant.
· To make recommendations for combating malnutrition among children under the age of five who are beneficiaries of the Child Support Grant.
Ten caregivers whose children were diagnosed with malnutrition while benefiting from the Child Support Grant and were given treatment at Chris Hani Baragwanath Academic hospital in 2015, were purposively selected to form the sample of the study. Semi-structured interviews were conducted to collect data from the participants.
The main conclusions drawn from the research findings were that caregivers experienced economic challenges mainly due to unemployment and lack of reliable sources of income. These identified challenges were the main contributing factors of malnutrition among children who are under the age of five benefiting from the Child Support Grant.
The study was also concluded with some useful and relevant recommendations from the caregivers responses on how to mitigate malnutrition among children who are under the age of five benefiting from the Child Support Grant. One of the crucial recommendations drawn from the findings of this research study was that more information sessions to caregivers regarding malnutrition should be conducted regularly at the Chris Hani Baragwanath Academic hospital.Mini Dissertation (MA)--University of Pretoria, 2015.
Modern European Languages
MA
Unrestricted
4
Koonce, Richard S. "THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162098669.
Full text
5
Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
Full textAbstract:
This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
6
Pope, Kailyn. "Upending the "Racial Death-Wish": Black Gay Liberation and the Culture of Black Homophobia." DigitalCommons@CalPoly, 2021. https://digitalcommons.calpoly.edu/theses/2319.
Full textAbstract:
This thesis analyzes the origin and impact of Black homophobia found in activist spaces of mid- to late-twentieth-century American society. Black gay Americans were subjected to intersecting forms of systemic and cultural oppression that were exceedingly hard to escape due to both the homophobia in Black spaces and the racism in gay spaces. Black gay activists and artists thus had to create their own avenues of expression where they and others could fully embrace what it meant to be Black and gay. This work utilizes a Black feminist framework to explore the roots of Black homophobia and how this type of bigotry was able to so deeply infiltrate Black activist spaces like the Civil Rights Movement and the Black Panther Party. Black homophobia originated as a response to White supremacist domination of the Black body, and was able to spread through the community for generations through paths such as hypermasculinity, the Black church, and misogynoir. The experiences and voices of Black gay activists and artists are at the forefront of this work in an effort to shine a light on a group often overlooked by Black history and LGBTQ history alike. This thesis works to fill in one of the many gaps present in the historiography pertaining to Black gay life in America, though more contributions can and should be made in order to shift the field away from its historic focus on the White gay male. An investigation of Black gay exclusion from Black and gay activist spaces offers valuable insight into how Black gay activists and artists persevered and cultivated their own spheres of inclusion within a society that fundamentally opposed virtually every part of their identities.
7
Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Anthropology
8
Kgokong, Arthur. "South African black artists : in the permanent collection of the Pretoria Art Museum (1964 –1994)." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78619.
Full textAbstract:
The Pretoria Art Museum opened its doors to the public on May 20, 1964. At that time the Johannesburg Art Gallery had already been established in 1910 and the South African National Gallery in Cape Town in 1895. The realization of the Pretoria Art Museum was an accomplishment of the City’s clerk’s push for the city to have a museum of its own that would enable it to showcase works that the city owned which until then had been confined to its administrative offices and the City Hall. This nucleus collection which had been inaccessible to the general public, consisted of South African Old Masters and 17 Century Dutch art. On 15 April 1964, about a month before the museum opened officially to the public, the Selection Committee of the Board of Trustees of the Art Museum instituted by the City Council of Pretoria met to deliberate on how the collection of the museum was to be built in order to expand this nucleus collection further.The result was a series of eight resolutions that favoured the acquisition of South African Old Masters and The Hague School (19thcentury Netherlandish art). In the minutes of that meeting no mention was made of the acquisition of 20thcentury South African black artists. By 1994 about 2 404 units of artworks by white artists had been acquired in contrast to about 86 units of artworks by black artists. The eight resolutions tabulated by the board, can be taken as an informal policy thatthe museum adopted during the thirty-year period of its existence from 1964 to 1994 to acquire artworks. No formal acquisition policy existed as a part of the museum’s acquisition strategy during that three decade period. Fortunately, as the collection grew, there were deviations in the ‘acquisition strategy’ because works by black artists, though collected at a far lesser frequency than those by white artists, found their place in the collection. This research paper is a homage to the contributions of 20thcentury South African black artists’ contributions to the history of South African art.Dissertation (MSocSci)--University of Pretoria, 2020.
Historical and Heritage Studies
MSocSci
Unrestricted
9
Lima, Diane Sousa da Silva. "Fazer sentido para fazer sentir: ressignificações de um corpo negro nas práticas artísticas contemporâneas afro-brasileiras." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20766.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-01-19T10:47:48Z
No. of bitstreams: 1
Diane Sousa da Silva Lima.pdf: 31398514 bytes, checksum: 309c3b9f66ff0634d0cf6863b107f3ad (MD5)Made available in DSpace on 2018-01-19T10:47:48Z (GMT). No. of bitstreams: 1 Diane Sousa da Silva Lima.pdf: 31398514 bytes, checksum: 309c3b9f66ff0634d0cf6863b107f3ad (MD5) Previous issue date: 2017-12-18
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Pontifícia Universidade Católica de São Paulo - PUCSP
This research analyzes the effects of sense of a set of Afro-Brazilian contemporary works and artistic practices from the discursive mechanisms of enunciation that configure the regime of meaning, interaction and risk. Analyzing a corpus formed by a set of practices and actions that intervene in urban, media and institutional spaces, taking as a temporal cut the beginning of the 21st century to the present day, it aims to understand how this black body by means of enunciative mechanisms of its choices aesthetic arrangements of plasticity, figurativeness and thematization of a set of works. By discursively recombining the arrangements, they construct new narratives, new senses endowed with criticality that we aim to show, collaborate for the deconstruction of racial stereotypes. The central hypothesis of the research is that the fact that a target blackbody becomes an enunciator, enjoying its own faculty of the human condition of giving meaning to the world, is able through artistic practices to create ruptures that contribute to make the racial stereotypes of the country. The second hypothesis is that these practices, by creating interventions in the media, urban and institutional spaces, break the regimes of invisibility that, under the effect of structural racism, operate in the official circuits and legitimating national cultural production. When accessing a memory of the body, the third hypothesis proposes that these practices actualize in an ancestral knowledge, resignifying the social imaginary, encompassing new ways of doing and aesthetic possibilities. Using as a framework the semiotics of Algirdas Julien Greimas, the semiotics of the social of Eric Landowski and the contributions to the plastic semiotics of Ana Claudia de Oliveira, we verified that through the transitivity of enunciating, the set of works analyzed show that there were significant ruptures in the visibility schemes in support of a process of re-signification that is under way; also, that by being an act of resistance, they actualize in the present, an ancestral and mythical memory that keeps connected different times and spaces. Still, producing affections and intervening in the media, urban and institutional spaces, we saw that before the structure of the racial program, the practices are still focused and restricted, limiting their communication amplitude. At the end, we find that the aesthetic possibilities that we inaugurate point us to a future of learning where more investment in aestheticity and strategies of visibility are essential to potentiate their senses being sensed
Esta pesquisa analisa os efeitos de sentido de um conjunto de obras e práticas artísticas contemporâneas afro-brasileiras a partir dos mecanismos discursivos da enunciação que configuram os regime de sentido, interação e risco. Analisando um corpus formado por um conjunto de práticas e ações que intervém nos espaços urbanos, midiáticos e institucionais tendo como recorte temporal o início do século XXI até os dias de hoje, objetiva-se entender como esse corpo negro por mecanismos enunciativos de suas escolhas monta arranjos estéticos da plasticidade, figuratividade e tematização de um conjunto de obras. Ao recombinar discursivamente os arranjos, constroem novas narrativas, novos sentidos dotados de criticidade que objetivamos mostrar, colaboram para a desconstrução dos estereótipos raciais. A hipótese central da pesquisa é de que o fato de um corpo negro destinador assumir-se enunciador, gozando da sua faculdade própria da condição humana de dar sentido ao mundo, é capaz através das práticas artísticas, de criar rupturas que contribuam para fazer sentir os estereótipos raciais do país. A segunda hipótese é que essas práticas ao criar intervenções nos espaços midiáticos, urbanos e institucionais rompem os regimes de invisibilidade que, sob efeito de um racismo estrutural, operam nos circuitos oficiais e legitimadores da produção cultural nacional. Ao acessar uma memória do corpo, a terceira hipótese propõe que essas práticas atualizam em ato um conhecimento ancestral ressignificando o imaginário social, inaugurando novas formas de fazer e possibilidades estéticas. Usando como arcabouço a semiótica de Algirdas Julien Greimas, da semiótica do social de Eric Landowski e as contribuições para a semiótica plástica de Ana Claudia de Oliveira, verificamos que através da transitividade do se enunciar, o conjunto de obras analisadas mostram que houveram significativas rupturas nos regimes de visibilidade corroborando para um processo de ressignificação que se encontra em curso; também, que ao ser ato de resistência, elas atualizam no presente, uma memória ancestral e mítica que mantém ligados diferentes tempos e espaços. Ainda, que produzindo afetações e intervindo nos espaços midiáticos, urbanos e institucionais, vimos que diante da estrutura do programa racial, as práticas ainda são focalizadas e restritas, limitando sua amplitude comunicacional. Ao fim, constatamos que as possibilidades estéticas que inauguram nos apontam um futuro de aprendizado onde mais investimento em esteticidade e estratégias de visibilidade são imprescindíveis para potencializar os seus sentidos ser sentidos
10
Whitley, Zoe. "Against a sharp white background : dialogic and exhibitionary practices of Black contemporary artists and curators in art museums." Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/23580/.
Full textAbstract:
This research seeks to better understand how Black artists experience the mainstream art museum. The thesis makes an original contribution to scholarship on curating contemporary art through qualitative analysis of subjective approaches to art museum space. It makes evident responses to institutionalised systems of address. Foundational in establishing this action research methodology (Lewin 1946; Carr & Kemmis 1986) are the dialogic frameworks provided by the theories of Mikhail Bahktin (1975), Edouard Glissant (1997), and chiefly the writing of Zora Neale Hurston (1929). It concludes that art museums can become sites of dialogic exchange (Bennett, 2006) for those who have been traditionally excluded from such spaces, though the means may be other than those formally sanctioned by the institution. Examining racial difference in museological and curatorial spheres potentially allows for multiple dialogues, referred to by Bakhtin as ‘polyphony.’ Interviews with fourteen international artists and curators suggest that critical debate around the racialisation of museum space has progressed relatively little since the 1990s, with identity politics and institutional critique having fallen out of favour in contemporary museum discourse (Bishop 2012, Haq 2014). Indeed, recent academic research into race and the art museum tends to focus on the past (Cooks 2011, Cahan 2016) or artists’ continued lack of visibility (Chambers 2015). While museum-centred research interrogates the relationship between audience and museum space (McClellan 2003; Karp et al. 2006; Bourriaud 1998; Kester 2011), little consideration has been dedicated to Black contemporary artists’ physical presence in art museums. As a critical paratext to curatorial projectsThe Shadows Took Shape and In Black and White which I co-authored, this study examines Black artists’ roles as uniquely informed generators of address (speakers) and respondents within the art museum. Given the insular and highly specialised body of curatorial writing (Hoffmann 2013; Lind 2010; Obrist 2008; Martinon & Rogoff 2015), it is therefore proposed that studying modes of Black curatorial and artistic address can ultimately yield new translations for contemporary museum-going publics.
Books on the topic "Black Artists"
1
Duane, Deterville, and Saunders Raymond 1934-, eds. Black artists in Oakland. Charleston, SC: Arcadia Publishing, 2007.
Find full text
5
Peter, Pettengill, Cohen Claudia 1953-, and Grenfell Press, eds. Black palette. New York]: [Manhattan Graphics Center], 2004.
Find full text
6
1963-, Riggs Thomas, and Schomburg Center for Research in Black Culture., eds. St. James guide to Black artists. Detroit: St. James Press, 1997.
Find full text
7
George, Sullivan. Black artists in photography, 1840-1940. New York: Cobblehill Books, 1996.
Find full text
8
Yorkshire Arts Association. Visual Arts and Media Department., ed. Extending frontiers: Black artists at work. Bradford: Yorkshire Arts Visual Arts and Media Department, 1988.
Find full text
9
Etienne, Richard. Black artists in post war Britain. Derby: Derbyshire College of Higher Education, 1990.
Find full text
10
Jacqueline, Bobo, ed. Black women film and video artists. New York: Routledge, 1998.
Find full textBook chapters on the topic "Black Artists"
1
Leite de Aquino Soares, Victor Hugo, and Roberta K. Matsumoto. "Black Performances and Black Artists Performing in Contemporary Brazil." In The Palgrave Handbook of Theatre and Race, 273–90. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43957-6_15.
Full text
2
Walsh, Michael. "Kevin Jerome Everson: Duration and the Black Working Class." In Experimental Film and Artists’ Moving Image, 249–63. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-76092-2_13.
Full text
3
Piekut, Benjamin. "Black Music’s Institutional Critique." In New Music and Institutional Critique, 101–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_6.
Full textAbstract:
AbstractTo consider institutional critique within the music field requires some alteration of its fundamental terms, because music had developed a second aesthetic system surrounding Black art and had institutionalised it much earlier than modern or contemporary art had. This de-universalisation of the European fine arts has consequences for the theory of critique. Black music’s governing institutions in the 1960s were the recording label, the night club, the summer festival, and the mass periodical, and artists such as Charles Mingus, Bill Dixon, Rahsaan Roland Kirk, Ornette Coleman, Don Cherry, and Alice Coltrane worked to confront, evade, and change them. Black musicians were more likely to build institutions than to destroy them, a mission shared by adventurous groups like the AACM and conservative ones like Jazz at Lincoln Center. The critique of traditionally racist cultural formations by historically oppressed people was often delivered through hard-won participation, not abandonment.
4
Kaplan, Paul H. D. "Jewish Artists and Images of Black Africans in Renaissance Venice." In Arizona Studies in the Middle Ages and Renaissance, 67–90. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.asmar-eb.3.3034.
Full text
5
Mbuti, Ann. "Vorwort." In Black Artists Now, 7–9. Verlag C.H.BECK oHG, 2022. http://dx.doi.org/10.17104/9783406788031-7.
Full text
6
Mbuti, Ann. "8. Precious Okoyomon, USA – Worte, aus denen Welten wachsen." In Black Artists Now, 66–73. Verlag C.H.BECK oHG, 2022. http://dx.doi.org/10.17104/9783406788031-66.
Full text
7
Mbuti, Ann. "11. Faith Ringgold, USA – Der Stoff, aus dem Träume gemacht sind." In Black Artists Now, 90–99. Verlag C.H.BECK oHG, 2022. http://dx.doi.org/10.17104/9783406788031-90.
Full text
8
Mbuti, Ann. "Titelei/Inhaltsverzeichnis." In Black Artists Now, 2–6. Verlag C.H.BECK oHG, 2022. http://dx.doi.org/10.17104/9783406788031-2.
Full text
9
Mbuti, Ann. "10. Tabita Rezaire, FRANKREICH – Die Heilerin, die unser Kunstverständnis herausfordert." In Black Artists Now, 82–89. Verlag C.H.BECK oHG, 2022. http://dx.doi.org/10.17104/9783406788031-82.
Full text
10
Mbuti, Ann. "15. Lynette Yiadom-Boakye, GROSSBRITANNIEN – Die Malerei sprechen lassen." In Black Artists Now, 126–33. Verlag C.H.BECK oHG, 2022. http://dx.doi.org/10.17104/9783406788031-126.
Full textConference papers on the topic "Black Artists"
1
Brueckner, Sophia, Shannon Yeung, Jing Liu, David Choberka, Kerby Shedden, John Turner, Isabelle Marie Anne Gillet, Mingchen Lu, and Xingwen Wei. "White Cube / Black Box: Investigating Bias in Museums and Algorithms." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-45-full-brueckner-et-al-white-cube-black-box.
Full textAbstract:
White Cube / Black Box seeks to identify bias and the many ways bias gets introduced into and amplified within systems. A highly interdisciplinary team of data scientists, curators, designers, and artists used face detection and race classification algorithms to explore bias in algorithms and University of Michigan Museum of Art’s collection of artworks.
2
Ortiz, Nickolaus. "DeCYPHERing Mathematics: A Study of Black Hip-Hop Artists' Perceptions of, and Experience With, Mathematics." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1884681.
Full text
3
Kabwe, B. Mwenya. "Priority Mail Process Lab: An Experiment in Migrant Dramaturgy." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35906.
Full textAbstract:
This abstract reflects on the dramaturgy of the Priority Mail Process Lab, a month-long virtual residency program called into existence during the Covid-19 pandemic. The lab aimed to facilitate an exchange of objects, ideas, and insights between Francophone and Anglophone African artists. The paper explores the artistic research practice behind the lab, focusing on the themes of migration, mobility, and the role of African women. It discusses the curatorial intentions of prioritizing process over production, the importance of care, and the political implications of rest and emancipation. The paper also delves into the concept of migrant dramaturgy and the experiences of Black migrant cultural production.
4
Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.
Full textAbstract:
The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global reality that led to the creation of an international movement called Black Lives Matter (BLM), a movement against all types of racism towards the black people specially by the police and the state. The BLM movement also aims to connect black people of the entire world against the violence and for justice. In our work, we try to establish a link between the reality of black people in Brazil with the culture of black people around the world, connecting people and artists to perform a tribute to the black lives harved by the state force. For this, the piece uses web content, news, pictures, YouTube’s videos, and more, to create a collage of visual and musical environment merged with expressive movements of a dance, combining technology and gestures. Black culture beyond violence because we believe that black lives matter. such as the Ku Klux Klan, which bring the black population of the world into concern for possible setbacks in their rights. In Brazil, it is not different. Brazil is the non African country with the biggest afro descendant population in the world and one of the last country in the world to abolish slavery. Nowadays, a black person is 3 times more propense to be killed and most part of the murders in the country happened to afro Brazilians. Marielle Franco, a black city councillor from Rio, the only black female representative and one of seven women on the 51-seat council was killed in 2018. The killers were two former policeman. According to Human Rights Watch, the police force in the state of Rio de Janeiro, Brazil, killed more than 8,000 people between 2005 and 2015, 3/4 of them were black men. At the same time, the African culture strongly influenced the Brazilian culture and most part of the traditional Brazilian music and rhythms can be considered black music.
5
Franco, Jorge. "A Decolonized Mood of Creating a Three-dimensional Digital Space Based on Integrating Transdisciplinary Knowledge." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.
Full textAbstract:
This experimental artwork has attempted to produce a decolonized mood of researching and creating Three-dimensional (3D) Virtual Reality (VR) digital spaces based on using and integrating transdisciplinary knowledge. These research and creative 3DVR digital spaces processes have been connected with applying the concept of Digital Transformation (DX) within Educative Computational Practice (ECP) proceedings, addressing the idea of empowering people. The mentioned ECP proceedings have occurred through designing and carrying out 3DVR digital spaces by using 3D computer graphics programming techniques, bringing about individuals’ developing digital and visual communication skills with support of employing Web3D-based technologies, such as the Extensible 3D (X3D) language and the X3Dom framework, as Open Educational Resources (OER). Low cost and accessible Web3D technologies have allowed practicing, analyzing and extending our open-ended long-term investigation at K-12 education levels referent to sharing 3DVR and computer graphics programming knowledge, aiming to inspire individuals’ engagement in computing practices encompassing coding and visual literacy skills. These educational processes have also been sustained by art and its learning and expressing opportunities in the digital age. With support of Web3D technologies and lifelong learning and teaching experiences, we have taken part of a course called “Projeto Espetáculo em Realidade Aumentada”, at Fabrica de Cultura Diadema. Through this course, there has been designed and implemented a 3DVR artwork which has extended our research and digital knowledge acquisition processes through producing a decolonized content by interconnecting conceptual knowledge referent to the visual artwork of Rubem Valentim’s mix of Afro-Brazilian, Amerindian and European cultures and Jacob Lawrence’s Afro-American culture symbolic representation. Both artists have trajectories of lifelong learning and using geometry and colorful forms in their artwork composition. Their artwork has expressed knowledge related to Afro-Brazilian and Afro-American cultures, contributing to reduce a gap, at official education, in the teaching of black culture contributions to the worlds of arts, sciences and technology. Interacting with these artists’ trajectories and artworks has lead to research, apply and share knowledge related to ancient Africa, having as reference the Egyptian civilization use of mathematics, geometry (at some extent sacred geometry) shapes and colors knowledge for building and decorating pyramids and other monuments. Such transdisciplinary knowledge confluence has made part of researching and forming the bases of computer graphics libraries and techniques in databases, allowing through educative 3D computer programming practices, to integrate in this 3DVR artwork features referent to digital sculpture, installation and net art, be it within a standalone way and/or through a blog based interface online. This knowledge confluence has brought about using 3D computer graphics programming proceedings for building and visualizing symbolic representation of Afro-Brazilian, European and Amerindian Enchanted Beings’ sacred adornments and instruments. It includes, based on the artwork another Brazilian educator and artist, Abdias do Nascimento, learning to research and utilize knowledge from people of the West Africa related to a writing system, the Adinkra, which is a group of symbols that express and represent ideas in proverbs. In addition, this artwork participatory development has stimulated individuals enhancing cognitive and technical skills, including their complex and spatial thinking abilities.
6
Plassard, F. "NON-INVASIVE CHEMICAL ANALYSES OF PIGMENT AND SOME ARCHAEOLOGICAL IMPLICATIONS IN ROUFFIGNAC CAVE (DORDOGNE, FRANCE)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.25-28.
Full textAbstract:
The analysis of pigment the Palaeolithic artists used in cave art has interested the archaeologists very soon (Moissan, 1902). Nevertheless, the necessity of the preservation of the prehistoric artworks has limited the analysis on long time, because this research implied samples which could damage the artworks. The recent development of new equipment allowing non-invasive in situ chemical analysis has conducted to quick increasing of the research in this field. The pigment the prehistoric artists used in Rouffignac cave is strongly studied for fifteen years. After methodological tests, ambitious archaeological programs give nowadays new elements about our knowledge of the wall artworks. Research history. The Rouffignac cave is known for long time because its entrance was never closed. Nevertheless, the prehistoric interest of the site was understood only the 26 june 1956 when L.-R. Nougier and R. Robert identified the first artworks (Barrire, 1982 Plassard, 1999). A strong polemic was born around the authenticity of these documents during the summer 1956 and found a conclusion in an international commission meeting. In this context, the first chemical analysis of pigment in Rouffignac cave was carried out by P. Graziosi (Firenze University, Italy). He concluded the artworks were done with manganese dioxide (Graziosi, 1956). For nearly 50 years, no new research was carried out on the pigments used by the Magdalenians. In 2004, the CEA (Commissariat lEnergie Atomique) made a transportable experimental device for the X-ray fluorescence analysis which opened up new possibilities. A brief analysis campaign was held in November 2004. It aimed to test the feasibility of this type of research in cave, to confirm the Graziosi analyses and to look for black pigments which would not produce any fluorescence spectrum and could be suspected to contain organic matter. The first two objectives were achieved but the presence of organic pigment could not be detected anywhere (De Sanoit et al., 2005). Between 2009 and 2015, a new program expended, first as part of an ANR framework (MADAPCA) and then as part of a PhD project. Several methods were again tested: X-ray fluorescence, X-ray diffraction and Raman spectrometry. Several publications document this research (Beck et al., 2012 AND 2014 Lalhil et al., 2012). However, it quickly became apparent that X-ray fluorescence was the most effective Электронная библиотека ИА РАН: https://www.archaeolog.ru/ru/el-bib 26 method combining short scan times, guaranteed (or nearly) results and reproducibility of measurements. This option was therefore developed by Marine Gay as part of her PhD (Gay et al., 2016).
7
Cave, Matt. "Artist block 2 and indecision." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281417.
Full text
8
Corrêa, Patricia Leal Azevedo. "Sobre o conceito de blank form: uma leitura minimalista de Duchamp." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3806.
Full textAbstract:
Em 1961, convidado a participar de uma publicação coletiva em homenagem a John Cage, o artista Robert Morris escreveu um texto intitulado Blank Form. Breve, enigmático e sarcástico, esse texto revela, porém, a referência a um terceiro artista, Marcel Duchamp, central para a conformação da cena vanguardista nova-iorquina em que se deram as trocas entre Morris e Cage. Neste artigo pretendemos refletir sobre o conceito de blank form introduzido por Morris, buscando entendê-lo do ponto de vista de uma recepção específica da obra de Duchamp, através do qual Morris deflagrava o que se constituiria a seguir numa estética minimalista. Propomo-nos a pensar blank form como um conceito operativo de uma certa leitura minimalista de Duchamp, ligada à construção histórica deste artista pela geração dos anos 1960 nos Estados Unidos. Ao apresentar e comentar tal conceito – que poderíamos traduzir livremente por forma vazia, branca, neutra ou inexpressiva –, Morris sugere questões que nos parecem cruciais para a identificação do que se convencionou chamar de Duchamp effect na arte contemporânea, especialmente o particular viés cético, até solipsista, enfatizado sob as óticas minimal e pop. Assim, podemos indicar no texto de Morris um desvio da leitura cageana de Duchamp, vigente à época sobretudo através dos happenings e event scores de artistas como Allan Kaprow e George Maciunas, e a produção de uma outra leitura, um novo registro para duas importantes premissas duchampianas: a indiferença do artista e a arte-como-recepção. Esse novo registro da blank form nos ajudaria a compreender a emergência de obras tão distintas quanto as de Robert Morris e Andy Warhol.
9
Alonso, Miguel, Bruna Costa, and Luca Ribeiro. "Trying to read: the "In Memorian" artwork." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.124.
Full textAbstract:
In this presentation we will analyze the multimedia artwork In Memorian, 2021, from the Research Group Realidades (School of Communication and Arts of University of São Paulo, ECA-USP, Brazil). The artwork is a web art that deals with the visualization of data from the coronavirus pandemic in Brazil. These data are appropriated from online databases and it works as the rule of loss of information from 1988’s Brazilian Federal Constitution, Title II - Of Fundamental Rights and Guarantees. The text is fragmented proportionally to Brazilian population and, then, loses its information, pixel by pixel, according to the daily number of deaths by covid-19 in the country. The authors of this presentation are members of the Realidades Group, thus, this analysis will be filled with our creative processes, poetic motivations and the development phases of the artwork. In Memorian exposes the precarious situation of the democratic rights guaranteed by the mentioned article of the Brazilian constitution. Brazil couldn't control covid-19 pandemic. Researches pointed out that it was due to a series of omissions and failures by public managers, mainly the federal government. However, the democratic rights have been under attack for longer. Brazil’s political scene has become dominated by openly conservative, "anti-politics" and "anti-science" wills, quite driven by desinformation and fake news. And all these relationships are fundamental to the development of the work. It seeks to materialize and illustrate hundreds of thousands of deaths in order to make visible the colossal size of human loss. The amount of deaths shatter the black words over the white background, damaging the text and making the reading more difficult. On the work’s website, the text is exhibited in perspective and can be vertically scrolled. It also contains an interactive ruler that shows the Brazilian daily and total number of deaths, enabling the interactor to move across the timeline. The visual character of a ‘monument for the dead’ complaints the governmental negligence that causes this amount of suffering, actions that must not be simply forgotten. In addition, it points out the need for more transparency of covid’s diagnosis and deaths registration and comments on the alarming political scenario that surrounds the sanitary crisis. Furthermore, this artwork is a data visualization piece, which is a very much explored technique used by multimedia artists. We will address its usage to enhances the visibility of things that are often hard to see. We will show another similar artwork in theme, 'Inumeráveis”, 2020, created by a collective of volunteer artists and journalists. Claiming that "alive or dead, we will never be [just] a number", the site is an online monument that features shared stories about the victims, giving individuality to each of them. In Memorian was in the online exhibition EmMeio#13 associated with the Panoramas 2021 event. Additionally, we point out its interaction in different social networks and its own numerical and online nature. The pandemic crisis in Brazil and around the world is not a past reality, still claiming countless lives. Unfortunately, the artwork remains operational.
10
Glasser, Adrian, and Howard C. Howland. "Artistic transformations in image processing." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1986. http://dx.doi.org/10.1364/oam.1986.thn9.
Full textAbstract:
We have examined certain transformations, linear and nonlinear, which transform frame-grabbed black-and-white photographic images into artistic renditions of the original. Such transforms resemble sketches, sketch and wash renditions, or mosaics. Generally these transforms involve a large reduction in information of the original photographic image, and we have attempted to measure this reduction using coding algorithms. The reverse, increase in information when an artist creates a painting from a sketch, was also evaluated. Lastly, we also studied the importance of the information retained and discarded in the recognition of faces in a series of artistically transformed, frequency filtered images. We conclude that information necessary for recognizing faces (and many other objects) is broadly and redundantly distributed throughout the spatial frequency spectrum.
Reports on the topic "Black Artists"
1
Rito, Carolina, and Paul Goodwin. The Changing Same? British Black Artists and Visual Arts Organisations in the Midlands. Coventry University, May 2023. http://dx.doi.org/10.18552/camc/2023/0001.
Full textAbstract:
The Role of Visual Arts Organisations in the British Black Arts Movement in the Midlands’ is a research network funded by the Arts and Humanities Research Council (AHRC). Co-led by Carolina Rito (Coventry University) and Paul Goodwin (University of the Arts London), this project explored the institutional and curatorial strategies of the movement in the 1980s, and the institutional support in promoting and showing Black curators and artists then and today. The publication includes new insights about the process, and interviews with key researchers and practitioners in the field. It presents a series of recommendations and considerations for funders, cultural organisations and the HE sector, and feedback from the cultural partners.
2
Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt, and Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), June 2023. http://dx.doi.org/10.21079/11681/47184.
Full textAbstract:
The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
3
Patton, Desmond, and Catalina Vallejo. Examining Violence and Black Grief on Social Media: An Interview with Desmond Upton Patton. Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3020.d.2022.
Full textAbstract:
As part of our “What Is Just Tech?” series, we invited several social researchers—scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Desmond Upton Patton, Professor of Social Work at Columbia University and Just Tech Advisory Board member. Patton (he/him) studies how gang-involved youth conceptualize threats on social media and the extent to which social media may shape or facilitate youth and gang violence. He is the founding director of SAFElab, which centers young people’s perspectives in computational and social work research on violence, trains future social work scholars, and actively engages in violence prevention and intervention. In their conversation, Vallejo and Patton spoke about social media as an amplifier of violence, the importance of lived experience informing computational research, and misunderstandings about Black grief.
4
Poloboc, Alina. Fancy Lollipop. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2997.
Full textAbstract:
"Fancy Lollipop" is a vibrant and energetic artwork featuring a blend of bold and bright colors. The color palette, which includes shades of blue, pink, and black, creates a sense of drama and theatricality in the piece. The colors are strategically placed in the composition to emphasize key elements of the image, such as the main character, Fancy Lollipop. Speaking of the main character, Fancy Lollipop is depicted as an extravagant and self-assured individual. Their presence in the artwork is unmistakable, and their confident and assured stance reflects their bold and attention-grabbing personality. The use of quick, expressive brushstrokes in their figure creates a sense of movement and energy, further enhancing the feeling of spectacle and showmanship in the piece. Overall, "Fancy Lollipop" is an impressive example of contemporary art that draws on real-life characters encountered by the artist during their stay in Miami. The artwork offers an immersive visual experience that captures the viewer`s attention with its colorful and energetic composition, and is sure to leave a lasting impression on those who encounter it.