Zobrazeno 1 - 10
of 23
pro vyhledávání: '"Huey Copeland"'
Autor:
Huey Copeland
Publikováno v:
October. :100-120
In this conversation—recorded in 2019 for the artist's first solo museum exhibition—New Orleans–based Garrett Bradley discusses her filmic work as well as its relationship to institutional archives and personal communities with art historian Hu
Publikováno v:
October. 174:3-125
The term decolonize has gained a new life in recent art activism, as a radical challenge to the Eurocentrism of museums (in light of Native, Indigenous, and other epistemological perspectives) as well as in the museum's structural relation to violenc
Publikováno v:
ASAP/Journal. 5:266-273
Autor:
Huey Copeland, Sampada Aranke
Publikováno v:
ASAP/Journal. 5:241-245
Autor:
Huey Copeland
Publikováno v:
October. 168:63-78
In this article, occasioned by the fiftieth-anniversary of the Whitney Independent Study Program, art-historian Huey Copeland considers the vexed intersections of blackness, gender, and institutional critique in the contemporary art world as modeled
Autor:
Huey Copeland
Publikováno v:
Art Journal. 78:116-118
Darby English’s polemical account of black abstraction, 1971: A Year in the Life of Color, has arrived right on time. In the last twenty years or so, those of us working in North America and wester...
Autor:
Krista A. Thompson, Huey Copeland
Publikováno v:
Art Journal. 76:7-9
The term afrotropes is a neologism referring to those recurrent visual forms that have emerged within and become central to the formation of African diasporic culture and identity, whether the slav...
Autor:
Huey Copeland
Publikováno v:
October. 156:141-144
In response to “A Question on Materialisms” (October 155), this text asks anew for a consideration of how blackness—as site, sign, sensibility, and subject position—productively recalibrates both recent and longstanding approaches to the unfo
Autor:
Huey Copeland
Publikováno v:
Small Axe: A Caribbean Journal of Criticism. 19:205-224
Art historian Huey Copeland takes on Hortense J. Spillers's and Stephen Best's engagements with his book Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America (2013). In responding to the two essays, Copeland lays out the
Autor:
Huey Copeland
Publikováno v:
American Art. 31:27-29