On the consideration of a black grid
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Data
2024-12-30
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Lusofona University
Resumo
From the funky, fresh Black modernism of the Johnson Publishing Company’s headquarters designed by John Warren Moutoussamy with Arthur Elrod and William Raiser to the expressive graffitied grids of Adam Pedelton’s monumental canvases in black and white, there lives a wide-ranging matrix of possibilities for what I consider to be a Black Grid. As a queer Black artist, designer, and design historian, living and working in conditions of a triple consciousness of overlapping marginalization, I have been in countless situations throughout my career, surrounded by a sea of practices and pedagogies that don’t represent me, my lived experience, or that of kindred spirits. As a result, I have committed to redirecting and centering art and design BIPOC (Black Indigenous People of Color) voices and scholarship in making, writing, and education as a transformational process. To that end, I enact poetic research, which seeks to find lineages from biological ancestors, antecedents in art and design, and chosen family. Design Systems, Design History, Graphic Design, Africa, African American, Fractal Geometry, Grid, Visual Art, Diaspora, Cultural Studies
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DESIGN, AUDIOVISUAL, GRAPHIC DESIGN, VISUAL ARTS, ETHNIC MINORITIES, BLACK CULTURE, DIGITAL ART, DESIGN, AUDIOVISUAL, DESIGN GRÁFICO, ARTES VISUAIS, MINORIAS ÉTNICAS, CULTURA NEGRA, ARTE DIGITAL
Citação
Munro, S 2024, 'On the consideration of a black grid', International Journal of Film and Media Arts, vol. 9, no. 2, pp. 6-16. https://doi.org/10.60543/ijfma.v9i2.9909