Sentences with phrase «american cultural forms»

Brown is concerned with the stylistic appropriation of African - American cultural forms and with the global construction of identity through consumerism.

Not exact matches

Although there is an unmistakable tendency toward denominationalism in all American religious communities, and although denominations have dominated the cultural history of America, I feel it is not quite correct to call the denomination the American church form.

As Gene Thin Elk, the Native American cultural adviser at the University of South Dakota, explains on the form that students there can fill out to request an exemption from a ban on burning incense in the dorms:» [W] e pray on a daily basis, usually in privacy and solitude.

This «American pattern» of exuberant Protestant denominationalism, separate from the state but forming almost a cultural establishment, was brought to Brazil specifically by sectors marked by two recent historical experiences: the colonization of the American frontier and Southern slavery.

What sent them was the understanding that over time, American schools from middle school up had institutionalized and venerated a game capable of seriously harming those who played it — and even protected it in law and beyond in the form of societal and cultural protections no court order could budge from good standing.

Christians, who form over 70 percent of the American population, prefer to date a person of the same cultural background.

And, although there are a few pentatonic Orientalisms, the composer and his orchestrator, William D Brohn, are in the main more cunning, preferring slightly skewed western forms, underlining the cultural corruption of Saigon under the French and Americans.

Among the multiple lines of critical and cultural discourse surrounding the film, however, one particularly stands out: the notion of There Will Be Blood — with its central conflict between cutthroat oil prospector Daniel Plainview (Daniel Day - Lewis) and zealous small - town preacher Eli Sunday (Paul Dano) in 1911 California — as a kind of demonic origin tale for the state of contemporary American political culture, with narrow - minded religious fervor and bald - faced capitalistic excesses forming two sides of the same tarnished coin.

[E] nhance the rich cultural heritage of America's art form, inspire audiences and artists alike, and / or make a mark on American society.»

It provide students with an opportunity for research and writing and to integrate the vocabulary, grammar, and culture concepts previously acquired: • People, places, and lessons in school • Subject pronouns • Verb ser in present tense • Use of pronouns with school - related nouns and other verb forms • México: cultural fusion, Spain and Native Americans, and Mestizo culture Students and their teacher will watch the Spanish version of the vocabulary and grammar video together.

It provide students with an opportunity to integrate the vocabulary, grammar, and culture concepts previously acquired: • People, places, and lessons in school • Subject pronouns • Verb ser in present tense • Use of pronouns with school - related nouns and other verb forms • México: cultural fusion, Spain and Native Americans, and Mestizo culture Students and their teacher will watch the Spanish version of the vocabulary and grammar video together.

Fishing has enormous social, cultural, and economic importance in American society, and is the second most popular form of outdoor recreation in the United States with swimming being first).

Jon and Destiny debated for over two hours, mostly about race and immigration, and Jon made several unpopular comments, including the claim that mass Mexican migration to the United States was a form of «reconquista,» a retaking of American cultural values.

The Baum: Emerging American Photographer Award Cintas Foundation Visual Arts Fellowship Rema Hort Mann Foundation Art Gant Alice Kimball Traveling Grant Florida Individual Artist Fellowship Art Access Traveling Grant New Forms Visual Arts Grant South Florida Cultural Consortium Visual Arts Fellowship

2016 — Bohrer, Ashley, The Commodified Built Environment, Red Wedge, August 2015 — Derrick, Andy, Friday Feature, Matthew Woodward, ArtSquare, December Hartigan, Phillip, Seeing the Art For the Trees, Hyperallergic, August Daignault, Kristina, With Matthew Woodward, Inside the Artists» Kitchen, May 2014 — Hartigan, Phillip A, Expo Chicago Fails to Inspire, Hyperallergic, October, Obaro, Tomi, What I'm Doing This Weekend, Matthew Woodward, Chicago Magazine, October Juarez, Frank Art365, Matthew Woodward, May Hildwine, Jeriah, Matthew Woodward, Review, ArtPulse Magazine, April 2013 — Hall, Sarah Elise, Art - Rated, Matthew Woodward, Interview, November Klein, Paul, Art Letter, The Huffington Post, October Sherman, Whitney, Playing With Sketches, Rockport Publishing, October 2012 — Meuller, Rachel, Meticulous Chaos, Be Nice Art Friends, July Taskaporan, Erol, Matthew Woodward, Interview, Neo Collective, July Gumbs, Melissa, View From the Birth Day at the Chicago Cultural Center, Examiner, July Amir, Matthew Woodward's Decaying Drawings, Beautiful / Decay, May Dluzen, Robin, Catalogs of Anonymous Forms, Chicago Art Magazine, April Debat, Don, Unveiling the Unique, Chicago Sun Times, March Mutts, Lost at E Minor, New Art, January 2011 — Vora, Manish, Iconomancy: The Magic of Art, Art Log, November Pocaro, Alan, Keeping Your Balance in the Windy City, Art Critical, October Hausslein, Allison, Fanmail, Dailyserving, November Marszalek, Norbert, One Question, Neotericart, October New American Paintings, Number 95, Midwest Edition, June Cook, Greg, Contained at BCA, The New England Journal of Aesthetic Research, April James, Damian, More Than a Whisper in the Ear, Bad at Sports, January 2010 — Blau, Lilly, Love and Real Estate, The Huffington Post, November Himebauch, Adam, Matthew Woodward, Veoba Magazine, November Pitts, Johnathan, Look What They Found, Baltimore Sun, July Duquette, Laura, Featured Artist, Artery Magazine, May Duquette, Laura, How WNY Has Influenced His Work, Buffalo Rising Magazine, May Pocaro, Alan, Selections From the INDA 5, Aeqai, April Franz, Jason, International Drawing Annual 5, Manifest Gallery, March Solamo Tony, Barrington Hills Courier - Review, January Barber, John, Medium Magazine, Outside Infinity, February Avedesian, Alexi, Vellum Magazine, Spirits, January 2009 — Reed, Marliana, Invisible City Magazine, Issue 6, November Lacy, Rebecca, MuseMemo Magazine, Hauntingly Beautiful, October Abram, A, Spillspace Magazine, All the Wild Horses, September Kohn, Iliana, Lost At E Minor Magazine, Issue 244, 245, August Tremblay, Brenda, Finger - Lakes Explores Connections, Mysteries, WXXI, P.R, August Low, Stuart, Drawing Together Man and Nature, Democrat and Chronicle, August Wheeler, Dan, Upstate Artists Exhibit in Exclusive MAG Show, MPN Now, July Rafferty, Rebecca, The Elephant in the Room, City Newspaper, July 2008 — O'Sullivan, Michael, Modern or Retro?

Group Island Press: Recent Prints, Mildred Lane Kemper Art Museum, St. Louis, MO, 2018 Thinking Through Art, Middlebury College Museum of Art, Middlebury, VT, 2018 Sunrise, Sunset, Emerson Dorsch Gallery, Miami, FL, 2017 The Unhomely, Denny Gallery, New York, NY, 2017 Women Painting, Miami Dade College, Kendall Gallery, Miami, FL, 2017 New Faces, Different Places, Central Features Contemporary Art, Albuquerque, NM 2017 The Home Show, form & concept, Santa Fe, NM, 2016 Girls Who Dance in Dissonance, Wayside, Los Angeles, CA, 2016 Surface Area: Selections from the Permanent Collection, Studio Museum in Harlem, New York, NY, 2016 Self - Proliferation, Girls» Club, curated by Micaela Giovannotti, Fort Lauderdale, FL, 2016 Faces and Vases, Royal NoneSuch Gallery, Oakland, CA, 2016 Visions Into Infinite Archives, SOMArts Cultural Center, curated by Black Salt Collective, San Francisco, CA, 2016 Summer Art Faculty Exhibition, Schick Art Gallery, Skidmore College, Saratoga Springs, NY, 2015 Paula Wilson & Jovencio de la Paz, Saugatuck Center for the Arts, Saugatuck, MI, 2015 Perception Isn't Always Reality, Kranzberg Arts Center, St. Louis, MO, 2015 DRAW: Mapping Madness, Inside — Out Art Museum, curated by Tomas Vu, Beijing, China, 2014 - 2015 Lake Effect, Saugatuck Center for the Arts, curated by Mike Andrews, Saugatuck, MI, 2014 I Am The Magic Hand, Sikkema Jenkins & Co, Organized by Josephine Halvorson, New York, NY, 2013 Sanctify, Vincent Price Museum, Los Angeles, CA, 2013 The Bearden Project, Studio Museum in Harlem, New York, NY, 2012 Configured, Benrimon Contemporary, Curated By Teka Selman, New York, NY 2012 Art by Choice, Mississippi Museum of Fine Art, Jackson, MS, 2011 The February Show, Ogilvy & Mather, New York, NY, 2011 Art on Paper: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC, 2010 Defrosted: A Life of Walt Disney, Postmasters Gallery, New York, NY, 2010 41st Collectors Show, Arkansas Art Center, Little Rock, AK, 2009 - 2010 Carrizozo Artist's Show, Gallery 408, Carrizozo, NM, 2009 - 2010 While We Were Away, Sragow Gallery, New York, NY, 2009 A Decade of Contemporary American Printmaking: 1999 - 2009, Tsingha University, Beijing, China, 2009 Collected.

1979 Newport Harbor Art Museum, Newport Beach, CA Americans in Paris: The «50s, Fine Arts Gallery, California State University, Northridge, CA Sculpture 79, Muckenthaler Cultural Center, Fullerton, CA Vanguard American Sculpture 1913 — 1939, Rutgers University Art Gallery, Rutgers, NJ Form, No Title, Oakland Museum of California, Oakland, CA Seattle Art Museum, Seattle, WA Aspects of Abstract Generating a Cube, Crocker Art Museum, Sacramento, CA

In prints like Flags I, 1973 and Savarin, 1977 - 81, Johns reimagined familiar media and forms, and reinvented and reinterpreted customary markers of American cultural identity.

He depicts these notions through the use of found domestic and utilitarian objects and materials to form sculptures, drawings, and prints that generate visual puns and cultural overtones, while also aiming to highlight how these objects portray and mimic language, specifically Spanglish — the rhythmic convergence of two languages spoken in Latin - American homes.

Traveled to: Chicago Cultural Center, March 15 — May 18, 1997; Davenport Museum of Art, Iowa, September 14 — November 17, 1997; Springfield Museum of Art, Ohio, March 13 — May 9, 1999 (Catalogue) Thinking Print: Books to Billboards, 1980 — 1995, The Museum of Modern Art, New York, June 19 — September 10, 1996 (Catalogue) Annual Exhibition 1996, American Academy in Rome, May 24 — July 14, 1996 (Catalogue) Affinities: Chuck Close and Tom Friedman, The Art Institute of Chicago, April 27 — July 28, 1996 (Catalogue) Interstices: The A (a) rtist, A (a) rt and the A (a) udience, Duke University, Durham, North Carolina, April 12 — May 25, 1996 Fractured Fairy Tales, Art in the Age of Categorical Disintegration, SoHo at Duke, Duke University Museum of Art, Durham, North Carolina, April 12 — May 25, 1996 (Catalogue) New in the 90's, Katonah Museum of Art, New York, March 31 — April 21, 1996 Attention to Detail (Realism in All Forms), Louis K. Meisel Gallery, New York, March 2 — 23, 1996 Master Printers and Master Pieces, Kaohsiung Museum of Fine Arts, Taiwan, February 16 — June 2, 1996 Narcissism: Artists Reflect Themselves, California Center for the Arts Museum, Escondido, February 4 — May 26, 1996 (Catalogue)

Lien Truong blends American and Asian imagery and technique to examine the cultural and political conditions embodied in America's founding and ongoing agrarian philosophy, and how this symbolizes the values of Manifest Destiny and the creation of America as a State formed by colonization, diverse immigrant groups and slaves.

Greg Lindquist: Ai Weiwei's angular, blocky forms of American Minimalism seem to rely on a recontexualization with China's cultural histories.

2008 Selective Knowledge, Institute for Contemporary Art and Thought, Athens, Greece Zones of Conflict, Pratt Gallery, New York, NY Ours: Democracy in the Age of Branding, Sheila C. Johnson Design Center, organized by Parsons School of Design and the Vera List Center for Art and Politics, New York, NY Crossroads: Interfaces between rock and contemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art Museum.

Drawing on the cultural significance of Provincetown as the site of the Pilgrims» first landing in North America (before they moved on to Plymouth), Oldenburg cobbled driftwood into constructions featuring forms of the American flag.

Featuring more than fifty artworks ranging in date from the early 1930s to our own time, Portraits and Other Likenesses from SFMOMA demonstrates how artists interested in issues of identity have negotiated a vast array of European, African, and American visual - cultural forms to redefine what it means to make a portrait.

(catalogue) Persona, The Renaissance Society at the University of Chicago, Chicago, IL; Kunsthalle Basel, Basel Switzerland 1995 It's How You Play The Game, Exit Art, New York; curated by Thelma Golden, Nancy Spector, Robert Storr, Jeanette Ingberman and Papo Colo Strung Into the Appolonian Dream... an exhibition of a private collection, Feature, NYC, NY Seven Llongish Wodden Sculptures, Feature, New York, NY 1994 The Ecstasy of Limits, Gallery 400, School of Art and Design, UIC, Chicago, IL Amenities, Frederick Layton Gallery, Milwaukee Institute of Art and Design, Milwaukee 1993 A Sequence of Forms: Sculpture by Illinois Artists, Chicago Cultural Center, Chicago, IL Mettlesome & Meddlesome: Selections from the Collection of Robert J. Shiffler, Contemporary Arts Center, Cincinnati, OH; Urbana - Champaign, IL; I Space, University of Urbana - Champaign Gallery, Chicago, IL 1992 Drawing New Conclusions, Betty Rymer Gallery, The School of the Art Institute of Chicago, Chicago, IL 1991 Office Party, (March) Feature, New York, NY Power: Its Icons, Myths and Structure in American Culture 1961 - 1991, Museum of Fine Art, Richmond VA: curated by Holliday T. Day (catalogue) 1990 Toward the Future Contemporary Art in Context, Museum of Contemporary Art, Chicago Awards in the Visual Arts, New Orleans Museum of Art, New Orleans, LA; Southeastern The Thing Itself, Feature, New York, NY (brochure) New Generations Chicago, Carnegie Mellon Art Gallery, Carnegie Mellon University, Pittsburgh, PA; curated by Elaine A. King (catalogue) Half - Truths, The Parrish Art Museum, Southhampton, NY; curated by Marge Goldwater 1989 On Kawara: Date Paintings 1966 - 1988, The Renaissance Society at the University of Chicago, Chicago, IL Signs of Life: Contemporary American Sculpture, Fundacao Calouste Gulbenkian; Fundacao Luso - Americana Para O Desenvolvimento, Lisbon, Portugal; curated by Judith Russi Kirshner.

His cultural circle also included the choreographer Merce Cunningham (1919 - 2009) and the composer John Cage (1912 - 92)- later to become influential in the Neo-Dada and Fluxus movements - as well as the Belgian sculptor Georges Vantongerloo (1886 - 1965), the great Romanian modernist Constantin Brancusi (1876 - 1957)(whose simplification of natural forms had a lasting influence on Kelly), and the American inventor of mobiles and stabiles Alexander Calder (1898 - 1976).

Unlike, let's say, the wider historical account, which includes the whole bohemian world that is inseparable from its political and social surroundings in Dore Ashton's essential volume New York School: A Cultural Reckoning, or Irving Sandler's landmark Triumph of American Painting: A History of Abstract Expressionism, your observation that the beginning of pluralist taste in art begins with Cahill and continues onward to the works of Allen Ruppersberg and more recently, deliberately formed art collectives like Bernadette Corporation and the Bruce High Quality Foundation.

National Museum of the American Indian presents Circle of Dance, an exhibition opening Saturday, Oct. 6, featuring Native dance as a vibrant, meaningful and diverse form of cultural expression.

True or untrue, myths surrounding the early funding of the movement by the CIA in order to affect a form of American cultural Imperialism stick to the group; as does the pivotal position it holds in the canon of art history, as the turning point when «art» migrated from Europe to America following the Second World War.

Through the multicultural perspective provided by the history of maiolica glaze painting (tin - glazed pottery that originated during the Renaissance), Devers maps his own journey in the form of paintings, ceramics, and installations to offer a new translation of pattern, form, and space and to provide new perspectives of cultural influence as an American artist working in Mexico and Italy.

Jointly produced by the Asian American Women Artists Association and the Asian Pacific Islander Cultural Center, the juried show was organized by Linda Inson Choy, who worked as a Curatorial Assistant at the Asian Art Museum, San Francisco, form 1996 to 2004, and has since gone one to independently curate exhibitions at Mills College and Incheon Art Platform, Incheon, Korea, as well as organizing panels at the College Art Association Conference for the past four years.

In this panel, hear from the representatives from We Are Still In and America's Pledge on this new form of American climate leadership and how they are working with a coalition of over 2700 U.S. cities, states, businesses, faith groups, indigenous people and cultural institutions committed to bold climate action, thereby waving the flag that the US is still in.

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Cultural and linguistic diversity form a substantial part of the American heritage and should be embraced in early childhood programs for the benefit of children.