Sentences with phrase «american image culture»

Casting a wide net, this L.A. - based German artist brings together both geographies in paintings and sculpture with obvious juxtapositions between German Romanticism and American image culture.

Not exact matches

That is the image our American ancestors saw when they thought about planting the germs of beauty and nobility in their new culture.

To the degree that traditional religious groups in American culture have emphasized the word and de-emphasized images, they have deprived themselves of an effective force for transmitting their own symbols.

The rejection of the Anglo - Saxon image of the American goes very deep and there is a great effort to retrieve the experience and history of all the repressed cultures that «Americanization» tried to obliterate.

He places rap squarely at the center of a hip - hop culture that reinforces patterns of ignorance and misogyny, and links it to larger cultural forces that debase the popular images of African - American men.

In the final essay, «American Dionysus,» Patterson points out that the current image of African - American men, when decoded and examined, illuminates the entire landscape of modern American popular culture.

To see what happens when the United States is able to bring so much of the world's culture into conformity with its own image, let us take a look at two case histories: the effects of U.S. media in the Caribbean and the recent American media campaign to sell cigarettes to the world.

The problem is that in the context of American evangelicalism, where religious images are often absent, pop - culture representations of the faith can become the formative symbols and images that a faith community encounters.

Pop art takes its inspiration from images of American culture, and I would say that Mickey Mouse ranks among the best - loved of such images.

In addition to earning his first Academy Award nomination for Best Actor, he also became an icon of the era, his white - suited visage and cocky, rhythmic strut enduring as defining images of late -»70s American culture.

Working Paper Series # 1: Michael A. Genovese, Art and Politics: The Political Film as a Pedagogical Tool # 2: Donald B. Morlan, Pre-World War II Propaganda: Film as Controversy # 3: Ernest D. Giglio, From Riefenstahl to the Three Stooges: Defining the Political Film # 4: John W. Williams, The Real Oliver North Loses: The Reel Bob Robert Wins # 5: Robert L. Savage, Popular Film and Popular Communication # 6: Andrew Aoki, «Chan Is Missing:» Liberalism and the Blending of a Kaleidoscopic Culture # 7: Barbara Allen, Using Film and Television in the Classroom to Explore the Nexus of Sexual and Political Violence # 8: Robert S. Robins & Jerrold M. Post, Political Paranoia as Cinematic Motif: Stone's «JFK» # 9: Richard A. Brisbin, Jr., From State and Local Censorship to Ratings: Substantitive Rationality, Political Entrepreneurship, and Sex in the Movies # 10: Stefanie L. Martin, Fiction and Independent Films: Creating Viable Communities and Coalitions by Reappropriating History # 11: Peter J. Haas, A Typology of Political Film # 12: Phillip L. Gianos, The Cold War in U.S. Films: Representing the Political Other # 13: Michael A. Genovese, The President as Icon & Straw Man: Hollywood & the Presidential Image # 14: Michael Krukones, Hollywood's Portrayal of the American President in the 1930s: A Strong and Revered Leader # 15.

The film makes a tough point about how American sporting culture cares less about a person's upbringing, the quality of a person's abilities and even their talents than the wholesome image they project.

Generation Wealth / U.S.A. (Director: Lauren Greenfield, Producers: Lauren Greenfield, Frank Evers)-- Lauren Greenfield's postcard from the edge of the American Empire captures a portrait of a materialistic, image - obsessed culture.

Utilising archival images and interview footage of the author and the three social - change giants, as well as historic misrepresentations of the black man in white American culture, I Am Not Your Negro offers an arcing, aching narrative that spans the centuries of abuse and oppression suffered by the African American population.

One might think that the first televised suicide in American history would leave a more indelible mark on pop culture history, but Kate can not find anything more than a still image of one of her broadcasts to forge her character.

The image of the lone cowboy — sitting tall in his saddle, astride his favorite trusty horse, hat pulled down against sun and sand, spurs catching the glint of the sun — is a vivid one in American culture.

The first to grow up in an image - centric world where the mass - dissemination of images via film, print and television started to infiltrate American culture on...

1990 «Image World: Art Media and Culture,» Whitney Museum of American Art.

Baltimore photographer Devin Allen, a novice whose image of police protests landed on the cover of Time magazine, is getting his first - ever exhibition at the city's Reginald F. Lewis Museum of Maryland African American History and Culture.

Throughout his career, Donald Baechler has gathered, collected, and employed popular images and objects to amass an archive of American culture today.

In regard to American popular culture, Bogin believes that in such a mediatized world, in which every sign is charged with meaning, it becomes increasingly problematical to create a «meaning - free» images that Minimal Art historically demands.

It led the «Pictures generation» to question how images proliferate, and (on a lesser note) it led American culture to an image of Barak Obama as populist hero.

The way in which Anne Collier skilfully re-photographs existing images of American pop culture from the 1960s, 70s and 80s using a large - format plate camera is similarly intriguing.

Bobby Seale, Seize the Time: The Story of the Black Panther Party and Huey P. Newton (Baltimore: Black Classic Press, 1991), quoted in Jo - Ann Morgan, «Huey P. Newton Enthroned — Iconic Image of Black Power,» Journal of American Culture 37, no. 2 (June 2014): 141.

By repeating objects and images, Cole comments on consumer culture and his works can be found in museums such as the Metropolitan Museum of Art, MoMA, the Whitney Museum of American Art, the Walker Art Center, Philadelphia Museum of Art and many others.

The expressive drawings of the American artist Raymond Pettibon combine text and image to represent various themes of American sociopolitical culture with an emphasis on war and nationalism.

Identifying a rich symbol in American culture that embodied adventure, self - reliance, and rugged individuality, he has created an image that stands on its own as a relic of an imagined, individualistic culture.

An English and Spanish word that broadly describes images and objects produced in the Americas and typical of American cultures, here it is specifically intended to evoke both North American vernacular art collecting traditions and a unique hemispheric perspective that reaches across national borders.

Her wide - ranging interests in American art and visual culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries (2017).

Prince's technique involves appropriation, and he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility, with images stemming from the Marlboro Man, muscle cars, biker chicks, off - color jokes, gag cartoons and pulp fiction novels, among many other sources.

Edited by an internationally recognized expert on Pop art and culture, this book surveys Pop across all artforms and gives equal coverage to its American, British and European manifestations Survey: Renowned scholar and critic Hal Foster focuses on the Pop image as it developed over the period: Reyner Banham, The Independent Group and Pop Design; Richard Hamilton and the Tabular Image; Roy Lichtenstein and the Screened Image; Andy Warhol and the Seamy Image; Gerhard Richter and the Photogenic Image; Ed Ruscha and the Cineramic Image; Robert Venturi, Denise Scott Brown and the Postmodern Absorption ofimage as it developed over the period: Reyner Banham, The Independent Group and Pop Design; Richard Hamilton and the Tabular Image; Roy Lichtenstein and the Screened Image; Andy Warhol and the Seamy Image; Gerhard Richter and the Photogenic Image; Ed Ruscha and the Cineramic Image; Robert Venturi, Denise Scott Brown and the Postmodern Absorption ofImage; Roy Lichtenstein and the Screened Image; Andy Warhol and the Seamy Image; Gerhard Richter and the Photogenic Image; Ed Ruscha and the Cineramic Image; Robert Venturi, Denise Scott Brown and the Postmodern Absorption ofImage; Andy Warhol and the Seamy Image; Gerhard Richter and the Photogenic Image; Ed Ruscha and the Cineramic Image; Robert Venturi, Denise Scott Brown and the Postmodern Absorption ofImage; Gerhard Richter and the Photogenic Image; Ed Ruscha and the Cineramic Image; Robert Venturi, Denise Scott Brown and the Postmodern Absorption ofImage; Ed Ruscha and the Cineramic Image; Robert Venturi, Denise Scott Brown and the Postmodern Absorption ofImage; Robert Venturi, Denise Scott Brown and the Postmodern Absorption of Pop.

Her research focuses on American art and visual culture of the nineteenth and twentieth centuries with a special emphasis on the intersections between fine art and the histories of consumer culture, theatrical entertainment, and technologies of image reproduction.

This section is chronologically sequenced: Revolt into Style (1956 — 60) surveys the birth of Pop culture and its images, including the American Beat generation artists, photographers and filmmakers; Jasper Johns and Robert Rauschenberg, the French Decollageistes, Richard Hamilton and the «British Pop» of the Independent Group.

The drawings, which combine fragments of text with images culled from American popular and underground culture, dominated the exhibition, due in part to the sheer number of them and in part to the appeal of familiar images drawn in a simple graphic style.

His early works in the 60s, painted from images sourced from the media, were parodies of the then - ascendant international styles of American Pop Art and the postwar culture and economic boom in West Germany at the time.

Image World: Art and Media Culture, Whitney Museum of American Art, New York, NY, curated by Lisa Phillips and Marvin Heiferman

The art of preeminent American modernist Stuart Davis (1892 — 1964) feels especially vital today in its blurring of distinctions between text and image, high and low culture, and abstraction and figuration.

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

One of the founders of Pop Art in the early 1960s, Dine is best known for his series of hearts, tools, Venuses, and bathrobes — images that have become icons of American culture.

Won a Guggenheim, exhibited at the opening of the Smithsonian Museum of African American History and Culture and mentioned in the New York Times article about the museum, honored by the Hirshhorn museum at their spring gala, won the Moving Image Art Award and museum acquisition by 21 Century Museum, several solo museum exhibitions numerous acclaimed performances and group exhibitions, included in Shanghai Biennial, currently showing at Yale University Art Gallery.

The 65 - year - old artist — who is well - known for his invention of «Re-Photography» and the appropriation of images across American culture and pre-existing media — moved into a farmhouse over -LSB-...]

In the world of art and culture, an inspiring array of shows are igniting the way, from the first major UK presentation of work by nomadic sculptor Not Vital to a stirring retrospective of images by American photographer Stephen Shore at C / O Berlin.

< NEWS U.S. Postal Service celebrates Smithsonian National Museum of African American History and Culture with the Oct. 13 issuance of new Forever stamp featuring an image of the museum's iconic building.

Both have a darkly comic twist to their work, using paint and collage to discuss and abstract images from popular contemporary American culture.

Betye Saar is an artist who has worked as a visionary, a healer, a resistance fighter and a maker of objects and images that embody the power, spirituality and beauty she sees in the ethos of African - American culture.

Syms designs an inevitably self - conscious environment, then populates it with images referencing black American culture and identity that the viewer must physically move about the space in order to observe and activate.

This dichotomy between the clarity of the image and the obscurity of the subject is one of the factors that makes this series one of the artist's most complex and engaging observations of American culture.

«Who Owns the Images on the Internet,» Tech Nation Americans and Technology, with Dr. Moira Gunn, KQED - FM, Feb «Romantizar el anti-cuerpo,» Arte en la Era Electronica, Centre of Contemporary Culture, Barcelona, Spain, Jan 30

The image of toy gun is an icon which embodies the conflict between reality and fantasy in the mind of a child - and in American culture in general.

Chisholm draws from a variety of sources to create a multi-perspective storyline swirling together American history, personal recollections and stories and images spewed from pop culture.