Sentences with phrase «american objects in the world»

This drum is one of the earliest known African - American objects in the world.

Not exact matches

[7] Many theological students, especially women, African Americans, and Hispanics, regularly and vigorously object that their «theological education» is in important respects inappropriate to the faith communities to which they belong and to the social and cultural worlds in which they expect to live and work in the future.

Reported in Scientific American, This Week in World War I: November 21, 1914 From the Scientific American Supplement issue of November 21, 1914, we note, «The first object of an army in war is to disperse or destroy the enemy, but a correlative duty is the care of its own men when wounded or otherwise -LSB-...]

If we could find such an object, we might be able to read how Native South Americans viewed their history and rituals in their own words, opening a window to a new Andean world of literature, history, and the arts.

But just as a straight highway can prove to be a veritable cloverleaf of intersecting ecosystems, the story of American leprosy is more convoluted than it seems — an object lesson in the complexity of the natural world.

Social commentary of a slightly different kind, Mike Binder's The Upside of Anger is the sort of upper class dysfunction opera that's fallen on hard times (The Safety of Objects, Fallen Angels, A Home At The End of the World, Imaginary Heroes) since the glory days of American Beauty and The Ice Storm, finding itself rejuvenated after a fashion in the smart, warm performances of Joan Allen and Kevin Costner.

In this lesson, students review their knowledge of the following concepts and themes: vocabulary related to civilization, community, and Spanish - speaking countries; preterite tense of verbs, and direct object pronouns with conjugated verbs and infinitives; and European exploration of the American continent and present - day challenges in the Spanish - speaking worlIn this lesson, students review their knowledge of the following concepts and themes: vocabulary related to civilization, community, and Spanish - speaking countries; preterite tense of verbs, and direct object pronouns with conjugated verbs and infinitives; and European exploration of the American continent and present - day challenges in the Spanish - speaking worlin the Spanish - speaking world.

Students answer ten questions that test their ability to demonstrate understanding of vocabulary related to exploration and cultures, direct objects, the verbs amar and querer, and the leaders and government of American countries in the Spanish - speaking world.

Students answer ten questions that test their ability to demonstrate understanding of vocabulary related to exploration and cultures, direct objects, and the leaders and government of American countries in the Spanish - speaking world.

Cho's work has been reviewed and featured in numerous publications, among them Textile Fibre Forum (Australia); Fiberarts; Surface Design Journal; American Craft; Monthly CRART (South Korea); Fiber Art Today (Schiffer Publishing, Ltd.); Masters: Art Quilts (Lark Book); Quilt National 2003: The Best of Contemporary Quilts (Lark Books); Contemporary Quilt: Quilt National 1997 (Lark Books); No: Nouvel Object (Design House, South Korea); Art & Craft (South Korea); Fiberarts Design Book IV, VI & VII (Lark Books); and Art Textiles of the World: USA (Telos Art Publishing, England), among others.

Culture Type - For Your Summer Agenda, 49 U.S. Exhibitions Featuring Works by Black Artists The International Review of African American Art Plus - A Look Inside: Eliza's Cabinet of Curiosities Art City Asks: Fo Wilson Wisconsin Gazette - A cabinet of curiosities in a cabin Art City: Using objects to explore, reimagine a slave's world Arts Without Borders: A «peculiar curiosity» lurks in the Lynden Scupture Garden's back woods

JIMMIE DURHAM: AT THE CENTER OF THE WORLD Art can be activist, and vice versa: Jimmie Durham's involvement in the American Indian Movement, downtown New York in the 1980s and identity politics in the 1990s serve as touchstones for an exhibition of more than 200 objects.

THE FIRST JEWISH AMERICANS: FREEDOM AND CULTURE IN THE NEW WORLD The mass exodus of Jews from Europe and their resettlement in North America is traced in this exhibition of portraits, drawings, newspapers and other objectIN THE NEW WORLD The mass exodus of Jews from Europe and their resettlement in North America is traced in this exhibition of portraits, drawings, newspapers and other objectin North America is traced in this exhibition of portraits, drawings, newspapers and other objectin this exhibition of portraits, drawings, newspapers and other objects.

Frank has also organized numerous theme and survey shows, including «Driven to Abstraction: Southern California and the Non-Objective World, 1950 - 1980,» for the Riverside Art Museum; «Artists» Books U.S.A.», «Mapped Art: Charts, Routes, Regions» and «Line and Image: The Northern Sensibility in Recent European Drawing», all for Independent Curators Inc.; «Fluxus Film and Video» for the Museo Reina Sofia in Madrid; «Young Fluxus» for Artists» Space in New York; «To the Astonishing Horizon» for Los Angeles Visual Arts; «Southern Abstraction» for the Raleigh (NC) City Gallery of Contemporary Art; «The Theater of the Object, 1958 ‑ 1972» for New York's Alternative Museum; «Visual Poetry» for the Otis / Parsons Art Institute in Los Angeles; «Multiple World» for the Atlanta College of Art; and, most notably, «19 Artists — Emergent Americans,» the 1981 Exxon National Exhibition mounted at the Guggenheim Museum.

The Morse Museum is known today as the home of the world's most comprehensive collection of works by American designer and artist Louis Comfort Tiffany (1848 — 1933), including the chapel interior he designed for the 1893 World's Columbian Exposition in Chicago and art and architectural objects from Tiffany's celebrated Long Island home, Laurelton world's most comprehensive collection of works by American designer and artist Louis Comfort Tiffany (1848 — 1933), including the chapel interior he designed for the 1893 World's Columbian Exposition in Chicago and art and architectural objects from Tiffany's celebrated Long Island home, Laurelton World's Columbian Exposition in Chicago and art and architectural objects from Tiffany's celebrated Long Island home, Laurelton Hall.

SELECTED EXHIBITIONS 2017 — Catalina Island Museam, Avalon, California 2017 — New York Botanical garden, The Bronx, New York 2017 — Chihuly Sanctuary, The Fred & Pamela Buffett Cancer Centre 2017 — Crystal Bridges Museam of American Art, Bentonville, Arkansas 2016 Chihuly, Royal Ontario Museum, Toronto, Ontario, Canada 2016 Chihuly in the Garden, Atlanta Botanical Garden, Atlanta, Georgia 2015 Glass Art Garden, Toyama Glass Art Museum, Japan 2015 Chihuly Drawings, Museum of Glass, Tacoma, Washington 2014 Chihuly at Fairchild: A Garden of Glass, Fairchild Tropical Botanic Garden, Florida 2014 Ulysses Cylinders, Dublin Castle, Dublin 2014 Chihuly, Denver Botanic Gardens, Colorado 2014 Dale Chihuly: Beyond the Object, Halcyon Gallery, London 2013 Chihuly, Montreal Museum of Fine Arts, Canada 2012 Chihuly at the Virginia Museum of Fine Arts, Virginia Museum of Fine Arts, Richmond, Virginia 2012 Chihuly Garden and Glass, Seattle Center, Washington 2011 Chihuly, Halcyon Gallery, London 2011 Chihuly: Through the Looking Glass, Museum of Fine Arts, Boston, Massachusetts 2010 Chihuly at Cheekwood, Cheekwood Botanical Garden and Museum of Art, Nashville, Tennessee 2010 Chihuly at the Salk, Salk Institute for Biological Studies, La Jolla, California 2009 Making Worlds (group exhibition), Venice Biennale, Venice, Italy 2008 Chihuly at the de Young, de Young Museum and the Legion of Honor, San Francisco, California 2006 Chihuly at the New York Botanical Garden, New York Botanical Garden 2005 Gardens of Glass: Chihuly at Kew, Royal Botanic Gardens, Surrey, UK 2002 Chihuly 2002: Salt Lake Olympic Winter Games, Salt Lake Art Center, Salt Lake City, Utah 2001 Chihuly at the V&A, Victoria and Albert Museum, London 2000 Chihuly in Iceland: Form from Fire, Reykjavik Art Museum, Iceland 1999 Chihuly in the Light of Jerusalem 2000, Tower of David Museum of the History of Jerusalem, Jerusalem 1995 Chihuly Over Venice, Venice, Italy 1989 20th International Biennial, São Paulo, Brazil 1986 Dale Chihuly: Objets de Verre, Musée des Arts Décoratifs, Louvre, Paris

Exhibitions include Dos Mundos: Worlds of the Puerto Ricans 1973, Mira, Mira, Mira, Museum of the City of New York 1974, Ten Japanese Artists, 1975; Legacy of James Vanderzee, 1977; Sacred Artifacts: Objects of Devotion, 1982; Disinformation: The Manufacture of Consent, 1985; Repulsion: Aesthetics of the Grotesque, 1987; Foreign Affairs: Conflicts in the Global Village, 1988; Dia De Los Muertos, 1988; Prisoners of Image: Ethnic and Gender Stereotyping, 1989; Mon Reve: Haiti after the Duvaliers, 1989; Artists of Conscience, 1992; Peoples Choice: Komar & Melamid, 1994; Expansion Arts, I, II, III, 1995 - 1998; (Mickey) Mouse: An American Icon, 1998; The Artists as Patron, 1999; Honeymoon Series by Yoshio Itagaki, 2000; Between the Real and the Unreal: Recent works by Simen Johan, 2000, Genochoice an installation by Virgil Wong, 2000.

Rejecting the overblown rhetoric and adamant nonfiguration of Abstract Expressionism, which then dominated the American avant - garde, Neo-Dadists embraced depictions of the real world and strove to integrate art and life through the use of real objects in paintings and sculpture.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

He creates a world in which objects and characters of outlandish shapes and sizes populate an American landscape of pop music, suburbia, and screwball comedy.

«The singular nature of this jug,» said Dr. Susan J. Rawles, VMFA's associate curator of American painting and decorative art, «both as a work of art and as a lens on a world largely muted by bondage — makes it one of the most compelling objects in VMFA's collection.»

It is exciting to see an artist of Dray's generation expressing such a subtle accommodation of the contemporary world; when questioned she rapidly agreed that her sculptures are highly metaphorical objects, in spite of their ostensible borrowings from the language of American Minimalism.

Whitney Museum of American Art: «Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama — Manhattan, 1970 - 1980» (closes on Sunday) Four decades ago, performance art was young, funky and clunky, beyond modernism, or maybe perversely beneath it, meant to reflect a world in which materials were transient, old models useless and values shifty.

Pearlstein has been recognized in several museum exhibitions among which are: Philip Pearlstein: a Retrospective at Milwaukee Art Museum, which travelled to The Brooklyn Museum, NY, Pennsylvania Academy of Fine Arts, Philadelphia PA, and Toledo Museum, Toledo, OH, 1983 - 84; The Abstract Landscapes and Other Early Works on Paper, Butler Institute of American Art, Youngstown, OH, 1992; Philip Pearlstein Retrospective Exhibition: Works on Paper 1959 - 1994, University of Pittsburgh, Frick Fine Arts Building, 1995 - 96; Philip Pearlstein: World War II Paintings, Carnegie Museum of Art, Pittsburgh, PA, 1998 - 99; An Economy of Specific Bodies and Particular Objects: Philip Pearlstein Drawings, Frye Art Museum, Seattle, WA, 2005; Philip Pearlstein, The Dispassionate Body, Tweed Museum of Art, Duluth, MN, which travelled to the Michener Art Museum, Doylestown, PA, 2006 - 08; Philip Pearlstein: Objectifications, Montclair Art Museum, Montclair, NJ, 2008 - 9; Philip Pearlstein: Recent Works, Lyme Academy College of Fine Arts, Old Lyme, CT, 2009; Philip Pearlstein's People, Places, Things, Museum of Fine Arts, St Petersburg, FL, 2013; Philip Pearlstein: Six Paintings, Six Decades, National Academy of Art, New York, NY, 2014; Pearlstein Warhol Cantor: From Pittsburgh to New York, The Andy Warhol Museum, Pittsburgh, PA, 2015; Philip Pearlstein: Seventy - Five Years of Painting, Susquehanna Art Museum, Harrisburg, PA, 2017 among others.

Through an extensive display of ephemera, including letters to Hugh Hefner and private collectors, glossy magazine advertisements, personal musings and sketches, My American Dream appears as a kind of bellwether for the art world's symbiotic relationship with consumerism, corporate sponsorship (a relic of another economy), and the market — political and ethical concerns that could not have been expressed in the sculptural objects she had made up until that point.