Sentences with phrase «cultural legacy from»

1993 John Biggers: Cultural Legacy from 1950 - 1992, Northeast Texas Community College, Mt Pleasant, TX John Biggers: Paintings and Drawings, Fayetteville Museum of Art, Fayetteville, NC

They will have detected some lasting cultural legacy from his efforts, to match that of the Festival of Britain in 1951, supervised by his grandfather, Herbert Morrison.

Not exact matches

«From a cultural perspective, and from the perspective of values and principles, I'm steeped in the legacy of the company,» Daly sFrom a cultural perspective, and from the perspective of values and principles, I'm steeped in the legacy of the company,» Daly sfrom the perspective of values and principles, I'm steeped in the legacy of the company,» Daly says.

The prime proponents of ID are the fine folk at the Discovery Inst / itute who openly admit that they purpose is NOT to teach what they think is true, but rather to use ID as a «wedge to defeat scientific materialism and its destructive moral, cultural and political legacies» and to separate science from it's allegiance to «atheistic naturalism».

To ask this second type of question is to raise a variety of issues: «Are the forms of speech and action in question a traditional legacy from an earlier social and cultural setting?

• to set a high value on the total cultural legacy we have received from the past and which enables us to develop our potential to become human;

... The dynamic movement of society gives absolute value to the present, isolating it from the cultural legacy of the past, without attempting to trace a path for the future.

From these traditions, we have inherited not only the specific substantive emphases that distinguish each from the others but a legacy of common themes as well: (1) a theoretically grounded rationale for the importance of studying religion in any serious effort to understand the major dynamics of modern societies, (2) a view of religion that recognizes the significance of its cultural content and form, and (3) a perspective on religion that draws a strong connection between studies of religion and studies of culture more generally — specifically, studiesFrom these traditions, we have inherited not only the specific substantive emphases that distinguish each from the others but a legacy of common themes as well: (1) a theoretically grounded rationale for the importance of studying religion in any serious effort to understand the major dynamics of modern societies, (2) a view of religion that recognizes the significance of its cultural content and form, and (3) a perspective on religion that draws a strong connection between studies of religion and studies of culture more generally — specifically, studiesfrom the others but a legacy of common themes as well: (1) a theoretically grounded rationale for the importance of studying religion in any serious effort to understand the major dynamics of modern societies, (2) a view of religion that recognizes the significance of its cultural content and form, and (3) a perspective on religion that draws a strong connection between studies of religion and studies of culture more generally — specifically, studies of.

«Sweet as Broken Dates: Lost Somali Tapes From the Horn of Africa» Review: A Cultural Legacy Rescued

His essay, In The Tradition: The Legacy of Cultural Messengers From Langston Hughes to Tupac Shakur, was published in phati» tude Literary Magazine in 2010.

Aside from its more obvious predecessors, War Dogs also takes a superficial, but interesting look at the cultural legacy of Brian De Palma's Scarface.

In a lengthy new piece for The Atlantic, prominent cultural critic (and Black Panther scribe) Ta - Nehisi Coates digs into Barack Obama's presidential legacy as seen from the perspective of the Trump era.

As an artistic influence on everything from fashion to music, Tron has created a cultural cosmos we now term its «legacy».

«Sweet as Broken Dates: Lost Somali Tapes From the Horn of Africa» Review: A Cultural Legacy Rescued

A legacy of one of the greening projects from 2010, the Green Hub is the head office of The Durban Green Corridor, a project that aims to «bring local people back in touch with nature through eco-tourism and adventure sports» — canoeing, hiking, mountain biking, bird watching and cultural tours.

«The baths are the guards of a cultural legacy of the past two millennia, and their surroundings can even evoke the feeling of bathing in a museum,» said a representative from the Hungarian Tourism Agency.

Lesbos has a great cultural legacy that unites the early composer Terpander from the 7th century right through to 20th century poet Odysseus Elytis, a Nobel Prize winner, and the ancient painter Theophilos.

The impressive Cathedral, with its world - famous bell tower Giralda, historic landmark of Seville and its rich cultural legacy, is easily reachable from the hotel.

2017 — LOG at LUMP Gallery, Raleigh, NC, curated by Maria Britton — AWKWARD MOMENTS, Lesley Heller Workspace, New York, NY 2015 — SACRED PLACES, Smithy Center for the Arts, Cooperstown, NY 2014 — MEMENTO MORI, Field Projects, New York, curated by Deborah Brown — CROWD, curated by Andrea Brown for The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackson

Investigation into new platforms for preserving cultural legacy and archiving artists» work Artist Trust is in discussions with libraries, museums and other institutions about the best ways to gather, secure and share the legacies of Washington State artists, from original artwork to cloud - based archives.

Among the things that make Genzken relevant to this cultural moment are her move from fabricated sculptures into assemblage in the 1990s, her apprehension of the way that information and images circulate in our digital age, her heterogeneous approach to art - making and, above all, her interest in, and upending of, the formal and ideological legacies of modernism — a concern shared by younger artists from Wade Guyton to Carol Bove.

Olagunju's use of precious and semiprecious metals lends consideration to the complex relationships that emerge from the exploitation of natural resources on the African continent, and its subsequent effects on communities and their cultural legacies.

This summer and fall, Norman Rockwell Museum will present the first exhibition to examine the artistic and cultural influence of these celebrated image - makers and the continued influence of their indelible legacies — Inventing America: Rockwell and Warhol is on view at Norman Rockwell Museum from June 10 through October 29th.

This has included developing a major multi-site exhibition programme, called We Face Forward, of art from West Africa, for the Cultural Olympiad; an exploration of the visual legacies of slavery with Trade and Empire, presented to coincide with the bi-centenary of the abolition of British slavery; and consistent attention to artists from South Asia, including a celebrated 65 - hour drawing and performance installation in 2013 by Indian artist Nikhil Chopra, the presentation of Subodh Gupta's work in the grounds of the Whitworth and video and textile work by Aisha Khalid.

It's a special time to embrace Hartford's cultural legacy, from the downtown Envisionfest to a Mark Twain look - alike contest to the fan - driven ComiConn.

The intervention artworks will speak to themes both present and absent from the exhibition, such as NASA's lunar landing, the legacy of iconic post-war artists like Joseph Beuys and Robert Morris, the rise of collaborative artistic practices, and the cultural and political affects of the Civil Rights movement.

Datumsoria: The Return of the Real is an outcome of «Art & Tech @,» a program initiated at Chronus Art Center and conceived by ZHANG Ga, which aims, through resuscitating the valuable legacy of experiments in art and technology from the mid-20th century, to come to terms with the challenges of a technologically constructed timespace: a new reality that has altogether changed the rules of the game in work and play, in politics and economics, and in artistic imagination and cultural sensibility.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

«Creative Time Global Residency: Reports From the Field», New York, NY, December 3, 2013 «Urban Imprint: The Art and Science Shaping Our Cities,» hosted by The University of Chicago, Jazz at Lincoln Center's Frederick P. Rose Hall, New York, NY, November 14, 2013 «Cultural Investment: Creating a Civic Identity Through the Arts,» CityLab: Urban Solutions for Global Challenges, NYU Skirball Center for the Performing Arts, New York, NY, October 7, 2013 «One State Together in the Arts» One State Illinois Conference, Quad Cities, IL, June 24, 2013 «Theaster Gates in Conversation with Romi Crawford,» Black Collectivities, Museum of Contemporary Art, Chicago, Chicago, IL, May 4, 2013 «LINC Legacy and Advancements in the Field,» hosted by the Ford Foundation, May 2013 «Constituency Engagement — Culture - Initiated Redevelopment: Strategies in Innovative Constituent Engagement,» Association of Black Foundation Executives, Palmer House Hilton Hotel, Chicago, IL, April 6, 2013 «Creating Heat - The Artist as Catalyst: Theaster Gates at TEDxUNC,» University of North Carolina at Chapel Hill, Chapel Hill, NC, February 9, 2013 «Building CapaCity Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 26, 2013 «Creative Resilience Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 25, 2013 «Transformative Art: Theaster Gates,» World Economic Forum Annual Meeting, Davos, Switzerland, January 23, 2013

Whether it be a stage name chosen to evade / delay anti-Semitism, or remov - ing diacritical marks, and the cultural mismatches that arise from the legacy of slavery.

Jiang's book publications include Burden or Legacy: from the Chinese Cultural Revolution to Contemporary Art (Hong Kong University Press, 2007), the Revolution Continues: New Art from China (Jonathan Cape, 2008), Red: China's Cultural Revolution (Jonathan Cape, 2010) and An Era without Memory: Chinese Contemporary Photography on Urban Transformation (Thames and Hudson, 2015), and he is Principal Editor of the Journal of Contemporary Chinese Art (Intellect).

This new model of self - curation redefined contemporary art and moved the contemporary art gallery scene from Manhattan's Midtown and Upper East Side to downtown, a transformation that led to the re-establishment of the city's cultural geography, a legacy that remains to this day.

Ideology., Hammer Museum, Los Angeles Polypersephone: Nayland Blake & Claire Pentecost, Iceberg Projects, Chicago 2013 NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York A Different Kind of Order: The ICP Triennial, Institute of Contemporary Photography, New York Nayland Blake, Thomas Demand, Trisha Donnelly, Vincent Fecteau & Wade Guyton, Matthew Marks Gallery, Los Angeles Macho Man, Tell It To My Heart: Collected by Julie Ault, Artists Space, New York 2012 The Bearden Project, The Studio Museum, New York Shift: Projects Perspectives Directions, The Studio Museum, New York R.P.F.P. (RIRE.POSITIONNER.FILMER.PERFORMER), École Européenne Supérieure D'Art de Bretagne as part of the festival Transversales Cinématographiques, L'Université Rennes 2, France 2011 Legacy: The Emily Fisher Landau Collection, Whitney Museum of American Art, New York Carter / Nayland Blake, Gallery Paule Anglim, San Francisco The Air We Breathe, San Francisco Museum of Modern Art 2010 Selections from the Hammer Contemporary Collection, Armand Hammer Museum of Art and Cultural Center, Los Angeles Owen Smith and Nayland Blake: Two One - Person Shows, Richard L. Nelson Gallery, University of California, Davis 2009 Consider the Lobster, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Contemporary Outlook: Seeing Songs, Museum of Fine Arts, Boston 2008 The Puppet Show, Institute of Contemporary Art, Philadelphia 2006 Into Me / Out of Me, MoMA PS1, New York.

For nearly 100 years, the Museum has celebrated the diversity of the visual arts and the legacy of New Mexico as a cultural crossroads by collecting and exhibiting work by leading artists from New Mexico and elsewhere.

Recent group exhibitions include «The Whole World is Rotten: Free Radicals and the Gold Coast Slave Castles of Paa Joe», Jack Shainman Gallery, New York, NY (2005), «Common Ground, Discovering Community in 150 Years of Art», Selections from the collection of Julia Norrell, Corcoran Museum of Art, Washington, DC (2004), «Hair Stories», Chicago Cultural Center, Chicago, IL traveling to Scottsdale Museum of Contemporary Art, Scottsdale, Arizona (2003 - 04), «Black President: The Art and Legacy of Fela Aikulapo - Kuti,» curated by Trever Schoonmaker opened at the New Museum, New York, NY and traveled to Yerba Buena Center for the Arts, San Francisco, CA, Barbican Art Gallery, London, UK (2003 - 04).

Drawing from the legacies of the European Old Masters and Christian iconography, as well as mythology and cultural lore, the artist layers existing histories with new narratives suggested by contemporary world events to create a psychological terrain of pathos, tenderness and repulsion.

«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003

The 2015 — 2016 acquisition of more than 9,000 works of art from the Corcoran collection of over 17,000 objects marks a transformative moment in the Gallery's history, one that deepens and expands public access to the country's diverse cultural legacy.

The process of the loan, shipping and customs negotiation for Ethel's objects — caribou - hide and rabbit - fur mitts, slippers, mukluks and baby boots — from the Thunder Bay Art Gallery at Duane's request mobilizes present day relations of cultural heritage while highlighting traces of genealogy and questions of legacy.

Directors» Cut: Selections from the Maine Art Museum Trail shares the rich cultural legacy of our state while providing a platform to highlight the visionary artists of our future.

Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.

Presented in alignment with Art Design Chicago and the Terra Foundation for American Art, the program will trace select artistic and design legacies produced in the city, spanning from 1968 — 2018, as well as their impact on the larger social, aesthetic, and cultural movements from the twentieth - century to the present.

Praise and hate coexist here; there is the exaltation of positive forces of resistance and of a valuable cultural legacy, but there is also inconformity in relation to the disregard from part of the state and society and to the incapacity to solve basic problems.

Lagomarsino unites new and previous works that elaborate on the legacy of colonialism, geopolitics, cultural boundaries andpower relations from an almost untraceable melancholic perspective.

While so much of today's common wisdom around appropriation grants that tactic a kind of distanced purview, from which an artist might critique while simultaneously participating in prevailing modes of cultural representation, we all too rarely account for the ways in which a sort of lasciviousness attends the venture — especially, perhaps, as younger generations take up its presumed look and legacy.

A cursory list might include: pollution of air, water and soil from billions of tons of toxic waste; declining biological and cultural diversity from the harvesting of natural resources; regulations that merely limit the poisoning of people and the environment; production and use of materials so dangerous they will require constant, costly vigilance from future generations; prosperity measured by activity not legacy.

About Blog Desisoul Arts includes artsy journey strewn with art, interviews of wonderful artists, tidbits from my rich cultural legacy as well as few spiritual and enlightening moments!!

This attendance gap is well recognised in the literature and exists in spite of targeted interventions that span a number of decades.30 This significant gap has been attributed to several factors, including greater family mobility, social and cultural reasons for absence, the higher rate of emotional and behavioural problems in Aboriginal children, the intergenerational legacy of past practices of exclusion of Aboriginal children from schools, and its impact on shaping family and community values regarding the importance of attending school in Indigenous families compared with non-Indigenous families.6 7 31 Additional socioeconomic and school factors differed slightly between the Indigenous and non-Indigenous cohorts.

In Aboriginal health research, there is a legacy of mistrust of researchers, who have often made false assumptions and misunderstood the values and practices of Aboriginal and Torres Strait Islander cultures by approaching them through their own cultural lens.1 There are ongoing concerns from Indigenous peoples that communication by researchers is poor, consultation is inadequate, values are violated by inadvertent cross-cultural insensitivity, and the research often fails to benefit the community.1

Combine the economic and tax benefits of Wyoming residency, the world - famous skiing of the Jackson Hole Mountain Resort, convenient air service with direct flights from thirteen cities across the country, a vibrant cultural scene, and proximity to Grand Teton and Yellowstone National Parks... isn't it time you create your own legacy in Jackson Hole?