Sentences with phrase «cultural objects on»

List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan)

The Whitechapel Gallery has published this list of objects, which are being loaned to the gallery for a forthcoming exhibition, as information under The Protection of Cultural Objects on Loan (Publication and Provision of Information) Regulations 2008 and that by publishing this information the Gallery makes no representations that any of these objects fulfill all the requirements of the section 134 of the Tribunals, Courts and Enforcement Act 2007.

Not exact matches

A focus on the cultural dimension of religion represents a decision to take seriously the symbolism of which religion is constituted as an object of study.

Each chapter in the book is devoted to one of five objects and each builds on the cultural relevance of materials, exploring the connections between artists» materials and their everyday life; showing how materials could be used philosophically and playfully.

Solis» research focuses on children's cognitive development, specifically how young children play with each other and with objects to understand and build theories about the world around them, and how this is shaped by their cultural context.

Later on, Bali Governor Dewa Made Beratha stated similar rejection, citing, among others, that the bill «might place the Balinese cultural heritage and sacred religious objects in danger of legal prosecution.»

Like Drake's claim over the valuable cultural objects he pursues, the sense of pedigree and authority he invokes by aligning himself with Sir Francis Drake probably sits more or less comfortably with players depending on their worldview.

Fine Art Registry (FAR) is a U.S. patented identification numbering system and database, realized, engineered and specially developed as a Web - based, permanent standard registration system and globally networked database for fine art, which is based on the Getty's Object ID, the core world standard for the identification of art and cultural objects.

Gonzalez - Torres himself had formulated a brilliant theoretical approach to the circulation of images, objects, and ideas, based on a model of virality, that incisively responded to the horrors of the AIDS crisis while accurately predicting the terms of our current cultural epoch.

In both the «Gray Paintings (Loxodonta)» and the «Organ Pipes», the materiality of the objects open up to suggest a vast scope of cultural production — the elemental tin transformed into the majestic pipe organ, an achievement of pre-industrial design on par with horology; the «Gray Paintings (Loxodonta)» echoing the stone surface of prehistoric cave paintings and also the modernist tradition of the monochrome.

His referential and detritus - like objects derive their meaning from a discourse based on everyday objects and the urban environment and the meanings they acquire inside a number of socio - cultural contexts that the artist explores.

Since 1975, you have taken existing materials and presented them on a different plane, encouraging viewers to look at the material or remnant not only as a poetic image, but as a doubling of reality in a physical and cultural sense, as Germano Celant described it in «Object and Display» (2015).

The work's stemmed violence also probes the unsettling gap between real and surrogate, a common cultural obsession from the fetish objects of West Africa to the dismembered mannequins of Hans Bellmer and Cindy Sherman, and Maurizio Cattelan's melancholy take on the Bremen Town Musicians.

Like many of their previous collaborations, the exhibition will experiment with the intersection of photography, painting, and sculpture focusing on the shifting cultural significance of ideas, objects and images.

Early on, the process evolved from a mimesis of natural and cultural interventions on the object to an enactment of subjective interventions.

Sietsema is not interested in trompe - l'oeil for the sake of showing off; at the end of the day, his paintings and works on paper are a highly considered critique of the production of cultural objects and the roles that they play as they circulate.

Keith Haring: Journey of the Radiant Baby — Reading Public Museum, Reading, Pennsylvania, United StatesEditions on Paper — University of Valencia, Valencia, SpainKeith Haring: Art and Commerce — Tampa Museum of Art, Tampa, Florida, United StatesKeith Haring: Paintings, Sculpture, Objects and Drawings — Tony Shafrazi Gallery, New York, New York, United StatesAgainst All Odds — Rubell Family Collection, Miami, Florida, United StatesKeith Haring: POP Haring — Symbols and Icons Editions on paper from the Estate of Keith Haring — Singapore Tyler Print Institute, SingaporeComplete Editions on Paper — Centro Cultural Montehermoso Depsito de Aguas, Vitoria, Spain — Fundacion Caixa Galicia, Ferrol, SpainKeith Haring: Monumental Sculptures — Poppy & Pierre Salinger Foundation, Le Thor, FranceKeith Haring Drawings — Alona Kagan Gallery, New York, New York, United StatesKeith Haring — Early Drawings — Baltic Centre for Contemporary Art, Gateshead, United KingdomKeith Haring — Galerie Jerome de Noirmont, Paris, FranceKeith Haring Prints — Memo - art Galeria, Budapest, Hungary

She explores the possibilities of performance art as a way to continue her research on the relationship between people and objects, and to further investigate the commoditization of culture, assimilation, and how cultural meaning is transformed in the multicultural urban environment and is absorbed into new social contexts.

On view at the UB Anderson Gallery of UB Art Galleries from April 22 through July 30, 2017, this exhibition showcases artists who appropriate cultural objects in their practice.

In addition to the artworks on view there will be a display by the School of Psychology, Bangor University comprising cultural artifacts, documents and other items showing the connection between physical objects and our cognition.

Recent paintings, sculptures, and drawings that offer both a reflection on our cultural moment and a commitment to the material properties of the art object

Over the past three decades, Steinbach has become known for his sculptures that place ordinary objects on display — some purchased, others borrowed — to explore the intersection of our personal desires, memories, and cultural values.

On the occasion of this presentation, Biggers will create a large site - specific installation of a floor rug composed of loose sand poured unaffixed to the floor in colorful patterns that evoke prayer rugs or quilts — objects frequently referenced in Biggers's works for their aesthetic and cultural associations.

Strategically placed objects in her photographs come into sharper relief during the collage stage as deliberately exposed tape and abrupt lines between forms frame our perspective, focusing us on the distinct cultural languages that she puts on view.

Born in Turkey and based in Berlin, Nevin Aladağ employs practicable objects such as carpets, wire, and instruments in her two - and three - dimensional works and video installations that engage purposefully with meditations on cultural heritage and identity.

Taking its cue from the resurgence of figurative sculpture in the late 1980s and early 1990s, and from Sigmund Freud's essay «The Uncanny» (1919), the exhibition brings together mannequin - related art works, mostly from the 1960s onwards, with objects from disparate cultural contexts that engender a similar sense of unease in the viewer: medical dolls, anatomical waxworks, religious statues, pagan figurines, ventriloquists» dummies, sex dolls, taxidermy and so on.

The works in the exhibition continue the artist's signature use of functional and found objects relating to his home country, drawing on both cultural and social shifts as well as considering these objects as vessels with personal and geological histories.

In the aptly titled exhibition, the artist introduces low relief sculptures and drawings to comment on cultural and psychological undertones of furnitures, not only as mundane utilitarian objects, but also as witnesses and vessels of human experience.

Created on - site at the Addison's artist - in - residence studio, Liang's installation combines the Blanc de Chine (or Chinese White) porcelain native to Dehua, and jianzhi, the traditional Chinese art of cut paper, in works that examine the movement, appropriation, and transformation of cultural ideas, objects, and peoples.

But if you're able to snag a few moments at these stations, you'll see the objects on view in the aesthetic and cultural context of significant artworks, monuments, and movements: Marcel Duchamp's 1913 readymade Roue de bicyclette [Bicycle Wheel]; the Crystal Palace at the 1851 World's Fair; Pop Art's embrace of mass - media messaging.

All his works hint at a critical, analytical consideration of the concept of sculpture and its media: he straddles the boundaries between object and performance, architecture and design, sculpture and photography, artist and public, meaning that his work also provides a broad basis for reflection on social and cultural questions.

Jillian Mayer: Slumpies a body of sculptures that function as utilitarian objects, presented on PAMM's outdoor terrace as well as in the Vattikuti Learning Theater on the museum's first floor Routes of Influence juxtaposes artworks in a manner that maps how aesthetic concepts move fluidly across traditional, national or cultural lines, how «influence» in art is understood today as multi-directional, rather than linear in character.

1996 Atlanta Hartsfield - Jackson International Airport, Atlanta Bureau of Cultural Affairs: «We Can Go,» acrylic and mixed media painting on wood panels, 2» x 168» running feet; 4 steel and found object sculptures on 70» long baggage claim carousels in Concourse E (International Terminal)

Currently on view at American Contemporary, New York is «The Cardboard Lover,» a group exhibition that explores how cultural objects reflect the subjective experiences and objective styles produced by the late capitalist organization of labor.

Titled «wu jin qi yong,» or «Waste Not» (2005), a popular adage during the years of the Cultural Revolution (1966 - 1976), the work is a sprawling, though densely compacted array of household objects placed on the second floor atrium.

The works of the exhibiting artists illuminate varied perspectives on an object or matter, as is exemplified in the title and the opening date of the show, where the number «13» can be interpreted either as an unlucky number or as a lucky number, depending on the cultural background and historical context.

She has presented publicly in lectures, keynote addresses and hosted a number of community forums around topics of «Indigenous Self - Determination through Art» and the «Environmental Responsibility and Sustainability in Contemporary Indigenous Art Practices», «The History and Impacts of Economics on The Indigenous Object» as well as «Renegotiating Conservation: Revisiting the Roles and Responsibilities of Cultural Institutions in Canada regarding Indigenous Made Objects.

By combining things found on the street or in the studio and relating them to specific narratives, Mirza explores «the socio - cultural history of objects and the contexts in which they originally emerged / developed.»

Through a slow making process, Carr deliberately creates objects - paintings, artist books, pinhole cameras, short films, or clay sculptures, hand built or on the wheel - by reenacting cultural traditions common to domestic life.

I liked the idea of drawing on everyday objects, rather than in protected and more cultural mediums.

Wolfgang Tillman's Eastern Woodlands Room (2014) was a puzzle to solve, a room of apparently disparate objects and images loosely picking up on the theme of cultural cross-pollination as it is consumed by the European market and border control.

For several years, Rolf Sachs has been focusing in his works on language and speech and the objects of his cultural origins that touch him and reflect his ideas about freedom and openness.

In these times of diversity and multicultural experience, the artist's image is both a cypher for the human condition as well as the foundation for complex iconography in which the cultural object stands to reflect the impact of societal norms on the individual.

The works are a commentary on the fleeting nature of time, the fragility of life, the representation of women, and our cultural obsession with disposable objects.

The two works on exhibit deal with the notion of objects, collective and private, as carriers of meaning across time and cultural boundaries.

A series of soft assemblage sculptural objects on the walls and floor fill the front gallery, utilizing a broad platform of techniques that include digital media, painting, installation art, sculpture and color theory — as tools to tackle ideas of cultural and economic exclusion and privilege.

A center of cultural and intellectual life on campus, the museum serves as a living textbook for object - based learning, a home and resource for artists, and a catalyst for artistic expression, scholarly innovation, and the production of new knowledge through art.

Samella Lewis wrote in her book, African American Art and Artists, «Cultural customs and objects we have regarded as commonplace take on new significance and value in Sonya Clark's artwork.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Katja Novitskova and Timur Si - Qin Artists: Katja Novitskova and Timur Si - Qin Curated by Agatha Wara Adopting the language of global advertising and offering acute reflections on what it means to live under today's historical conditions, Katja Novitskova and Timur Si - Qin present images, objects, and texts that address our contemporary state of conflation: the value transitions between the biological and the cultural, from information into matter.