Sentences with phrase «cultural production with»

Her scholarly and cultural work seeks to assert a radically political analysis of modern and contemporary art and to foster the remembrance and visioning of cultural spaces that merge a commitment to artistic and cultural production with sociopolitical justice and collective liberation.

Not exact matches

For example, referring to the «institutional field of cultural production» that «rapidly and radically transformed... the rigid dichotomy between «high» and «low» «(for academics like Professor Rainey, dichotomies are always «rigid» and high art always needs scare quotes), he tells us that «Modernism's ambiguous achievement... was to probe the interstices dividing that variegated field and to forge within it a strange and unprecedented space for cultural production, one that did indeed entail a certain retreat from the domain of public culture, but one that also continued to overlap and intersect with the public realm in a variety of contradictory ways.»

These inequities are not only important for determining who has access to means of cultural production; they also become problems with respect to social control that may result in attempted ideological resolutions.

If understanding is a closure of meaning that includes an encounter with the alterity of the text, how can the production of meaning comprehend the complexity of the text as both a «cultural speech performance» (29) and a code of linguistic signs?

With the globalization of informational and cultural production, not only US transnational companies, but equally Dutch, German, or Japanese firms use information and culture to sell consumerism across the globe.

For us, it must start with the vision of a peaceful world, where gradually the production and distribution of armaments gives way to the production and distribution of goods and services that benefit the human race instead of threatening to destroy it, a vision of the rule of law rather than of economic domination, a vision of democracy where people are able to have a real say in what their own future will be, a vision of smallness and community involvement, a vision of cultural pluralism and a diversity of ideas, a vision of leisure spent meeting human needs.

It also could provide a means whereby other influential factors could be investigated and addressed, such as differences in the social and economic purposes of broadcasting, the social sources of violence and how media portrayals interact with those causes, how the restraints and traditions of media production cause the media to pick up particular cultural images while ignoring others, and how particular audiences respond to and use media images.

Through her range of experiences at the hotel, Haaz acquired in - depth knowledge of participating in the preparation and production of food items, and learned the importance of creating specialty dishes for guests with special dietary or cultural needs.

We work and look for a global society with life quality, with informed happy citizens exercising their rights and duties, based on the principles of sustainable development and democracy; integrated; upholding values of solidarity, equity and justice; open to changes; respectful regarding traditional knowledge and cultural diversity; committed with the production and consumption of organic and biodiverse products.

She has also been the producing director of numerous large - scale collaborations with other cultural venues, from Boston's annual First Night Puppetry Festival to the site - specific outdoor production The Midnight Zoo.

In the first instance production of medicines and vaccines would seem to be the best option for expansion in the medical field and later for industry to become involved in the processing of traditional medicines and indigenous cultural systems in collaboration with local scientists.

Once they learned to grow enough food to nourish those not directly involved in its production, it was not far to civilization — broadly defined as a society endowed with government, social classes, urban centers, extensive trade, and widespread cultural influence.

But the film embraces cultural specificity in a way that no other Pixar production has before, combining the studio's customary emotional directness with a deep dive into a great nation's art, music, history, and customs.

And, anchored by gorgeous production design and the pop naturalism of its performances, How to Make It in America dramatizes this particular cultural moment with uncommon style and a little grace as well.

by Walter Chaw Brutally overwritten, smug, and self - indulgent to no discernible point, Jason Reitman's disappointing Juno is an unfortunate attempt to marry Judd Apatow's sleazy morality plays with a Kevin Smith pop - cultural gabber — the result being a ventriloquism tract in which virgin screenwriter (formerly blogger) Diablo Cody crams so many unlikely gluts of verbiage into so many sterile, undeveloped characters that the whole production is the ultimate act of masturbatory puppetry.

Set in gritty Oxnard, Calif., the film boasts an almost entirely Latino cast of characters — a welcome gesture toward a huge filmgoing demographic that rarely gets to see itself onscreen — while smart casting and production design help capture the flavor of the environs with only moderate deployment of cultural stereotypes.

An X-Files extravaganza with creator Chris Carter talking about the production of his cultural touchstone, which celebrates its 20th anniversary this year.

The film is a cultural milestone with plenty of well - developed characters, a story that sparked political conversation in the real world, a dedicated cast of actors, and an elite production crew.

The original 1960 Broadway production of the musical version of the King Arthur legend by Alan Jay Lerner and Frederick Loewe was a smash hit turned cultural touchstone, associated forever with the idealism and youth of the John F. Kennedy.

Coogler and his collaborators, chief among them cinematographer Rachel Morrison, costume designer Ruth E. Carter, and production designer Hannah Beachler, behind and in front of the camera elevate Black Panther into serious commercial art, commercial art with provocative, confrontational political, cultural, and social themes rarely seen in or out of the genre — because Hollywood studios prefer playing it safe with potentially lucrative IP (intellectual property) in their possession — in turn delivering the first great film (genre qualifiers unnecessary) of the new year.

When the original Mini went out of production in 2000, BMW was ready to ramp it up with the new version, capitalizing on both the classic car's cultural significance and BMW's expertise in engineering and marketing modern premium small cars.

It's a great plance to visit, with beautiful trees, colourful flowers, a children's park, an astronomic observatory, a cafeteria and a 600 capacity open - air auditorium which hosts opera, theatre productions, concerts and other cultural events.

Book Launch: Trap Door at New Museum To celebrate the release of Trap Door: Trans Cultural Production and the Politics of Visibility, an anthology edited by Reina Gossett, Eric A. Stanley, and Johanna Burton, the New Museum will host a conversation with some of the book's contributors.

Comprised of a range of works on paper as well as two large - scale sculptures previously shown at last year's Venice Biennale, Moran explores the intersection of American history with that of cultural production — namely jazz and art.

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.

A new biennial exhibition series that explores contemporary art from Nunavut to Tierra del Fuego July 20, 2014 — January 2015 Opening Festivities July 17 - 19 SITElines: New Perspectives on Art of the Americas is a six - year commitment to a series of linked exhibitions with a focus on contemporary art and cultural production of the Americas.

With a focus upon contemporary art since the 1960s, MUMA seeks to establish the museum as a dynamic site for cultural production, pedagogy and participation — through exhibitions, collection development, curatorial research, publishing, and academic and community engagement.

The allusion is one of many in Huffman's exhibition that indicate his fixation with the popular nodes that drive contemporary cultural production, particularly, the profundity and cultural insistence of hip - hop in a world that often refuses to acknowledge the omnipresence of racism and anti-Blackness.

The reenactment plays with the idea of workers becoming culture consumers in their leisure time and proposes the possibility of the room becoming a site of cultural production.

As you will see in the exhibition, each of these artists successfully melds formal aesthetics and personal experiences with cultural production.»

Our graduates are leaders in cultural production throughout the world.Located within the School of Art + Design, the Richard & Dolly Maass Gallery presents exhibitions that provide professional context for students and interact with their daily classroom experience.

With his striking and original visual language and multifaceted artistic practice, Israel makes new connections between the city of Los Angeles, art history and the cultural productions of LA of both past and present.

She continues: «Critical theories about cultural production, about aesthetics, continue to confine and restrict black artists, and passive withdrawal from a discussion of aesthetics is a useless response -LSB-...] Black artists concerned with producing work that embodies and reflects a liberatory politic know that an important part of any decolonization process is critical intervention and interrogation of existing repressive and dominating structures.»

It posits a transnational generational formation of cultural producers aligned with leftist movements and ideologies — specifically, those whose politics are anti-capitalist, anti-imperialist, and decolonial — and whose artistic production is shaped by social transformations brought about through neoliberalization and the influence of recent subaltern - popular movements.

Presented by Bryant Park, Art Production Fund, Fridman Gallery, and The Franklin Furnace Fund supported by Jerome Foundation, The SHS Foundation, the New York City Department of Cultural Affairs in partnership with the City Council, and general operating support from the New York State Council on the Arts, and with support from Lower Manhattan Cultural Council

The audience is presented with not only a new way of experiencing contemporary cultural production but with a new framework for seeing artifacts from our social and historical narratives and resignifying our relationship to them.

LAXART's programs are made possible with the generous support of Brenda Potter, The Pasadena Art Alliance, Rosette Delug, Mark Fletcher, Fred Fisher, Mark Goldstein, Ron Handler, Jennifer Hawks, Bettina Korek, Candace Nelson, Peter Remes, Adam Singer, Lisa Schiff, The Andy Warhol Foundation for the Visual Arts, Art Production Fund, The National Endowment for the Arts, The Los Angeles County Arts Commission, Foundation for Contemporary Arts, and The City of Los Angeles» Department of Cultural Affairs.

He explores the semiotics of cultural production and the heritage of the ready - made, while endeavoring to reconnect the fundamental phenomenological and semiotic categories that have grown in polarity along with our efforts to define.

Operating within two gallery spaces and across Providence College's campus, the Galleries support the educational, service and community - oriented mission of the College with dynamic visual arts productions, including those that foster audience participation, cross-departmental collaboration at the College and cultural exchange at local, national and international levels.

Blurring the boundaries between media, technologies, and cultural histories, YHCHI has gained international acclaim for their «net art» productions - mostly black - and - white videos of quickly flashing capitalized text in a generic font with synchronized music.

Mark Amerika pushes the boundaries of his conceptual artistic production by engaging directly with text and images, responding to cultural and socio - economic concerns.

In his contribution to remixthebook, literary critic Joe Tabbi's practice - based theory mashes up Nietzsche's «Use and Abuse of History for Life» with selected works of new media writing and confronts us with the worth and worthlessness of digital cultural production.

This panel will reflect on critical issues in urban development with regard to contemporary cultural production.

The museum's unique collection of international contemporary art is a selective collection of works created by artists who occupy key positions in the field, either because they have created a distinctive visual language, objects and images with great originality and quality, or because they have reinvented important aspects of cultural production.

Guided by these questions, this exploratory seminar will survey and examine creative uses, definitions, and theories of the diagram from the early modern period to the present, with emphasis on cultural production in the 20th and 21st centuries.

Though each artist intersects with the material within their creative production, each capitalizes upon unique aspects of «textile» as cultural or historic carrier.

One of the most influential artists working with photography and the production and display of images, Christopher Williams» recent photographs reveal the unexpected beauty and cultural resonance of commercial, industrial and instructional photography

Starting with the premise that memory is political, her projects examine structures of time, memory, and the production of knowledge by engaging with archival materials, individual and collective narratives, and histories that span cultural and national borders.

As always, the symposium takes as its starting point the relationship between art and new media with a series of events examining the «current state of contemporary cultural production in relation to new technologies», with a selection of participating artists, curators, philosophers, and researchers delivering papers, performances and keynotes.

Using traditional and innovative methods of production, he links the past with the present while exploring the geopolitical, economic and cultural realities affecting the world with humour and compassion.