Sentences with phrase «found cultural material»

Found cultural material, personal sentiments, dates, and other references lead the viewer into a situation that is both real and imagined.

Not exact matches

In the churches and congregations we find fresh energy and intelligence being devoted to the production of new hymns, music, artistic and liturgical materials, to the creation of fresh categories for doing theology, to the retrieval of threatened cultural resources, to the application of faith to public issues, and to the promotion of ecumenical sharing and partnership.

The overriding principle is that beginning with the educational and cultural material in which mankind most readily finds common interest, the programming will move progressively and as rapidly as possible to thornier materials.24.

In response, these churches, temples, synagogues and mosques produce the cultural material that enables their members and adherents to locate themselves with respect to the places and time in which they currently live, to identify with others, to find their moral bearings, and to achieve some measure of efficacy with respect to their own needs and aspirations.

Since moving to Mexico, Glassford has immersed himself in Latin American life, using found materials in his work and amassing a large collection of Mexican cultural objects that inform his art - making.

Both bodies of work highlight the poignant conjunctions between image and text in these found cultural artifacts, culling material from two very different books that each appear to be one thing but end up revealing quite another.

Titled «Miss Coari 1969, 1993,» the inventive collection explores different ways of working with cotton and found materials through the cultural lens of Gascon's hometown of Manaus, Amazonas.

Born in Baltimore MD, 1971, Smith creates vibrant installations based in fiber, using found, discarded, and gifted clothing as raw materials that are inflected with notions of belonging at all levels: social, cultural, and psychological.

He often brings together evolving traditions with present - day concerns through a mix of cultural references and materials, from robotic constructions and found objects (work boots and sewing machines) to organic materials (seeds, soil, and feathers).

After moving to New York in 1974, he began employing objects and found materials in his work, resulting in such creations as the «Dreadlocks» series of 1976, which used collected barbershop hair, a medium that he believed had spiritual associations in addition to cultural ones.

Using an idiosyncratic language of found materials he engages with themes of exoticism, tourism and cultural commodification.

The theoretical complexity underpinning Lloyd's practice finds its material and processual counterpoint in the synthesis of past and future - combining high and low cultural perspectives, digital and analogue techniques, and traditional and non-traditional artistic imagery and processes.

Evan Robarts, Shinique Smith and Hank Willis Thomas include found materials into their conceptual framework in a web of memory, history and cultural forces.

Focused on identity formations, hybridity and green urban spaces, Bonilla emphasizes upcycling found materials like bottle caps to reveal cultural nuances.

Most of her sculptures and installations are compositions created with found materials and debris, cultural products that have been rearranged into new, original compositions.

He utilizes sculpture, installation, video and photography to traverse cultural boundaries and reconnect with often overlooked objects, materials and places found in the rural landscape.

He depicts these notions through the use of found domestic and utilitarian objects and materials to form sculptures, drawings, and prints that generate visual puns and cultural overtones, while also aiming to highlight how these objects portray and mimic language, specifically Spanglish — the rhythmic convergence of two languages spoken in Latin - American homes.

Amanda Ross - Ho assembles materials and detritus, from found objects, photographs, drawings, sculptures, to paintings and video clips, into installations that explore questions of craft and «high» art and seem to clue us into a rich and personal socio - cultural world.

She works with found objects, organic materials, video, words, and most recently with cultural clothing, to create assemblages and installations.

PEET's practice can best be described as a kind of coded, free - form cultural assemblage, a combination of made and found materials that prods and questions dominant systems of authority, class, and institutional display.

Together, Hassan Sharif, Harmony Hammond, and Melvin Edwards utilize found materials to expand a modernist art tradition and invite cultural and historical context into abstraction.

However, what's most relevant about Bradford's work right now is the way his chosen materials — instead of expensive oil paint, he uses found and printed paper combined with Home Depot supplies — challenge the fraught history of painting and seek to subvert its tradition of cultural and market dominance.

Fernández's conceptually - based, research intensive process of art making often contains many layers of diverse cultural and historical references; she uses devices such as proportion and unconventional material to draw the viewer into her work, evoking an individualised experience of engagement that prompts questions of both place and way - finding.

Fernández's conceptually - based, research - intensive process of art making often contains many layers of diverse cultural and historical references; she uses devices such as proportion and unconventional material to draw the viewer into her work, evoking an individualized experience of engagement that prompts questions of both place and way - finding.

Another great fit for Miami's flagship museum, Nari Ward: Sun Splashed follows issues of migration and cultural transplantation through the use of found objects and a variety of multimedia materials from Jamaican - born, New York native Ward in his largest mid-career survey to date.

Moreover, if Genzken's work exemplifies an older model of bricolage, in which found elements are treated as raw materials whose histories are incidental, then the more prevalent strategy since the 1990s has been to maintain the cultural integrity of the reused artifact — to invoke and sustain its history, connotations, and moods.

The materiality of Francesca DiMattio's works is also crucial to their meaning, and the cultural connotations of the paints, fabrics, ceramics and found materials she uses influence how we understand them.

His work not only makes great use of sustainable materials, but often includes cultural references to African traditional crafts which gives a depth and texture not always found in contemporary design.

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