Sentences with phrase «radical imagination -lsb-»

Agustina Woodgate explores temporality, spatial politics, and the radical imagination.

An artistic movement as well as a school of thought, Black Radical Imagination uses cinema to explore the aesthetics of afrofuturism and afrosurrealism.

With Amir George, she co-curated «Black Radical Imagination,» a touring program of visual shorts exploring Afro - futurism presented internationally at venues including MoMA PS1, MOCA Los Angeles, and Museo Taller Jose Clemente Orozco in Guadalajara, Mexico.

Additional work by Jeannette Ehlers will be featured as part of the «Black Radical Imagination II» screening and panel talk on Tuesday, February 10 at 6:30 pm at Community Folk Art Center (CFAC).

is the curator of the Los Angeles Municipal Art Gallery and the film programmer of Black Radical Imagination.

Erin Christovale is the curator of the Los Angeles Municipal Art Gallery and the film programmer of Black Radical Imagination.

For up - to - date info on «Black Radical Imagination I & II», please see our Facebook events.

A similar mission runs through L.A. curator Erin Christovale's experimental short film program «Black Radical Imagination,» which she organizes along with Amir George.

Recapturing the Radical Imagination, Göteborg Biennial, Göteborg (2013); The Future Generation Art Prize@Venice 2013, Palazzo Contarini Polignac, Venice (2013); New works 13.1, Artpace, San Antonio (2013); No Borders, Bristol Museum and Art Gallery, Bristol (2013); He disappeared into complete silence; rereading a single artwork by Louise Bourgeois, Museum De Hallen, Amsterdam (2011); Speech Matters, Danish Pavilion at the 54th International Art Exhibition, La Biennale di Venice (2011); The Great New York, P.S. 1 MoMA, New York (2010).

Using films Baby Boy (2001) by John Singleton and Moonlight (2016) by Barry Jenkins as cinematic bookends, baby boy is a exhibition curated by Black Radical Imagination that explores the multitudes of Black - American malehood in the 21st century.

In this way, archives — which find home in our public institutions, private residences, and online — have come to embody sites of radical imagination.

The Los Angeles institution «dwells in the terrain of ideas and practices fueled by radical imagination» in order to transform how people engage with art.

For example, a very interesting common theoretical standpoint that was shared and jointly built during this week, was the understanding of black radical imagination as a Marxist approach that could engage utopia and a post-capitalist future from the perspectives of class, race and gender politics.

She is also the curator of Black Radical Imagination with Amir George, which has screened both nationally and internationally in spaces such as MoMA PS1, MOCA Los Angeles, and the Museo Taller José Clemente Orozco.

Just as Artists Space itself is transformed into a self - regulated commons, Decolonize This Place will «strike art» to «liberate art from itself» — in the words of MTL + member Nitasha Dhillon: «not to end art, but to unleash its powers of direct action and radical imagination.»

Clockwise from left, Influential young curators Erin Christovale (Black Radical Imagination, LA Municipal Art Gallery), Photo by Jamie Costa; Lanka Tattersall (MoCA LA), Photo by Myles Pettengill; Rujeko Hockley (Brooklyn Museum), Photo by Elena Olivo; Amanda Hunt (Studio Museum in Harlem), Photo by Sharon Suh; and Naomi Beckwith (MCA Chicago), Photo by Maria Ponce.

T H E U N S E E N F E S T I V A L Black Radical Imagination Join us on Thursday, September 28, 7:30 pm for Program 8 of the Unseen Festival: Black Radical Imagination.

Black Radical Imagination -LSB-...]

Black Radical Imagination focuses on the aesthetics of Afro - futurism, Afro - surrealism, and the magnificent through the context of cinema.

The shop traces related works from Lauren Anderson, Black Radical Imagination, E. Jane, Gene's Liquor, Nicky Benedek, Marco Braunschweiler, Kayla Guthrie, David Hartt, Kahlil Joseph, Chloe Maratta, Hassan Rahim, Diamond Stingily and Wilmer Wilson IV.

She is the curator of Black Radical Imagination with Amir George, which has screened both nationally and internationally in spaces such as MoMA PS1, MOCA Los Angeles, and the Museo Taller Jose Clemente Orozco.

What's more, she also helms Black Radical Imagination, a roving experimental film program that she co-founded with artist Amir George.

Split Ends, I Feel Wonderful Black Radical Imagination at Trinidad & Tobago Film Festival curated by Erin Christovale & Amir George September 20th, 2014 Trinidad & Tobago

Split Ends, I Feel Wonderful Black Cinema House Black Radical Imagination Showcase May 19th, 2013, 6 pm Chicago, Illinois

Split Ends, I Feel Wonderful Artists Television Access Black Radical Imagination Showcase August 31st, 2013, 8PM San Francisco, CA

Split Ends, I Feel Wonderful Museum of Contemporary African Diasporan Arts Black Radical Imagination Showcase April 26th, 2013, 8 pm Brooklyn, NY

Split Ends, I Feel Wonderful Art Basel Better Days showing with work by Cauleen Smith Black Radical Imagination Showcase June 14th, 2013 Miami, FL

Split Ends, I Feel Wonderful Black Radical Imagination at AstroBlackness Conference February 13, 2014, 6 - 7:30 pm

A Los Angeles - based independent curator and film programmer, she is co-curator of Black Radical Imagination, a series of film shorts, screened at venues including MCA Chicago, ICA Boston, and the Brooklyn Museum, that focuses on «the aesthetics of Afro - futurism, Afro - surrealism, and the magnificent through the context of cinema.»

Conceived as a radical think tank in the shape of an artist community, 18th Street supports artists from around the globe to imagine, research, and develop significant, meaningful new artworks and share them with the public to foster radical imagination, empathy, and positive social change.

Ahead of the 2018 Made in L.A. biennial, which she is co-curating with Anne Ellegood, Erin Christovale has been named an assistant curator at the Hammer Museum in Los Angeles.Christovale is known for running, with Amir George, Black Radical Imagination,... Read More

So for us, you can't have conversations about radical imagination without including artists, as they are the ones who articulate that vision both visually and sonically.

It is because the radical imagination exists that «reality» exists for us — exists tout court — and exists as it exists» (RI 138, emphasis original).

What he terms «radical imagination» roughly corresponds to an idea introduced twenty — three centuries ago by Aristotle, who discussed two completely different meanings for phantasia — one of which (prime or primary imagination) is, says Castoriadis, that «without which there can be no thought and which possibly precedes any thought» (RI 136 - 137).

Singular psyches are better conceived, in the view I have been sketching, as fleeting nodes in a multi-layered semiotic network whose connectivities are both ensured and characterized by shared modes of symbolization, or signification, such as language supplies.24 Here the «We» often claims the last word, but so long as some vestige of radical imagination remains, singular psyches are not subservient to public customs, institutional definitions, entrained instincts, ingrained habits, and soon.

RI Cornelius Castoriadis, «Radical Imagination and the Social Instituting Imaginary,» Rethinking Imaginations Culture and Creativity, edited by Gillian Robinson and John Rundell.

All acts of «naturing» (or «raw» sensing) and «culturing» involve an amalgam of (to use Castoriadis's terms) «radical imagination» and «a social instituting imaginary.»

This line of thought suggests that the products of minds are best conceived as issuing from constructive acts performed by «embodied psyches,» in which psyche and soma resolve their tensions and oppositions with the help of «radical imagination.»

Not exact matches

I now longer go to church, but I am consumed by redemptive radical scandalous imagination of Jesus.

What made St. Francis so influential was his extraordinary originality: the son of a rich businessman who renounced his wealth and slept in pigstys while retaining the courtliness and gentility that were noble attributes of his era; the anti-establishment figure who founded a great religious institution; the man of radical poverty whose followers were not permitted (even if they had wanted) to imitate his utter rejection of worldly goods; the man of the Bible who never owned a complete one; the author of the first great literary work in Italian dialect, the «Canticle of the Sun,» who was steeped in the jongleur tradition of French poetry and song; the naïf who moved the heart and enriched the religious imagination of that great realist and exponent of papal power, Innocent III; the child of the age of Crusades who sought not the conquest of the Muslims but their conversion.

It is allied with the imagination insofar as the latter is the power of the possible and the disposition for being in a radical renewal.

Since primary (or radical) imagination is prior to consciousness, secondary (e.g., poetic) imagination seems required to explain the creation of the concepts that discourse requires.

As such it is always subject to errors that can be controlled but not governed entirely by practical and / or socially established evaluative or critical methods.18 The indispensable factor of interpretation in the dynamic processes of semiosis even leads to the idea that there is a generic form of imagination in physical becoming, in addition to a primary or radical form in human perception, a consideration that would indeed justify calling creativity the category of the ultimate, just as Whitehead maintains.

How do we know when imagination is exclusively projective and when it has elements of radical openness to a transcending future?

As William Appleman Williams deliberately sought to reshape and radicalize U.S. foreign policy through a revisionist (and essentially Marxist) reading of the history of America's encounter with the world, so Jay Dolan has, with energy and imagination, sought to buttress the «progressive» agenda in contemporary American Catholicism and the cause of an «independent American Catholic Church» by a radical retelling of the story.

By piling complex image upon complex image, Hopkins drives toward the «inscape» or particularity of the bird's majestic flight and brilliant death; that is, the most indirect path is the most direct, or to put it differently, the only way to express radical particularity is through a plethora of images juxtaposed to one another, sparking the imagination to move toward a synthesis which, while not logical, is, taken as a whole, suggestive of a particularity.

And we're not going to get out of opposition unless we have a radical, ambitious, bold project and capture the imagination and ambitions of the next generation.»

Next is Blake, the radical who grappled with the human mind and imagination.

Those impulses drove his imagination beyond common sense and ordinary insight to radical and fundamental truths.

With the brief and fascinating exception of the blaxploitation movies and a few other works of radical or renegade art, vengeance in the American imagination has been the virtually exclusive prerogative of white men.