Sentences with phrase «since contemporary practices»

Since contemporary practices profoundly shape both historical retrievals and systematic articulations of Christian faith, studies in these branches of theology properly proceed by way of a prior movement of description.

Not exact matches

Since God, on this view, is contemporary with every finite actual entity, being neither in the past nor in the future of any other actual entity, God, on the principle in question, would be able neither to prehend nor to he prehended by any other actual entity, a conclusion more radically at variance with religious experience and practice than the doctrine Whitehead was invoked to repair.

The films of Nicholas Ray, more than any other contemporary American director's, were singled out by the up - and - coming Cahiers du Cinéma crowd (on the cusp of their own splashy Nouvelle Vague) as justification for their politique des auteurs — more a personal stance on critical practice than dogmatic superstructure, and long since codified and ossified by academic film criticism into hierarchy - happy «auteur theory.»

Scholars now describe HOLC's property evaluations and risk management procedures, along with the practices of the Federal Housing Administration, Veterans Administration, and U.S. Housing Authority, as significant contributions to the continuation of racial segregation, intergenerational poverty, and enduring wealth gap between white Americans and minorities in the U.S. Mapping Inequalities provides visitors an idea of what housing policies were like in the New Deal era and how these guidelines have since affected the interaction between wealth and poverty in contemporary America.

Since its founding in 1984 by artists, it has been one of Northern England's most active and successful organisations / agencies for developing emerging contemporary artists and practice.

He returned to his artistic practice in 2005, and has since exhibited in several group exhibitions including State of Mind: New California Art Circa 1970 co-organized by the Berkeley Art Museum and the Orange County Museum of Art; Ends of the Earth: Art of the Land to 1974 at the Museum of Contemporary Art, Los Angeles; and Afterlife: A Constellation, curated by Julie Ault as part of the 2014 Whitney Biennial.

GoMA has been researching and acquiring documentary media by influential female artists since 2007, increasing the representation of women working in this field within the city's collection and highlighting the contribution of female artists to contemporary art practice overall.

Since then, the practice has expanded and grown into a more broad, contemporary art culture.

High Anxiety: New Acquisitions (30 November 2016 - 25 August 2017) presents selections of artworks from 32 artists acquired since 2014, many of whom explore polarizing social and political concerns through a broad spectrum of contemporary artistic practices.

Through the practice of modern and contemporary sculptors, the three - dimensional art form has certainly come a long way since the marble busts and butts of yore.

Since his rise to prominence years ago at the 1985 Whitney Biennal to his recent ambitious street art survey Art In the Streets at the Museum of Contemporary Art, Los Angeles, Scharf continues to approach his practice with playfulness and a youthful spirit.

Eleanor Heartney's 2007 book After the Revolution: Women Who Transformed Contemporary Art has also become an indispensable publication for any scholar or artist trying to achieve a well - balanced view of culture and art practice since 1970.

Since a career - defining stint at MOCA, Los Angeles, from 2010 to 2013, Locks has excelled at connecting contemporary art practices to overlooked historical narratives and artists.

Hunt graduated from the Curatorial Practice program at the California College of the Arts in San Francisco, and has worked at various galleries and institutions since 2002, including Whitechapel Gallery, London; Friedrich Petzel Gallery, New York; the Wattis Institute for Contemporary Arts, San Francisco; and the Philadelphia Museum of Art.

Since 1949 it has consistently supported contemporary visual artists to successfully transition from education into professional practice, primarily by means of an annual, nationally touring exhibition.

Visual artist Liam Gillick will discuss his art practice and his recent book published by Columbia University Press, entitled Industry and Intelligence: Contemporary Art Since 1820.

The Archives at the Center for Curatorial Studies at Bard College serve as the institutional repository for the Center, and the Hessel Museum of Art and as a collecting repository which actively acquires, preserves, and provides access to a wide range of primary materials documenting the history of the contemporary visual arts and the institutions and practices of exhibition - making since the 1960s.

From iconic photo series to early sculpture and large - scale installation, the works included in this presentation represent the foundations or conceptual departure points that have defined practices and broader dialogues in contemporary art since the 1990s.

As the first major exhibition to span Heinecken's career since his death, the presentation reveals an artist whose work was a precursor to many techniques that define contemporary art practice.

By actively acquiring, preserving, and providing access to the archives and manuscripts of significant curators, innovative commercial art galleries, not for profit art spaces, arts collectives and initiatives, the Archives & Manuscripts Collection seeks to document the history of the contemporary visual arts and the institutions and practices of exhibition - making since the 1960s, representing a broad range of contemporary discourses and curatorial practices.

The graduate program at the Center for Curatorial Studies at Bard College (CCS Bard) is an intensive course of study in the history of the contemporary visual arts, the institutions and practices of exhibition - making, and the theory and criticism of the visual arts since the 1960s.

Based in Los Angeles since the early 1970s, Jackson has expanded the definition and practice of painting more than any other contemporary figure.

Since 1995, MOCA has offered a unique opportunity for emerging Virginia artists to have their work juried by practicing art professionals and displayed in a museum alongside renowned contemporary artists.

Since its foundation in 2007, DRAF has regularly reimagined its programme, testing new models of producing and sharing contemporary practices.

Since 2009 she has been resident artist and member of Chicago Art Department a non-profit art organization dedicated to cultivating new voices, ideas, and practices in contemporary art.

Architecture has been at the heart of the Royal Academy since its Foundation in 1768 and through the Summer Exhibition, now in its 250th year, the public have been able to peruse Royal Academician Architects» designs and models alongside other contemporary well - established and emerging practices.

Since the rise of conceptual art practices within the ever - changing terrain of contemporary art, one often encounters the silly assertion that art making has become a market of ideas as opposed to objects.

Since then the multiple has become an established part of many contemporary artists» practices.

Since 1983 he has developed an interdisciplinary art practice and exhibited internationally, and his curatorial projects have included innovative collaborations with visual artists, designers, and contemporary dance.

As the leading UK organisation to support emergent art practice from British Art Schools since 1949, New Contemporaries consistently provides a critical platform for new and recent fine art graduates.

Since the beginning of the 1970s Deacon has written extensively on his own practice and in relation to contemporary art in general.

Since 1994, the Center for Curatorial Studies and its graduate program have provided one of the world's most forward - thinking teaching and learning environments for the research and practice of contemporary art and curatorship.

It has since then organically evolved from an observant spectator concentrated on the most pertinent contemporary art practices, to become an operating and independent cultural agent.

MORE THAN WORDS... Feb 23 - May 18, 2018 FINAL WEEK MORE THAN WORDS... is a fascinating group exhibition that explores the use of text and the written word in modern and contemporary art practice since the 1960s.

Since 1979, Mercer Union has provided a forum for the production and exhibition of Canadian and international contemporary art and related cultural practices.

Living and working under the pseudonym «Lutz Bacher» since the 1970s, the artist's diverse conceptual practice spans photography, film, video and sculpture, often using found material, objects and images recontextualized from contemporary culture.

Since 2014, her role also has included work at Tate Modern, where she co-wrote Tate's revised Africa acquisitions strategy and researches contemporary artists and art practices from the African continent and the African diaspora.

To mark and celebrate Gormleys major contribution to the practice and discourse of contemporary sculpture since the 1970s, the artist will present a lecture that considers his current practice in the light of his seminal work at IMMA shortly after the museum opened in 1991.

This ambitious exhibition brings together the work of 20 contemporary Irish artists who have made significant contributions to art practice since 2000 and a fascinating exhibition of materials and unfinished paintings from the studio of Francis Bacon, one of the most important artists of our time.

Ever since the early 1970s, sculptor Charles Ray's protean practice has yielded some of the most memorable objects and experiences in contemporary art, causing us to confront, as Peter Schjeldahl has written, «elegant, deadpan fabrications that flip wild switches in our minds.»

Since opening its doors it has been home to exhibitions exploring pioneering movements across a broad spectrum of contemporary artistic practice — including Minimalism, Spatialism, Conceptualism and Arte Povera — that continue to inform the gallery's aesthetic today.

Since its inception in 2009, the course has been recognized as a platform for open discussions on curatorial practices and theoretical discourses of contemporary art with special emphasis on the strategic and aesthetic approaches of biennales.

Considered as the forerunners of contemporary art practice in Bangladesh, Rahman and Lipi are also well - known for having co-founded, and currently running, the Britto Arts Trust, a non-profit organisation supporting young artists, since 2002.

Chosen from the plethora of exhibitions, biennials and art events that have sprung up across the world since the 1990s, each exhibition reviewed here has triggered profound changes in curatorial practice, and reanimated the potential of contemporary art.

Syria: faith in art», a collective exhibition featuring artworks by contemporary Syrian artists encompassing a range of artistic practices and writing that has been produced since the onset of the Syrian Revolution in 2011.

Ranging from site - specific installations to painting and photography, the diverse works in this exhibition enter a broad, polyphonic discourse on contemporary art practice and the environment that has been ongoing since the 1970s.

The exhibition dedicated to Plamen Dejanoff is part of the research program titled Criticism that MAMbo has conducted since 2006: a reflection on, and an investigation of, artistic practices and the role of contemporary museums.

She has been based in London since April 2008 where she is now director of Afas, art & design LTD, freelancing in design and working on documenting and researching Lebanese visual culture and its interpretation through aesthetic contemporary practices.

Since the early 1990s, Song's artistic practice has focused on video, installation, performance, photography, and theatre, as well as curating contemporary art exhibitions.

Icelandic and UK artists Bryndis Snæbjörnsdóttir and Mark Wilson describe their collaborative practice, which they have conducted since 2001, as «socially engaged projects that explore contemporary relationships between human and non-human animals in the contexts of history, culture and the environment.»