Sentences with phrase «about image culture»
The other one would be Daniel Boorstin's The Image, a supremely genius work about image culture.
http://www.7x7.com/ Not exact matches
For all their rhetoric about the «New Hebrew Man,» their culture and self - image was still perceptibly bourgeois.
Many worry about their own «sexual orientation» especially in a culture saturated with pornographic images and obsessed with discussions which assume a contraceptive mentality in which sex and procreation are wholly separated.
The future of a culture can be measured by the power of its images about the future.
That is the image our American ancestors saw when they thought about planting the germs of beauty and nobility in their new culture.
Within the context of special revelation, Niebuhr turned to two distinctive biblical teachings about man, man as creature and image of God, and used these two doctrines to clarify and substantiate his original assumption about man's paradoxical environment of nature and spirit, and to refute the competing anthropologies of modern culture.
The graced imagination is not about the ability to create images ex nihilo, but the graced imagination elevates, heals and perfects the imagination to be a better receptor and retainer of images and to in uence the intellect's contributions to culture.
It is, in part, that the culturally glorified image of how a woman should look and act makes women like themselves less, in part about men being afraid of a loss of control and power over women (very generalized — don't take it personally (unless the shoe fits), and the limitations that our culture puts on women — or more to the point that culture encourages women to put limits on themselves.
Perhaps that is true for some, but I believe if we can find an effective means to deliver and share positive, healthy, beautiful images and messages about birth, we can begin to unravel this culture of fear.
«Part of it is likely the kind of images that are available in the culture,» she speculates, such as «the lone scientist with the microscope or a computer and not with another person, whereas when you think about a doctor, you think about a doctor with a patient.»
Christy has an amazing way of being relatable, charming, and compassionate as she shatters the beliefs about health and body image that many of us have been taught by mainstream culture.
Couple weight gain with the RIDICULOUS body image expectations promoted in popular culture and you have a perfect recipe for feeling down about yourself.
The standouts here: Bruno Forzani and Hélène Cattet doing more experimental image - making along the lines of their gorgeous giallo homage Amer; Adam Wingard appearing on screen to puzzle out a hilarious solution to being stuck with the letter «Q»; Xavier Gens landing a grisly statement on the tyranny of body fascism in the culture; and contest - winner Lee Hardcastle contributing a clever stop - motion bit about a little boy's fears of potty training.
The film makes a tough point about how American sporting culture cares less about a person's upbringing, the quality of a person's abilities and even their talents than the wholesome image they project.
New to this disc is the four - minute «In Walt's Words: Snow White and the Seven Dwarfs,» an audio - only interview with Walt Disney discussing the film set to an image track, the seven - minute featurette «Iconography» that explores the film's influences on popular culture, art, and fashion, «@DisneyAnimation: Designing Disney's First Princess» with four contemporary animators discussing the design of Snow White, and an «Alternate Sequence: The Prince Meets Snow White,» plus the breezy promo - style pieces «The Fairest Facts of Them All: 7 Facts You May Now Know About Snow White» with Disney Channel star Sofia Carson and the rap retelling «Snow White in Seventy Seconds.»
«Many of us find ourselves politically disillusioned, anxious about consumer culture, potential economic collapse, and of course about our images, over which paradoxically we have more and more control.
I'd disagree with the Time Out reviewer that this isn't about anything, I took it as a parody of the «Benefits Street» media culture; using that stereotypical image and amplifying it to the nth degree highlighting it's ridiculousness.
You can learn a lot about communities, cultures, and people just by «reading» the images of them.
- Featuring songs, images and information to enthuse students about Cuban culture and music.
«It's about recognizing how powerful images have become in our culture.
Memes — images, videos, etc., that are shared electronically — are great springboards into discussions about culture.
«That's part of the reason for such grand misunderstandings about the country: Stereotypical images of Japanese culture infiltrate the educational system here.»
Each resource in this bundle is a carefully made presentation, containing splendid images and interesting facts about different countries and cultures.
Guide students to read closely for details they learned about Indian and Pakistani culture from the words and images and to present their learning in a creative graphic organizer that includes their own words and images.
Despite awareness days and continued research, many misperceptions about rabies exist, fueled by images from popular culture and widespread misinformation.
The beautiful Bali consisting of images and stories about people, nature, culture, art and performance, Balinese ceremonies, Balinese daily life, Bali beaches, rice terraces and Bali Golden Tour able to share the beauty and uniqueness of Bali.
When one thinks about visiting San Diego, the first images that spring to mind are the nearby beaches, laid - back culture and amazing Mexican cuisine.
Like Errol Morris, she uses her knowledge of photography to ask important questions about how images matter in our culture, but unlike him, she's documenting her family and friends.
With bright Day - Glo colors and a sleek aesthetic, Rosenquist's early work juxtaposes fragmented images derived from advertising to create enigmatic, thought - provoking narratives that foster a dialogue about consumer culture.
On another note, her piece The Liberation of Aunt Jemima and Uncle Ben was definitely a major shift for me in terms of thinking about the opportunities for images in popular culture to be incorporated into critical commentary — something you can definitely see in my work.
Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.
Many of the 21st century artists — such as iona rozeal brown, Trenton Doyle Hancock, and Robert Pruitt — mix national, international, historical, and pop - culture references with personal stylistic preferences to produce images that provoke more questions about identity than they answer.
Deborah Roberts creates visually arresting collages that encourage important conversations about girlhood, vulnerability, body image, popular culture, self - image, and the dysfunctional legacy of colorism.
In these sumptuous new images, Brooks continues to address questions about how we frame beauty, and the phenomenon of fashion as a both pop culture and artistictouchstone.
The exhibit will be the first major solo show for the artist in Los Angeles since 1997, an appropriate locale for images with much to say about celebrity and the influence of the media on popular culture.
Everything is going to be alright, Elizabeth Cherry Gallery, curated by Bob Nickas, Tucson, Arizona, USA Fresh: Recent Acquisitions, Albright - Knox Art Gallery, Buffalo, New York, USA Works on Paper From Acconci to Zittel, Victoria Miro Gallery, London, England Next Wave Prints v. 2.0, Elias Fine Art, Allston, Massachusetts, USA New Paintings, Wayne Gonzales, Jacqueline Humphries, Jonathan Lasker, Blake Rayne, Dan Walsh, Kevin Bruk Gallery, Miami, USA 2000 Drawings & Photographs, Matthew Marks Gallery, New York, USA What's So Funny About Color, Elias Fine Art, Boston, USA Glee: Painting Now, The Aldrich Museum of Contemporary Art, Ridgefield, CT Palm Beach Institute of Contemporary Art, Organized by Amy Cappellazzo and Jessica Hough), Florida, USA PICT: Digital Image Painting, Banff Centre for the Arts, curated by Yvonne Force and Carmen Zita) Alberta, Canada Paula Cooper Gallery, New York, with R. Grosvenor, R. Lichtenstein, R. McBride and D. Walsh, Tomio Koyama Gallery, Tokyo, Japan Hex Enduction Hour, Team Gallery, New York, USA (Curated by Bob Nickas)(212), Gary Tatintsian Gallery, New York (Organized by Irena Popiashvili, catalogue with essay by Christine Kim) Bit By Bit: Painting & Digital Culture, Numark Gallery, Washington, USA 1999 Sweet & Sour, Galerie Art & Public, Geneva, Switzerland Digital Sites, Numark Gallery, Washington, USA 1998 Brite Magic, Islip Art Museum, East Islip, New York, USA (Curated by Carolanna Parlatto) 1997 Diamond Dogs, Team Gallery, New York, USA Super Body, Tomio Koyama Gallery, Tokyo, Japan 1996 Face and Figure in Contemporary Art, Museum of Fine Arts, Boston, USA AbFab, Feature, New York, USA Mutate / Loving the New Flesh, Lauren Wittels Gallery, New York, USA (Curated by Michael Cohen) Supastore de Luxe, UP & Co., New York, USA (Curated by Sarah Staton)
The representation of these heavily mediated individuals, and the questions about image dissemination and public life, become particularly relevant in present times, where the fields of politics, spectacle and celebrity culture collide and merge.
Among Peterside's favourite African artists working today is Njideka Akunyili Crosby, whose work «uses images of Nigerian pop culture to counter generalisations about the African experience.
The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.
It is not just about the formal quality of the image itself, but also the networks of meaning and social relations it carries with it: humanitarian, celebrity, pop culture, etc..
While some Pop artists use photography to react to consumer culture, Robert Heineken repurposes found magazine imagery to talk about the media's role in objectifying women, Richard Prince and Sarah Charlesworth of the Pictures Generation push the boundaries of image appropriation, Christopher Williams talks about means of image production and contemporary artist Lucas Blalock confuses subject and backdrop through Photoshop.
Weaving together stories about affluence, beauty, body image, competition, corruption, fantasy, and excess, Greenfield's project questions the distance between value and commodity in a globalized consumerist culture.
He chooses images from mass culture to talk about politics, art, painting, cultural issues, taste, the material world, pleasure, power, sexuality, gender and the role of the artist's external life in the larger culture.
Koons plucks images and objects from popular culture, framing questions about taste and pleasure.
Weaving together stories about affluence, beauty, body image, competition, corruption, fantasy, and excess, Greenfield's sweeping project questions the distance between value and commodity in a globalized consumerist culture.
Then they became more archaeological, like objects sitting on a wall, but they were still about images of me and the iconography of a culture.
Won a Guggenheim, exhibited at the opening of the Smithsonian Museum of African American History and Culture and mentioned in the New York Times article about the museum, honored by the Hirshhorn museum at their spring gala, won the Moving Image Art Award and museum acquisition by 21 Century Museum, several solo museum exhibitions numerous acclaimed performances and group exhibitions, included in Shanghai Biennial, currently showing at Yale University Art Gallery.
Speakers will talk about the relevance of image - production in a culture already saturated with photographs, image appropriation and other cannibalistic practices and the inherent capacity of the medium to advance itself.
Syms designs an inevitably self - conscious environment, then populates it with images referencing black American culture and identity that the viewer must physically move about the space in order to observe and activate.
After all, despite all self - righteous yammering about what some 65 - year - old is up to at Gagosian Gallery, a key facet of the the culture from which those websites emerge has been the systematic disregard of traditional image rights.