Sentences with phrase «as cultural critic»

As a cultural critic, she has co - authored along with bell hooks Homegrown: Engaged Cultural Criticism.

As a cultural critic and author, he is a contributor to The Guardian, Salon and The American Reader, as well as other popular publications.

The risking of observations in the classroom: Teacher as cultural critic.

If Kramer experienced any sort of honeymoon in his early days as a cultural critic, however, it didn't last long.

The big secret is that they are in their way as detached and alien as cultural critics as Cronenberg is as an anthropologist.

Not exact matches

But what critics who point to these reasons for the loss of certainty seem too often to forget is that the Church is never only a function of a culture nor ever only a supercultural community; that the problem of its ministers is always how to remain faithful servants of the Church in the midst of cultural change and yet to change culturally so as to be true to the Church's purpose in new situations.

A cultural critic without a lively imagination is likely to consider Gioia's call to arms «utopian,» as though renovation is synonymous with re-education camps.

With the rise of a new cultural movement during the eighteenth century, commonly known as the Enlightenment, a new critic of the church but one which was also a helper appeared on the scene.

The French who occasionally have expressed strong fears of US cultural imperialism have received «this shrine of American pop culture» enthusiastically despite some critics describing the Disney invasion as a «cultural Chernobyl» (Marguerite Duras).

As Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishmenAs Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishmenas an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishment.

Nonetheless, music, as literary and cultural critic George Steiner insists, «is brimful of meanings which will not translate into logical structures or verbal expression... Music is at once cerebral in the highest degree — I repeat that the energies and form - relations in the playing of a quartet, in the interactions of voice and instrument are among the most complex events known to man — and it is at the same time somatic, carnal and a searching out of resonances in our bodies at levels deeper than will or consciousness.»

It has institutionalized irresponsibility to such an extent, and demonized its critics so effectively, that even as it falls apart under the weight of its own contradictions, we keep pouring cultural capital into the same old schemes, hoping that all will turn out well in the end.

Though a satirist always risks blowback, both from those who don't get the joke and from some who do, when it comes to social criticism, I tend to follow what we might call the Joe Bob Briggs Doctrine: think of the social critic as a machine gun spraying fire across the cultural landscape, and «when a target screams, you've found the sacred cow.

Critics Consensus: Every bit as good - natured as longtime fans might hope, I Am Big Bird: The Carroll Spinney Story offers heartwarming behind - the - scenes perspective on a cultural icon.

An assessment of the film as part of a dissertational examination of Lawrence's contribution to comedic posterity and to African - American cultural history will surely note that the film was not pre-screened for critics in advance.

And yet, probably because he came of age in a video store and has never quite lost the autodidact's air of bullish authority, some high - minded critics and cultural arbiters can't bring themselves to take him seriously as an intellectual.

Also noteworthy, in the category of cinema ruled by cultural concerns and actual political events, was Carlos (d. Olivier Assayas), which kept a packed auditorium of critics in their seats for over five hours with a glossy, but intelligent action film version of the 1970s exploits of a terrorist born Illich Ramirez Sanchez, but known internationally as the Jackal, also by the code name Carlos; and Des Hommes et des dieux (Of Gods and Men, Xavier Beauvois), a film, elegantly minimalist in design, based on a real - life encounter between Algerian fundamentalist Islamic terrorists and a community of ascetic Christian monks.

The heyday for American film criticism was the»70s because I think the people that got into it at that point were really inspired by the likes of Andrew Sarris and Pauline Kael, both of whom became famous and established the importance of film critics as a cultural force.

In a lengthy new piece for The Atlantic, prominent cultural critic (and Black Panther scribe) Ta - Nehisi Coates digs into Barack Obama's presidential legacy as seen from the perspective of the Trump era.

As ever, the actual, individual tastes of critics and audience members vary, and there's a danger in trying to assign a cultural consensus to every movie.

On IGN, critic Jim Vejvoda says the movie «delivers the goods as an adventure film, a political statement, and a cultural celebration.»

Even film critics started small: a discussion around writing about film, as well as the writers and cultural trends that continue to influence our guests

So while motormouth Wade Wilson may not be as timeless a figure as Randle McMurphy, or as subversive a cultural critic as Sacha Baron Cohen's Borat or Bruno, he's the anarchic spirit we deserve right now.

Cultural critics were busying themselves with lily - livered debates over the moral quandaries of Violence as Stylish Accessory in the wake of Pulp Fiction, fretting that good American audiences couldn't take a little gun - brandishing.

Now that the books are treated as a cultural and commercial phenomenon, each new one receives respectful reviews by major critics.

When the movie adaptation of The Fault in Our Stars hit theaters in June, cultural critics like Slate's Ruth Graham immediately started lampooning grownups who read YA books that «abandon the mature insights... that they (supposedly) have acquired as adults.»

Through characters like Rosacoke Mustian, Wesley Beavers, Kate Vaiden and Blue Calhoun, Price introduced us to men and women — and critics praised Price for his deep understanding of women's nature — who, in some cases, were tentatively taking their first steps toward the secrets of adulthood, and in others were struggling to discover their freedom and identity in a world that would just as soon keep them imprisoned in narrow cultural stereotypes.

Our readers seek out the best in travel - top hotels, airline cabins, restaurants, & automobiles as well as cultural activities such as concerts and shows - and our writers, members of the Outer Critics Circle & the International Travel Writer Alliance, deliver on this.

He is the editor and creator of the videogames and architecture zine Heterotopias and for the past 5 years he has worked as a games critic, specialising in virtual architecture and games as cultural objects.

Kuspit is one of America's most distinguished art critics with many accolades such as the Frank Jewett Mather Award for Distinction in Art Criticism in 1983, the Tenth Annual Award for Excellence in the Arts from the Newington - Cropsey Foundation in 2008 and in 2014 he was the first recipient of the Gabarron Foundation Award for Cultural Thought.

Tuesday night, Paddy Johnson joins other art critics to talk shop at the Brooklyn Public Library's Dweck Cultural Center, and Tyler Coburn talks genetic engineering and body mods as the future of humanity at e-flux.

Critics have dismissed the contest as a populist ploy to bring cultural prestige to Grand Rapids (aka outer Siberia, as far as Chelsea insiders are concerned), and labeled the art produced for the contest as mostly mediocre.

Curated by Kate Sutton, this year's theme, Borderline, focuses on the comprehensive changes that European cultural institutions face on a political, social, and cultural level as seen from the perspectives of artists, art historians, international collectors, museum directors, dealers, critics, and curators.

Zhang Qiang, an art critic who visited it, described it in retrospect as the first painting exhibition after the end of the Cultural Revolution that was not organized by the government, and noted that it attracted a continuous stream of visitors.11.

In this guest lecture, Rice will speak from his experience as a curator, critic and cultural mediator in relation to Indigenous presence across the field of contemporary art and culture.

Playful in tone and less reliant upon the exploitative construct of the case - study scenario in such large scale video projects as Them, 2007, and Repetition, 2005, Artur Zmijewski's earlier videos stand in contrast to these somewhat over-determined provocations; while recent Zmijewski productions have adopted a nearly formulaic approach to positioning cultural difference and conflict, and thereby seem to codify the subject as «other» a priori — a risk that critic and art historian Hal Foster has insightfully called the «self - othering» of «the artist as ethnographer» — three earlier Zmijewski works engage a simpler, more agile approach.

As gossipy as it is reverent, Burr's proclivity for sorting, cataloguing, and cross-referencing thematic subjects comprises what critic and art historian George Baker's has succinctly described as the artist's «not - exactly - dialectical cultural pairings» of appropriated imagerAs gossipy as it is reverent, Burr's proclivity for sorting, cataloguing, and cross-referencing thematic subjects comprises what critic and art historian George Baker's has succinctly described as the artist's «not - exactly - dialectical cultural pairings» of appropriated imageras it is reverent, Burr's proclivity for sorting, cataloguing, and cross-referencing thematic subjects comprises what critic and art historian George Baker's has succinctly described as the artist's «not - exactly - dialectical cultural pairings» of appropriated imageras the artist's «not - exactly - dialectical cultural pairings» of appropriated imagery.

As an architect, conceptual artist, sculptor, photographer, blogger, Twitterer, interview artist, and cultural critic, he is a sensitive observer of current topics and social problems: a great communicator and networker who brings life into art and art into life.

According the those critics, The Fountain shows that an artist's labor has nothing to do with their work's merit — that an artwork is imbued with cultural significance automatically as soon as an artist calls it «art.»

As in the first two volumes, nine diverse contributors are included, ranging from art historian Jonathan Crary and philosopher Boris Groys to film theoretician Peter Wollen, from curator Russell Ferguson to cultural critic Elaine Showalter.

Călin Dan studied art history and theory in Bucharest, and has been active since 1976 as a journalist, art critic, art historian, cultural manager and as an artist in the artist duo subREAL.

After studying psychology, cultural sciences, ethnology and art at the University of Zurich and attending the conservatory of Vienna, Ruf worked as a freelance curator, choreographer and critic.

She has also served as an independent curator and as an art critic for ABC Cultural.

Also included is a major new text by award - winning poet, novelist, humorist and cultural critic Wayne Koestenbaum, as well as texts on the artist by Rose Art Museum director Christopher Bedford, and author and theorist Julia Bryan - Wilson.

As musician and critic Greg Tate wrote recently, «What you see in [Lawson's] work is photographer as cultural anthropologist but also as cultural vivisectionist and forensic curatoAs musician and critic Greg Tate wrote recently, «What you see in [Lawson's] work is photographer as cultural anthropologist but also as cultural vivisectionist and forensic curatoas cultural anthropologist but also as cultural vivisectionist and forensic curatoas cultural vivisectionist and forensic curator.

His words were an ironically definitive statement in a talk that featured a strong argument against the art critic as a cultural definer.

Mr. Wilson's provocative and emotionally charged re-imaging of the historical society's collection of Maryland artworks and artifacts drew nationwide attention from critics and curators and put Baltimore on the map as a destination for cutting - edge cultural tourism.

Described by The New York Times critic Holland Cotter as one of «the half - dozen most important people for art in downtown Manhattan in the 1970s,» Wilson remains what curator Peter Dykhuis calls a «creative presence as an arts administrator and cultural operative.»

Every spot painting Hirst has produced is included in this substantial publication with over 99 % of them illustrated.The Complete Spot Paintings includes essays by Museum of Modern Art curator Ann Tempkin, cultural critic Michael Bracewell and art historian Robert Pincus - Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.

By the end of the 1970s, when cultural critics began speaking of «the end of painting» (the title of a provocative essay written in 1981 by Douglas Crimp), new media art had become a category in itself, with a growing number of artists experimenting with technological means such as video art.