Sentences with phrase «as cultural objects»

As a result, STNDRD elicits thoughtful curatorial contributions as artists respond to these architectural prompts, creating works that must consider the physical constraints of the space, as well as the history and significance of flags as cultural objects.

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.

Juergen Boos, the director of the five - day annual fair, has also suggested that a general attachment in Europe to the physical presence of the printed book and its value as a cultural object is holding the ebook back.

A Proper Publishing Parallel I understand the romance of publishing, and the importance of the book as a cultural object.

Not exact matches

In their religio - cultural struggles, the people do not remain as passive objects and helpless victims of the dominant culture, but positively affirm their cultural subjecthood.

God has created humans as cultural subjects, not objects.

A focus on the cultural dimension of religion represents a decision to take seriously the symbolism of which religion is constituted as an object of study.

In addition to our culture's fascination with breasts as sexual objects, breastfeeding is also «modified by a wide variety of [cultural] beliefs, not only about infant health and nutrition, but also about the nature of human infancy and the proper relationships between mother and child, and between mother and father1.»

It isn't as good as Clueless, but just as that teen movie did a better job with Jane Austen than all the supposedly legit screen adaptations of her novels that flanked it, Cruel Intentions is less presumptuous than the efforts of Vadim, Frears, and Forman, which were all presented as prestigious cultural objects.

I would like to characterize this period as a time when the tension between being the subject of politics and objects of anthropology (cultural other) was experienced most intensely in the history of Turkey's squatter neighborhoods.

As put by anthropologist Clifford Geertz, «The giving to art objects a cultural significance, is always a local matter».

They describe the books they create as «Cultural Objects».

It is the internet itself — as an object, a medium, a distribution pipeline and cultural mirror — which has devalued controlled media while legitimizing the value and contribution of the individual voice.

The cultural cues the designer puts into the game can have a huge effect — designing a testosterone - drenched game with scads of violence and / or women as sex objects (say, a Bulletstorm or a Duke Nukem Forever) is going to attract a very different audience, and have very different griefing thresholds, than online components for, say, the Settlers of Catan Xbox Live game or a more casual MMO like Maple Story or Free Realms.

In other words, it suddenly becomes a cultural object (i.e. a social object that articulates the company culture), as opposed to just a usual piece of commercial, «Here's - why - you - should - give - us - your - money» messaging (You know, the kind that nobody actually cares about).

Fine Art Registry (FAR) is a U.S. patented identification numbering system and database, realized, engineered and specially developed as a Web - based, permanent standard registration system and globally networked database for fine art, which is based on the Getty's Object ID, the core world standard for the identification of art and cultural objects.

Before Nonas began making objects, he worked for ten years as a cultural anthropologist, studying the way native cultures conceptualize space.

Darren's studio practice consists of text - based observations, and arrangements of common objects, as cultural commentary.

Since 1975, you have taken existing materials and presented them on a different plane, encouraging viewers to look at the material or remnant not only as a poetic image, but as a doubling of reality in a physical and cultural sense, as Germano Celant described it in «Object and Display» (2015).

She is founding editor of the online pop cultural criticism journal, Gaga Stigmata, and her tumblr, Women as Objects, archives the teen girl tumblr aesthetic.

In these exhibits, some of the artists creatively transform everyday objects as part of their social, political, and cultural commentary: the materials are part of the message.

And while it has been popular of late to display actual handmade African - American quilts, such as the ones exhibited in upscale New York galleries, Huckaby's act of repainting quilts disarms them as fetishized aesthetic objects while folding their weighted cultural meaning into the history of painting.

The artist uses a vocabulary of domestic objects and suburban architectural elements as a visual language, addressing our social, cultural and emotional existence.

Inspired by the idea of an imagined society in which psychotherapy is a freely available drop - in service, Johnson's installation of large - scale paintings, hanging plants, Persian rugs and four wooden day beds questions established definitions of the art object and its limitations, as well as the relationship between individual and shared cultural experience.

Sietsema is not interested in trompe - l'oeil for the sake of showing off; at the end of the day, his paintings and works on paper are a highly considered critique of the production of cultural objects and the roles that they play as they circulate.

She explores the possibilities of performance art as a way to continue her research on the relationship between people and objects, and to further investigate the commoditization of culture, assimilation, and how cultural meaning is transformed in the multicultural urban environment and is absorbed into new social contexts.

Although both British and American pop art began during the 1950s, Marcel Duchamp and others in Europe like Francis Picabia and Man Ray predate the movement; in addition there were some earlier American proto - pop origins which utilized «as found» cultural objects.

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.

The second form of intervention is a freezing of the object's (d) evolution as cultural artifacts: they become frozen indifferent states of object - hood, from recognizable to wholly mutated.

They have personified the roles of mothers, wives, lovers, and even sexual objects to poignantly acknowledge cultural stereotypes by relating their art to their own personal experience as women in a patriarchal civilization.

Explore the cultural diversity and rich history of Africa's people through works made from ancient stone, clay, wood, and metal, as well as utilitarian objects, musical instruments, ceremonial costumes and contemporary paintings.

As part of a new generation of artists associated with «New Materialism,» which proposes that objects and materials assert their own power over the viewer independent of subjective cultural interpretations, German and Mongolian - Chinese multimedia artist Timur Si - Qin is fascinated by the immediate visual and emotional power of brand logos and advertising in and of themselves.

One of Kings County's preeminent cultural New York attractions, the 560,000 - square - foot Brooklyn Museum made history as the first American art museum to exhibit African objects as artwork.

Nelson's artistic and cultural interests were even wider and more challenging than some of his famous New York colleagues; in his Philadelphia studio he explored avenues as innovative and diverse as welded sculpture, incorporating scrap or found objects, and printmaking, a medium that established him among the leading innovators of the day.

Indeed, cultural products, man - made images and objects, are at least as important to Rauschenberg as nature - derived imagery.

Curated by renowned museum director Prof. Dr. Martin Roth before his passing, it features numerous design objects loaned from some of Germany's most significant cultural institutions such as the Vitra Design Museum, Neue Sammlung,

May 28 — August 1, 2010 Social Skin - the third in a biennial series of exhibitions collaboratively curated by VCUarts Museum Studies students - included an eclectic mix of artworks and objects that present, explore, and delight in the body as cultural artifact.

The standard explanation of this work as an indictment of the authority of the museum and its classification of objects into arbitrary cultural hierarchies has always felt somewhat canned and unsatisfying.

Strategically placed objects in her photographs come into sharper relief during the collage stage as deliberately exposed tape and abrupt lines between forms frame our perspective, focusing us on the distinct cultural languages that she puts on view.

Born in Turkey and based in Berlin, Nevin Aladağ employs practicable objects such as carpets, wire, and instruments in her two - and three - dimensional works and video installations that engage purposefully with meditations on cultural heritage and identity.

For artists practicing in city centers such as New York, Los Angeles, Berlin, Paris, etc there are insurmountable financial restrictions forcing cultural practitioners into a complicated relationship with objects, one that more often than not results in an immaterial object that transcends spatio - temporality.

The works in the exhibition continue the artist's signature use of functional and found objects relating to his home country, drawing on both cultural and social shifts as well as considering these objects as vessels with personal and geological histories.

In the aptly titled exhibition, the artist introduces low relief sculptures and drawings to comment on cultural and psychological undertones of furnitures, not only as mundane utilitarian objects, but also as witnesses and vessels of human experience.

With a penchant for non-heroic, «anti-art» materials such as spray foam and aluminum, and a keen eye for cultural objects bemired in symbolic notions of power, Bäckström's deeply tactile works create a rich interplay between association, meaning, and materials.

The artist considers these silk prints as objects that sit between the resemblance of Mantones de Manila and oriental rugs, objects that embody a long history of trade, cultural circulations and mystique.

His exhibitions highlights include: «The Third AIM Biennial,» Bronx Museum of Art, Bronx, NY, FIAC International Art Fair, Galerie du jour, Agnes b., Paris France, Cindy Rucker Gallery, «What Becomes of a Broken Heart,» New York, NY, Rush Arts Gallery, «The Happening: Kinesics as Art Object» New York, NY, Powerhouse Memphis, Everywhere, Nowhere, Somewhere, Memphis TN, Bronx Art Space, «BEAT,» Bronx, NY, Aljira A Center for Contemporary Art «Dreamtime overtones from a fantastic brown planet,» Newark, NJ, Chicago Cultural Center, Chicago, IL.

This is the second panel in a three - part series investigating how the map can be understood as a metaphor, both as material artifact and cultural object as well as an artistic tool.

She often combines ceramic elements, beautifully handcrafted, with utilitarian items, such as toilet plungers or buckets, to create pieces that call into question the cultural and historic meaning of particular objects or images.

And that has a kind of African context too in that the African artists or the medicine men and others who were involved with creating things — cultural icons and other things — would determine the value of something and place it in a different context; such as the use of objects from nature.

Jillian Mayer: Slumpies a body of sculptures that function as utilitarian objects, presented on PAMM's outdoor terrace as well as in the Vattikuti Learning Theater on the museum's first floor Routes of Influence juxtaposes artworks in a manner that maps how aesthetic concepts move fluidly across traditional, national or cultural lines, how «influence» in art is understood today as multi-directional, rather than linear in character.