Sentences with phrase «as cultural theorist»

As cultural theorist Stephen Wright, in Users and Usership of Art: Challenging Expert Culture (2007), writes: «envisaging an art without artwork, without authorship and without spectatorship has an immediate consequence: art ceases to be visible as such».

Iniva operates as an arts publishing house, often working in collaboration with larger publishers and producing books by writers such as the cultural theorist Kobena Mercer, [11] curator and educator Sarat Maharaj, artist Sonia Boyce [12] the art historian Guy Brett, and the art critic Jean Fisher.

On her blog, Nora Samaran lends her perspective as cultural theorist, college professor, and geeky feminist.

Frazier's influences range from Jacob Riis, Lewis Hine, and Farm Security Administration photographers to self - portraitists Frida Kahlo and Claude Cahun, as well as cultural theorists bell hooks and Michele Wallace and urban geographer David Harvey, all of whom she cites as part of her «artistic family lineage.»

Not exact matches

The academic theorists of the cultural left - those who have been distracted by «mostly apocalyptic French and German philosophy» at the expense of political economy — must recognize that they now need as allies «what remains of the pre-sixties reformist left.»

At times it appears that each theorist regards religious evolution, like other dimensions of cultural evolution, as resulting from its own internal dynamics.

In the face of potentially contentious and disrupting cultural differences, theorists and practitioners adopted inclusive accommodation as a strategy to neutralize the likelihood of conflict, since when put into practice, cultural inclusion means that no one's interests are neglected, no one is left out, and, therefore, no one is slighted, snubbed, or offended.

While it may very well be true that Heidegger sounds as if he is arguing for a pre-modern, pre-mechanized society, perhaps leaning toward a Luddite perspective, and while it also may appear that McLuhan is arguing for the continued evolution of technology that will enhance society, perhaps smacking of a full - blown techophilism, both theorists come together on the primary assertion that they make - technology has a profound and invisible shaping force on our epistemic values, perceptions of reality and truth, and cultural values and norms.

They point to other destructive aspects of television that have been stressed by television researchers and theorists; the privatization of experience at the expense of family and social interaction and rela - tionships; (33) the promotion of fear as the appropriate attitude to life: (34) television's cultural levelling effects which blur local, regional, and national differences and impose a distorted and primarily free - enterprise, competitive and capitalistic picture of events and their significance; (35) television's suppression of social dialogue; (36) its distorted and exploitative presentation of certain social groups: (37) the increasing alienation felt by most viewers in relation to this central means of social communication; (38) and its negative effects on the development of the full range of human potential.

Gender theorists believe, as Simone de Beauvoir said, that «one is not born a woman, one becomes a woman» by assuming certain «gender characteristics» that are, for the most part, cultural constructions that these theorists denounce.

Some children come to school with more accouterments of the culture of power already in place — «cultural capital,» as some critical theorists refer to it (for example, Apple, 1979)-- some with less.

Pioneering conceptualist Jiro Takamatsu (1936 — 1998), a major influence on the artists of the Mono - ha movement, had a career that spanned forty - plus years, during which time his considerable influence as an artist, theorist, and teacher extended across the Japanese postwar cultural landscape.

Recent works include the three - screen installation The Unfinished Conversation (2012), a moving portrait of the cultural theorist Stuart Hall's life and work; Peripeteia (2012), an imagined drama visualising the lives of individuals included in two 16th century portraits by Albrecht Dürer and Mnemosyne (2010) which exposes the experience of migrants in the UK, questioning the notion of Britain as a promised land by revealing the realities of economic hardship and casual racism.

Who, beyond cultural theorists and specialists, recognises this as valuable today?

Inspired partly by the French critical theorist Roland Barthes, who viewed mass cultural images as signs freighted with latent meaning to be deciphered, she first gained attention for a series of artworks starkly displaying newspaper snippets (headlines, photographs), forcing viewers to examine the way they responded to media's authoritative voice.

Akunyili Crosby's characters and scenes, however, occupy the liminal, in - between zone that post-colonial theorist Homi K. Bhabha refers to as «the third space», a point of overlap, conflation and mixing of cultural influences specific to diaspora communities.

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.

Biemann's practice has long included discussions with academics and other practitioners, she has worked with anthropologists, cultural theorists, NGO members, architects, as well as scholars of sonic culture.

As this lucid and important new book makes clear, Giuliana Bruno is one of the very few cultural theorists with the intellectual originality and breadth of knowledge to evaluate meaningfully the ongoing reconfiguration of relations between architecture, cinema, and the visual arts.

This volume presents the artist as a theorist and a commentator on the art and cultural life of his time.

In chapter 1, Wainwright describes how theorists such as Hall, Mercer, and Gilroy have searched for and conjectured a «diaspora (or black) aesthetics» through the implementation of cultural semiotics, and contends that even they betray an understanding of the limitations of such an analytical model.

It is in this respect that her work operates in the liminal, in - between zones that post-colonial theorist Homi K. Bhabha refers to as «the third space», a point of overlap, conflation and mixing of cultural influence specific to diaspora communities.

In his book The Shape of Time: Remarks on the History of Things (1962), cultural theorist George Kubler proposed ways to describe time other than through units such as decades or generations.

Other remarkable works include the installation The Unfinished Conversation (2012), a portrait of the cultural theorist Stuart Hall; Peripeteia (2012), a fictional drama on the lives of individuals in two 16th century paintings by Albrecht Dürer, and Mnemosyne (2010), which tells the story of migrants in the UK, questioning the idea of Britain as a promised land, where financial worry and casual racism can instead be real threats.

Conservationists, environmentalists, policymakers, artists, activists, writers, historians, political and cultural theorists, as well as scientists and social scientists in many specialisms, are all responding to its implications.