Sentences with phrase «as postcolonial»

I also took an African and Caribbean literature class as well as a postcolonial theory and literature class, which became invaluable.

As a postcolonial, brown, female «travel blogger», I too am fed up of reading travel blogs written by Caucasian travel bloggers who perceive the world with their myopic, culturally insensitive lenses.

Second, Jewett adopts whole - cloth the latest fad in New Testament scholarship, which broadly terms itself as postcolonial, and reads virtually everything in the New Testament as a coded critique of the Roman Empire and especially of its claims of cultural superiority elaborated in the civic cult of the early empire.

Not exact matches

As such, we have hardly any reason to suppose that these older democracies are necessarily more democratic than those in postcolonial South Asia.

It would be a mistake to regard South Asia or the rest of the postcolonial world as deviations from North Atlantic norms.

He conceptualised the Egyptian revolution as an incomplete process of socio - political transformation, having so far only partially changed the postcolonial Egyptian state.

At its best, however, Allah uses «Black Mother» as both a tribute to his heritage and a tool to craft a distinctly diasporic identity in a postcolonial world.

Set during the Biafran War that took place between 1967 and 1970, Chiwetel Ejiofar stars as Odenigbo; a radical professor with an interest in postcolonial theory.

Whether it's as direct as a Māori Dennis the Menace — type kid (Julian Dennison) bonding with a reluctant white father (Sam Neill) in Hunt for the Wilderpeople (2016) or as abstract as the outsider experience of Wellington's long - standing vampire society delineated in What We Do in the Shadows (2014), Waititi's movies exist at the nexus of native and colonizer cultures, the dichotomy that forms the basis of modern postcolonial theory.

The qualitative case study presented in this article used Indigenous Postcolonial Theory as a lens to explore the process and outcomes of a partnership between Indigenous community members and a teacher preparation program.

* Sometimes he writes as la paperson, an avatar that irregularly calls, as in the article, «The postcolonial ghetto: Seeing her shape and his hand» (Berkeley Review of Education).

Chosen among a competitive field that included Theaster Gates, Julie Mehretu and Mickalene Thomas, she was recognized for her innovative works capturing domestic environments and intimate interactions depicting «postcolonial African cosmopolitanism and her experiences as an expatriate living in America.»

Lubaina Himid is known for her multimedia work that explores themes of race, gender and institutional bias in postcolonial Britain through subversive means, such as traditional English crockery painted with scenes of slavery.

Fusco's nuanced and considered writing on the topic, as well as her continued artistic practice, will undoubtedly prove a benchmark for moving the needle on discussions of postcolonial identity politics for years to come.

It examines contemporary travel and mobility, as well as international trade and the value of art in this system, which developed from colonial and postcolonial histories.

The exhibition highlights the power and complexity of contemporary Indigenous photography, and the way in which Indigenous artists draw upon a rich mixture of history, personal experience, blak humour, as well as postmodern and postcolonial theories, in order to generate new perspectives and understandings of the social, political and cultural conditions faced by Indigenous and non-Indigenous Australians.

The Nigerian - born artist, however, makes their voices heard — ruminations on the day - to - day negotiations of postcolonial life once so obvious as to be assumed but which have taken on greater urgency as the issues of global immigration threaten to subsume them.

Her writing has appeared in exhibition catalogues and art journals such as ArtNexus, Caribbean Intransit: The Arts Journal, Gulf Coast: A Journal of Literature and Fine Arts, Interventions: International Journal of Postcolonial Studies.

In concersation with internationally acclaimed Ghanaian born, British architect Sir David Adjaye OBE, Professor Paul Goodwin, curato, Director of the resarch centre for Transnational Art, Identity and Nation [TrAIN], and current chair of Contemporary Art and Urbanism at the University of the Arts London, and moderated by Rachel Barrett, writer, curator and lecturer at the Jamaica based Edna Manley College of the Visual & Performing Arts, Thomas will discuss his artistic practice and the series of works in The Beautiful Game as well as the broader concerns of historical perspective and postcolonial, transnational legacies.

The large paintings of Meleko Mokgosi reference postcolonial narratives in his native Botswana as well as South Africa, Zambia, and Zimbabwe.

Her work has been featured in numerous publications and magazines including Passages: Indian Art Today (Daab Media, 2014), Lines of Control, Partition as a Productive Space (Green Cardamom 2012), Unfixed: Postcolonial Photography in Contemporary Art (Jap Sam Books, 2013); and Manual for Treason: Sharjah Biennial (2011), and featured in the New York Times, New Yorker Magazine, Art India, Artforum, Art in America, Frieze, Vogue India, Artpapers, and Art Economist.

2009 Beall, Dickson, SLAM for the holidays, West End World, 23 December Dawson, Jessica, Yinka Shonibare, skewing history with his images, The Washington Post, 20 November Judkis, Maura, Yinka Shonibare MBE: «As Artists, We are Liars», Washington City Paper, 13 November Geldard, Rebecca, Time Out, 6 November Lewis, Sarah, Yinka Shonibare: Brooklyn Museum, New York, Artforum, October Cole, Teju, Shonibare's fantasies of empowerment, 234 next.com, 10 July Hoffman, Barbara, Headless Bods, New York Post, 10 July Genocchio, Benjamin, The Rich Were Different (and Perhaps Still Are), The New York Times, 10 July Kazakine, Katya, Adam Smith, Ocelots Channel History in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African Art?

The fantastical nature of the lush setting also conjures thoughts of that racially charged no - place, the jungle, which postcolonial critics like Chinua Achebe have identified as the primordial hellscape of the 19th - century European literary imagination.

In the Dutch Pavilion, this argument is taken up more directly in two films by Wendelien van Oldenborgh that use modernist architecture as a framework to think about inclusivity and erasure in postwar, postcolonial Dutch society (Prologue: Squat / Anti-Squat, 2016, and Cinema Olanda, 2017).

Viewers can see themselves mirrored in the glass, which could be read either as an intentional provocation — implicating viewers into the postcolonial quagmire — or an ironic update on the gilded expositions of ethnographic fairs and 18th - century aristocratic art collections.

Meant to present a complex vision of masculinity, the installation is a meditation on dancehall fashion and culture, regarded as a celebration of the disenfranchised in postcolonial Jamaica.

I want to speak directly to the idea of the «Other» as a social body within a postmodern and postcolonial reality.

However, Bowling was frustrated at being pigeonholed as a Caribbean artist; as he said in a Guardian interview with Laura Barnett: «It seemed that everyone was expecting me to paint some kind of protest art out of postcolonial discussion.

She has been working concurrently on academic research as well as on postcolonial questions and socially engaged practices in contemporary art, and on their interaction: how socially engaged practices in contemporary art can become think tanks on postcolonial issues.

Spawned by their more formal Western predecessors and motivated by the forces of history and politics, the newer incarnations of the biennial often occur in the cities of the postcolonial world and the Global South, as well as in former socialist countries.

The body of work on show deal with potent issues hinged on history and aesthetic theory, presenting a unique artistic vision «invested in visual arts» relationship with politics of fiction, disjunctive temporalities, and postcolonial imaginations», as the press release reads.

Their collaborative work has been exhibited internationally and has been published in several edited volumes as well as in the journals Cultural Studies, Postcolonial Studies, and in the Revue Européenne des Migrations Internationales.

She posits slipperiness as a tool for survival in a postcolonial setting and, in the space of her canvas, allows forms and colors to embody two things at once and contradictions to survive simultaneously.

Sibande is celebrated for her practice in which she employs the human form as a vehicle — through painting and sculpture — to explore the construction of identity in a postcolonial South African context.

I remember reading a text of Edward Saïd (founder of the postcolonial academic field), he said that there is not a concept such as a point of origin, when one starts a research, one should subtract something from the mass and start to think about this certain subtract.

In this sense her work is informed by postcolonial theory, with the domestic setting acting as a stage where historical psycho - dramas play out.

Even the generally conservative (when it comes to sexual politics or postcolonial consciousness) Pompidou (Paris) put on its one survey show of women, «Elles» in 2012, although it is hard to see this as anything other than tokenism when feminism is side - lined from «business as usual» rather than integrated centrally into ongoing institutional strategy and policy.

Ms. Guerrero's writing has appeared in exhibition catalogues and art journals such as the College Art Association's caa.reviews, ArtNexus magazine, Caribbean Intransit arts journal, Gulf Coast: A Journal of Literature and Fine Arts, Interventions: International Journal of Postcolonial Studies, and Diálogo.

While signaling the importance of Carnival as a performance medium with mass appeal in the culminating era of the massification of museum culture, Up Hill Down Hall inscribes these works within the politically conscious cultural legacy of the Notting Hill Carnival, born of Caribbean migration and metropolitan accommodation to the aftermath of colonialism, resistance to racism and the mainstreaming of multiculturalism and, ultimately, developed through cultural ingenuity and artistic creativity at the forefront of the formation of postcolonial British culture.

Initiated after curator Claire Tancons» longstanding engagement with Carnival across art history, performance theory, postcolonial studies and curatorial practice, Up Hill Down Hall engages with Carnival as ritual of resistance, festival of otherness and performance art, and with the Notting Hill Carnival specifically as a contested site from which to reflect on notions of public space, performance and participation.

Thematic chapters on key concepts — such as modernity, nation, site, technology, the postcolonial city, performance, the archive and sport — combine new writing with artists» pages, reprints of much sought - after texts, unpublished transcripts of discussions and interviews featuring leading international scholars.

«These pieces and perspectives narrate several Ofilis: the colorist who works in restricted palettes, at times Garveyite red, black and green, at others blue monochromes or Favist ochres, purples and greens; the scatologist who uses shit as a sculptural base and pictorial ground, handling paint both to build up and denude his paintings surfaces; and the mime of machismo and voyeurism who draws on imagery from blaxploitation, Marvel comics, porn, and postcolonial African photography,» he writes.

Publications include Chandigarh is in India, edited by Shanay Jhaveri (Shoestring Publishers, 2016), Passages: Indian Art Today (Daab Media, 2014), Lines of Control, Partition as a Productive Space (Green Cardamom 2012), Unfixed: Postcolonial Photography in Contemporary Art (Jap Sam Books, 2013); Empire Strikes Back: Contemporary Indian Art Today (Saatchi) and Manual for Treason: Sharjah Biennial edited by Murtaza Vali (2011), and in the upcoming publication Global Photography: A Critical History (2019).

With newly added personal memorabilia, «Elaine Reichek: A Postcolonial Kinderhood Revisited» introduces the artist as an actual character in the piece, who left Brooklyn and studied at Yale before embarking on her sometimes controversial art - world career.

Reflecting on contemporary, postcolonial African cosmopolitanism and her experiences as an expatriate living in America, her intimate paintings provide an important counter-narrative to the often troubled representation of Africa's complex political and social conditions.

Before joining Climate Analytics, Bianka worked as a research assistant at the Humboldt University's Chair of Gender and Postcolonial Studies.

Professor Harry Blagg from the University of WA presented on Colonial Dispossession: Postcolonial Perspectives on the Criminal Justice System, tracing how incarceration can be seen as extending colonial oppression, including through lack of action to rectify inequity.