Sentences with phrase «best cultural material»

If we continue to listen to them, our best cultural material will remain tied up in copyright or in people's shoeboxes.

Not exact matches

The cultural material from a predominantly print - literate (i.e. sight - oriented) culture such as Western Europe and North America will not be meaningful In the same terms to peoples in a predominantly oral culture (sound - oriented such as in Africa and Asia) and the converse is true as well.

I had done my best to uncover as much of the cultural background material as I could for my commentary, and I wanted to see if I had missed anything.

At the risk of sounding Marxian, I would suggest that there are material as well as ideological forces behind the cultural and moral malaise.

They are so often working in isolation and need opportunities for cultural and social development as well as provision for their material needs.

We offer a wide - range of capsule materials, designs, sizes and colors to best fit the characteristics of nutritional ingredients, the optimum delivery to the body and the lifestyle, cultural and dietary preferences of consumers.

The downside includes cultural resistance to Good Clinical Practice (GCP), clinical research process real - time compliance, inadequate information systems leading to unpredictable project milestones, a «no clock» application process in the regulatory machinery, and inconsistent time frames for export / import of clinical trial materials at the border.

The set - up of Red Sparrow is a potent damnation of Russia's seedy netherworld — it's unfortunate state censorship would deny the possibility of material like this ever being made there, as it creates a striking lack of cultural authenticity which makes Red Sparrow's credibility suffer (something which also hobbled something like 1983's Gorky Park, a famous landmark featured in an early sequence here as well).

A radically different vision of human well - being is the call; one that is in tune with nature and respects other species, promotes socio - economic equity amongst all people, enhances the cultural, material, economic, social, and political opportunities for all, empowers each person and community to take part in decision - making affecting their lives, even as it leaves the natural world a better and much improved place.

While there are good resource materials on Cultural Competency (a good example is the Ethnogeriatic Program at Stanford University), it is not possible to be deeply knowledgeable about every group with which one might interact.

However, if greater economic dynamism, more powerful incentives for creativity, cultural innovation, greater opportunity for material comfort, greater acceptance of diversity, and greater personal liberty are taken as measures of societal well - being, then the United States might be better.

In this context, a radically different vision of human well - being, one that is in tune with nature and respects other species, promotes socio - economic equity amongst all people, enhances the cultural, material, economic, social, and political opportunities for all, and one that empowers each person and community to take part in decision - making affecting their lives.

The study group on multicultural education, which will meet for the first time in January, will examine how teacher training and curriculum materials can better reflect the increasing cultural diversity of the classroom, said Brenda L. Welburn, NASBE's deputy executive director.

Civic Vitality and Public Education Productivity: The Harbormaster Mayor Public schools impact the cultural and material well - being of communities.

As well as providing a cultural link, the terracotta materials on the façade give an additional layer of shading and temperature control for the building.

The Student Materials as well as the Field Trip and Cultural Events Fee for 18/19 are now available on the Archway Glendale payment portal.

The public libraries that participate in this pilot program will foster a greater understanding of local historical and cultural content, directing their communities to curated materials as well as a mass of relevant items in the DPLA and its associated collections.

No stranger to accolades and awards, Urasawa received the 2011 Eisner Award for Best U.S. Edition of International Material — Asia, and is a three - time recipient of the prestigious Shogakukan Manga Award, a two - time recipient of the Osamu Tezuka Cultural Prize, and also received the Kodansha Manga Award.

John R. Johnson (curator 1986 - present) has built a good comparative faunal collection, and the department serves as a repository for curation of archaeological material from Channel Islands National Park, Los Padres National Forest, and various cultural resource management projects.

Even marketing material is much more effective if it is well translated and cultural factors are taken into account.

While Lenin was relatively accepting towards writers and other artists who strayed from explicit or even implicit communist material, Stalin was... well, Stalin, and socialist realism dominated the cultural landscape for over forty years.

«Material Histories: Artists in Residence 2013 - 14» presents installations, paintings, works on paper and mixed media works by Beasley, Collins and Deville, three artists who «share an interest in exploring and contemplating the particular histories and experiences of families, regions and cultural groups, as well as their own lives.»

Color can operate in many ways and produce meanings in different kinds of contexts: cultural, historical, social, linguistic as well as material.

These materials bear testament to the themes and discussions that the New Museum has consistently pursued, from issues of gender and sexuality to the relationship between art and technology, as well as the mandates that have characterized its institutional practice: responsiveness to cultural crises, championing new forms of art making, and the belief in art as a social force.

Spanning media such as painting, graphics, collage, textile art, and sculpture, Ringgold's work captivates through the precise and masterly use of materials and artistic processes as well as the integration of their cultural and political significance.

Looking back over Rauschenberg's career from its beginnings around the middle of the last century through his death in 2008, as the current retrospective of his work at the Museum of Modern Art in New York (on view through September 17) invites us to do, it becomes clear that Rauschenberg was above all a restless and resourceful gatherer of materials, cultural as well as physical.

Using materials as cultural symbols, the artist draws on his extensive background in costume design, as well as a deep interest in meditation and the investigation of the mind.

Her writing focuses on her own work, discussing its subject matter, its politics, background and source material, as well as its critical reception and her own cultural position as an artist.

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.

EXHIBITIONS / SCREENINGS / READINGS (* solo or two - person) Apparatus for a Utopian Image 2.0, Center and Foundation for Contemporary Arts, Prague, 2018 CV, YYZ Artist's Outlet, Toronto, 2017 * Artist's Rendering (DISTRESSED, RELAXED), AXENÉO7, Quebec, 2017 * You can tell that i'm alive and well because I weep continuously, Knockdown Center, New York, 2017 Apparatus for a Utopian Image, Elizabeth Foundation for the Arts Project Space, New York, 2016 Self - Titled (Materials for a 21st Century Room — or SWAMPED, EXHAUSTED, HESITATING), 8 - 11, Toronto, 2016 * Self - Titled (w / Aryen Hoesktra & Shane Krepakevich), Modern Fuel, Ontario, 2016 Local Tide (curated by PARALLELOGRAMS and Francesca Capone), S1, Portland OR, 2016 Double Visions, Elizabeth Foundation for the Arts Project Space, New York, 2015 From Line to Constellation, Granoff Center, Providence, 2015 Maximum Sideline: Postscript, Proxy, Providence, 2015 Use Values, SPRING / BREAK Art Show, New York, 2015 An Earthquake at the Race Tracks, Museo de la Cuidad, Santiago de Querétaro, Mexico, 2014 Classroom, NY Art Book Fair, PS1, New York, 2014 Almost Everything, Eric Arthur Gallery, Toronto, 2014 Milieu, Skol Centre des Arts Actuel, Montreal, 2013 * More Than Two (Let It Make Itself)[w / Josh Thorpe], The Power Plant, Toronto, 2013 Cultural Fluency, BRIC Rotunda Gallery, Brooklyn, 2013 Sediment, G Gallery, Toronto, 2012 Survive.Resist, CAFKA Biennial, Kitchener - Waterloo, Canada, 2011 On Printed Matter, [w / Josh Thorpe], Printed Matter, New York, 2011 * Around YYZ [w / Josh Thorpe], YYZ Artist's Outlet, Toronto, 2010 - 11 * House Broken, Flux Factory, NY 2010 Reading the Garden [w / Josh Thorpe], Toronto Sculpture Garden, Toronto, 2010 * Titles, Art Metropole, Toronto, 2009 On Convenience [w / Josh Thorpe], Convenience Gallery, Toronto, 2009 * Vehicle [organized by WayUpWayDown curatorial collective], Nuit Blanche, Toronto, 2008 ERI 3: Eyelevel Re-Shelving Initiative, Eyelevel Gallery, Halifax, 2008 AT WORK, Toronto Free Gallery, Toronto, 2007 Rip Current, Eyelevel Gallery, Halifax, 2007 Tales from the Cyclop's Library, Third Space Gallery, Saint John, 2007 Unsurprising Geographies [w / Andrea Williamson], Eyelevel Gallery, Halifax, 2006 Alectric 3, Alectric Audio [online exhibition] 2006 a / s / l, Anna Leonowens Gallery, Halifax, 2006 * RESIDENCIES Interrupt 3, Brown University, Rhode Island 2015 SHIFT, Elizabeth Foundation for the Arts, New York, 2014 - 15 Artist - in - Residence, Workspace, Lower Manhattan Cultural Council, 2013 - 14 Visiting Scholar, NYU Advanced Media Studio, 2013 - 14 The Decapitated Museum, The Banff Centre, 2012 Making Artistic Inquiry Visible, The Banff Centre, 2008 AWARDS Canada Council for the Arts, Research and Creation, 2018 - 19 Banff Centre, Residency Scholarship — The Decapitated Museum, 2012 Foundation for Contemporary Art, Emergency Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2009 University of Toronto, Graduate Fellowship, 2007 - 09 Social Sciences and Humanities Research Council, Canada Graduate Scholarship, 2007 - 08 Banff Centre, Residency Scholarship — Making Artistic Inquiry Visible, 2008 University of Toronto, David Buller Memorial Scholarship, 2007 NSCAD University, Simon Chang and Phyllis Levine Foundation Scholarship, 2006 New Brunswick Arts Board, Arts Scholarship, 2005 WRITING «Panorama of Our,» Plot, Claudia Weber, ed., 2015 «Anodyne: or X of Demarcation,» Rearviews II, Xenia Benivolski & Danielle St - Amour, eds., 2014 «On Printed Matter» Artefact:, C Magazine C122, 2014 «Lana Turner Has Collapsed!

The New York installation is being overseen by Turning to the blues not simply as a musical category but as a field of artistic sensibilities and cultural idioms, the exhibition features works by nearly fifty artists from the 1950s to the present, as well as materials culled from music and popular entertainment.

Fullerton is particularly interested in architectural semiotics and how a building's materials can express social or cultural codes as well as our interaction to the built environment.

Conceiving of cultural information and materials this way allows for both a sense of reverence to the place and time in which is work is made, as well as a sense of play as he works with a specific audience and place to create new contexts as a curator.

Augmenting them with make - up, wigs, glass eyes, as well as interactive sensors and audio components to simulate bodily processes and reactions, Hershman Leeson, like Thek, also encased her modular body parts in materials like Plexiglas or recycled them into site - specific installations, plugging the figures into larger cultural narratives about power, technology and gender.

1 The same could be said of the other artists in the exhibition: with hand - wrought qualities and an aggressively direct use of color, texture, and material, their work provokes cultural and psychological readings as well as aesthetic ones.

Yinka Shonibare MBE's works bring together disparate cultural references and material to explore issues around colonialism and post-colonialism within the contemporary context of globalisation, as well as issues of national and racial identity and class and cultural politics.

I make full use of each material's unique sculptural properties as well as its historical, cultural, and environmental resonances.

The false luxury of some of his pieces, achieved by using industrial materials made to look deceptively lavish, and his references to well - known archetypes make viewers feel comfortable with their own cultural history.

The programme highlights how the deployment of new and innovative materials and technologies, as well as shifting cultural and social attitudes is affording alternative frameworks and understandings about contemporary experience, from educational models and street culture to collectively designing museums for African contexts.

PEET's practice can best be described as a kind of coded, free - form cultural assemblage, a combination of made and found materials that prods and questions dominant systems of authority, class, and institutional display.

The exhibition emphasizes the integration of innovative aesthetics with a deeply cultural edifice that enhances the material artifacts as well as engages the viewer in a narrative that rightly can not be negated, where identity, meaning and intention are inseparable from form.

Shira Wachsmann (b. 1984) in her works focuses on the notion of land, in both meanings: land as material, as soil, and land as a place, as territory; in a natural and cultural as well as political and historical sense.

By working with industrial materials such as styrofoam and polyurethane, as well as with more traditional sculptural media like bronze, de Jong deliberately combines high and low cultural references and materials in quasi-allegorical mashups.

Designed instruction, materials, and created lesson plans aimed to teach Spanish grammar, conversation, and vocabulary as well as geography and cultural traditions.

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Building off the best practices in LGBTQ foster care and adoption developed by the Human Rights Campaign Foundation's All Children — All Families initiative, the film and accompanying materials are excellent resources for use in adoption preparation classes for LGBTQ families, adoption support groups, academic classes and LGBTQ cultural competency training for social workers.