Sentences with phrase «by any contemporary historian»

He did not even rate a mention by ANY contemporary historian.

There is no actual verifiable evidence of the existence of this Jesus figure that would be accepted as proof by contemporary historians.

Not exact matches

Third, the description of conditions is buttressed by the historian's hindsight, masquerading as the foresight of clever contemporaries: «the future held little in store for these fragments...» and «it would gain in strength and in its prospects for the future.»

Actually sir, the execution / crucifixion of the ancient itinerant apocalyptic preacher you refer to WAS well doc - um - ented by the the contemporary Roman historian T - i - tus Flavius Josephus.

They came so close to Hebrew and Christian moral insights that some early Church Fathers wondered whether some Greeks had received private divine revelations; a contemporary secularist historian of ancient philosophy once wrote that almost the same sex ethic was espoused by Plato and Paul VI.

Neither they nor their leaders, he said, could «interpret the signs of the times,» 5 and one has only to read the account of the period by the contemporary Jewish historian Josephus to see how true it was.

When an historian is trying to uncover the facts about some past event, he looks for written material contemporary with the event, especially, if possible, for material which has been written by eye - witnesses of the event.

The historian's detection of the kerygma at the centre of the Gospels found a formal analogy in the contemporary view of historiography as concerned with underlying meaning, and this correlation led to the view that the kind of quest of the historical Jesus envisaged by the nineteenth century not only can not succeed, but is hardly appropriate to the intention of the Gospels and the goal of modern historiography.

There's not even anything written by any of the contemporary historians of the time.

At 8:18 am on Tuesday 23 February 2010, a week before Cardinal Murphy - O'Connor debated the virtues of a Catholic England, something happened that may well come to be seen by such historians as an epiphany moment, revealing with telling clarity the contemporary British Church's propensity to get unwillingly sucked into an agenda profoundly at variance with our own.

Evaluate: How far do the contemporary sources and research by historians prove that Guy Fawkes was innocent or guilty?

Understand: How has Mary been viewed by both contemporaries and historians?

August 8: Mysteries from the Lost Galleon Part of the ongoing Contemporary Historians series at the Presidio, this lecture — by maritime scholar Edward Von der Porten — tells the story of the shipwreck of the San Felipe and examines Chinese - Philippine - Mexican trade during the 16th to 18th centuries.

Then in the face of these facts, accepted by artists at least, she concludes: «Of course, no serious contemporary art historian ever takes such obvious fairy tales at their face value.»

A full color catalog will accompany the exhibition with essays by Alison Ferris and Art Historian Caterina Albano who wrote Fear and Art in the Contemporary World.

McMillian was selected by an independent advisory committee made up of renowned curators and art historians from across the U.S. Led by Heather Pesanti, Senior Curator of The Contemporary Austin, this year's inaugural advisory committee included Stephanie Barron, Senior Curator and Head of Modern Art Department, Los Angeles County Museum of Art; Naomi Beckwith, Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago; Peter Eleey, Chief Curator, MoMA PS1; Hamza Walker, Executive Director, LAXART; and Heidi Zuckerman, Nancy and Bob Magoon CEO and Director, Aspen Art Museum.

In a provocative article titled «The Curious Case of Contemporary Ink Painting» (Art Journal, Fall 2010), art historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporContemporary Ink Painting» (Art Journal, Fall 2010), art historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporarycontemporary artists.

The works are selected from the Tiroche DeLeon Collection by the internationally renowned, Londonbased art historian, patron, and collector Catherine Petitgas, who has a strong focus on contemporary art from Latin America.

Kat Griefen, an art dealer and art historian, is the co-owner of Accola Griefen, which focuses on modern and contemporary art by American women artists and feminist artists of historical significance.

It is accompanied by a fully illustrated catalogue with an essay by James Lawrence, a critic and historian specializing in postwar and contemporary art.

It features essays by BMA Senior Curator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; and critic, curator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang Tillmans.

Monash University Museum of Art MUMA in partnership with the Australian Centre for Contemporary Art I ACCA is pleased to present a special lecture by renowned American art historian, writer and curator Amelia Jones that coincides with the final week of Unfinished Business - perspectives on art and feminism at ACCA.

The Boiler Room started in the summer of 2012 as a curator run project room for contemporary art by the Swedish born Art historian and curator Joakim Borda - Pedreira.

This series of intensive, single - session courses, led by noted art historians and educators, offers participants an overview of current ideas and practices in contemporary American art.

His approach — aligned with the practices of his Californian contemporaries Larry Bell and DeWain Valentine, among others — was described by art historians as the «L.A. finish fetish.»

It features ten new essays by curators and historians, as well as interviews with contemporary choreographers — Beth Gill, Maria Hassabi, Rashaun Mitchell and Silas Riener — who address Cunningham's continued influence.

Richard Deacon The curling, curving forms of Richard Deacon's sculptures might be seen by some future art historian as analogous with contemporary physics.

About The Speakers Series: Each semester the Center for Curatorial Studies at Bard College hosts a regular program of lectures by the foremost artists, curators, art historians, and critics of our day, situating the school and museum's concerns within the larger context of contemporary art production and discourse.

The 160 - page catalogue includes 52 color images and essays by Stéphane Aquin, Curator of Contemporary Art, Musée des Beaux - Arts de Montréal, art historian David Anfam, Robert Lawlor, author of Scared Geometry: Philosophy & Practice, and Alicia G. Longwell, the Parrish Art Museum's Lewis B. and Dorothy Cullman Chief Curator, Art and Education.

This exhibition was initiated and produced by the Montreal Museum of Fine Arts (MMFA), under the direction of Director and Chief Curator Nathalie Bondil and the curators, Curator of Contemporary Art Stéphane Aquin, MMFA, and art historian Marco Livingstone, London.

Moderated by exhibition curator Anne Ellegood, art historian Miwon Kwon and curator Elisabeth Sussman discuss representation in Durham's work and contemporary art practices.

The 160 - page catalog contains essays by Moshe Safdie; by exhibition curator and catalog coauthor Donald Albrecht; and by critic, historian, and theorist of Modern and contemporary architecture, and catalog coauthor Sarah Williams Goldhagen.

Czech art historian and curator Tomáš Pospiszyl recounts a history of contemporary Eastern European art by highlighting emblematic stories of the art scene's protagonists, mixing personal anecdotes with artistic agendas.

Arriving unaccompanied at the institution's silvered Wooster Street digs — formerly Jeffrey Deitch's HQ, as if any reminder were needed — I was immediately buttonholed by intense art historian Lorena Morales Aparicio, who filled me in on the subject of her doctoral thesis - in - progress, contemporary Swiss touchstone Pipilotti Rist.

Exhibitions during the anniversary celebration include Opener 29: Arturo Herrera (through August 23, 2015), featuring new works from the Berlin - based artist's recent body of abstract paintings for which he manipulated small books found at flea markets; Machine Project — The Platinum Collection (Live by Special Request), (September 19, 2015 — January 3, 2016), which will feature a series of interventions, performances, and happenings created for the Tang by Skidmore alumnus Mark Allen in collaboration with his Los Angeles - based collective Machine Project; Affinity Atlas (September 5, 2015 — January 3, 2016), inspired by the work of pioneering cultural theorist and art historian Aby Warburg, charts an exploratory path built upon idiosyncratic treasures and contemporary art culled from the Tang's and Skidmore's collections; and Alma Thomas: A Retrospective (February 6 — June 5, 2016), which will explore the work of this influential but sometimes overlooked artist in the first museum survey of her work since 2001.

Written in an engaging, straight forward style by prominent art historian Matthew Israel, The Big Picture presents ten outstanding examples of contemporary art, each with significant historical or cultural relevance to contemporary art's big picture.

The publication includes an introductory essay by Elizabeth Armstrong as well as short entries on each of the Biennial artists by the curators and several additional writers: New York - based art historian Cary Levine, Los Angeles - based independent curator Kristin Chambers, and Jane Simon, Curator of Exhibitions at the Madison Museum of Contemporary Art.

Meanwhile, RONNIE COOKE NEWHOUSE narrates a day in the life of her best friend PHARRELL WILLIAMS, photographed by MAX FARAGO; publisher GERHARD STEIDL races jet lag across the Atlantic from Karl Lagerfeld's haute couture show in Paris to Robert Frank's Canadian solitude; distinguished historian ERIC HOBSBAWM discusses his views on the future of globalization with HANS ULRICH OBRIST; artist collective SLAVS & TATARS revisits the Islamic Revolution of 1979 in Tehran with the first installment of its project 79/89/09 for 032c; Belgian art collector and interior decorator AXEL VERVOORDT makes all art contemporary;

The school's contemporary exhibition venue Portikus was opened in 1987 by the school's director, noted art historian and curator Kaspar König, adding to the Städelschule's reputation for progressive initiatives.

At the Brooklyn Museum, timed to coincide with the institution's inauguration of the Elizabeth A. Sackler Center for Feminist Art, there will be an international survey of contemporary art called «Global Feminisms,» curated by the Sackler's Maura Reilly and art historian Linda Nochlin.

In serendipitous coincidence, a scholarly publication Thank You for Your Love 1994, edited by Xin Wang, curator and art historian based in New York, with contributions from Cindy Xingyi Qi, MA student at the Institute of Fine Arts, New York University, will be available in the summer of 2018 to closely examine the multifaceted implications of the Transformations gathering not only for the participating artists, but also for the art historical discourses in 1990s New York and that of contemporary Chinese Art.

«Through combining production modes of making and presenting (at once creative, analytic, interpretive), and by inhabiting the roles of photographer, curator, designer, critic, and historian all under the rubric of artist, Tillmans occupies a rare if not singular position in the field of contemporary art.»

Between the Pessimism of the Intellect and the Optimism of the Will is the title of the main exhibition of the 5th Thessaloniki Biennale of Contemporary Art; the exhibition is curated by art historian and independent curator, Katerina Gregos.

It has been curated by Christine Eyene (an international curator and art historian known for her enquiry into contemporary African art, gendered perspectives and non-object based art practices), with Melanie Kidd (Director of Programmes at NAE).

Legendary feminist art historian Linda Nochlin and art curator Maura Reilly are joined by contemporary women artists for a discussion moderated by Arezoo Moseni about the positions of women artists and women in the art world today and how they have changed since the 1971 publication of Nochlin's landmark essay «Why Have There Been No Great Women Artists?»

Published by Philip Wilson Publishers, this book includes an introduction by architectural historian Lucinda Lambton, an interview with the artist conducted by his contemporary Peter Doig, and a study of...

We take a look at contemporary tapestry art, the most expensive and time - consuming craft that was unrightfully neglected by art historians for decades.

Founded in December 2004 by art historian and curator Dr. Ziba Ardalan, Parasol unit foundation for contemporary art is a not - for - profit art institution that operates purely for the public benefit.

Exposure to these works — with which many Chinese artists might be familiar only in reproduction or online — is seen by Tinari as a means of fostering creative dialogue between the two artistic traditions and diminishing the «time - lag» that hindered domestic art for so long after the Reform and Opening Up period that followed Mao's death in 1976, traditionally taken as the «starting point» of contemporary Chinese art (Tinari concedes that this is a useful marker, but suggests that a new generation of art historians should «complicate» such simplified narratives).

By accessing the ideas of the Orient that are present in works by Reinhardt and his contemporaries, an Asian art historian can use the familiar to explain the foreigBy accessing the ideas of the Orient that are present in works by Reinhardt and his contemporaries, an Asian art historian can use the familiar to explain the foreigby Reinhardt and his contemporaries, an Asian art historian can use the familiar to explain the foreign.