Sentences with phrase «collective social memory»

Selected works offer new ways of looking at and understanding cinema, an institution that has become a fundamental part of our collective social memory during the last century.

This tactic of visual appropriation seeks to remind the audience of their role within a collective social memory.

Not exact matches

Once T'Challa's true challenge is revealed, «Black Panther» becomes something deeper than the mere formation of one superhero, engaging such subjects as: the legacy of colonialism; collective memory and interior geography; the tension between autonomy and social conscience; and the need for solidarity within an African diaspora at political and cultural odds with itself.

Many people romanticize big, traditional high schools: Our collective memory of high school includes nostalgia such as proms, football games, exciting social lives, romance and first cars.

Opening up the space of creation and re-creation, Varejão brings together the past and present through collective memories of social and art history but also through memories of personal and everyday life.

His subject matter has evolved from iconographic experiments in individual and collective memory in his early period, to explorations of cultural psychology and the social unconscious, and the serendipity and instability that emerge within the painting process.

If optimism fueled the impulse to create large, permanent works in the «60s and «70s, the artists in this exhibition are more likely to rechannel that optimism into collaborative and collective experiences; to dwell on memory and the ephemeral by charting the traces of the just - happened; and to embrace the rich social, cultural and political meanings of their throwaway materials.

Addressing the Ektachrome Archive in relation to the historical period in which it was produced and in light of contemporary political and social concerns, this series of talks examines how the archive has expanded from a personal document of a historically significant period to a contemporary living document, and how this work serves to complicate our collective memory.

A leading performance artist, Tania Bruguera (MFA 2001) researches relationships between art and politics, specifically transformations of social affect into political effectiveness and institutional structures of collective memory, education, and politics, and some of her performances interrogate the Cuban Revolution's failed promises and evoke the realities masked by propaganda and mass - media interpretation.

In an interview with Black Art In America, Shrobe discusses the rich history of materials, and poetically defines abstraction as a process wherein the artist invites materials to tell their own story.3 In so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his works.

Like Smithson's mid -»60s «site and non-site» works, the Dig installations function as fragments of the original site, as evidence of the process of unearthing, as pointers to a collective local memory and as reminders of the structures of aesthetic and social taxonomy and of the museum itself.

The depictions vacillate between reality and fiction, dissolving into scenes that use fantasy to synthesize personal memory and collective experience as she addresses social rituals in Iran.

In that sense, discarded materials involving collective memories constitute the catalyst for a political and aesthetic reflection on cultural renewal and social activism.

De Andrade investigates social, political, cultural, and ideological issues at risk of vanishing from collective memory: what humanity chooses to retain or allows to sink into oblivion.

Talking to Action addresses critical issues such as migration and memory, spatial mapping, environmental issues, gender rights and legislation, indigenous knowledge, and racial violence in work created by contemporary social practice artists and collectives from Argentina, Brazil, Chile, Colombia, Ecuador, Mexico, and the United States.

Informing this curatorial project is the utopian notion that, in a world where money has been factored out of the collective memory, other suppressed forms of value may emerge leading to another social bond and a different relationship to time.

Playing on Western art history's treatment of places that are seen as «other» and drawing on personal and collective memories of life in Kenya, as well as news and images circulating online, his paintings challenge social attitudes and inequalities.

With this subtle and deeply evocative work, she has bravely challenged us to consider more fully the deep connections between place, history, and objects that carry the weight of collective memory, suggesting avenues of thinking that tie together object - making and potent social action.