Sentences with phrase «contemporary cultural theories»

Art historian Thomas Crow's book No Idols: The Missing Theology of Art turns away from contemporary cultural theories to address a blind spot in today's art historical inquiry: religion.

Not exact matches

In an ambitious project to assess the correctness of Talcott Parsons» theory of evolutionary universals, Gary Buck accumulated masses of data for 115 contemporary nation - states from every part of the world.7 He developed elaborate indices (as of 1960 wherever possible) of the ten variables Parsons discussed: (1) communication, (2) kinship organization, (3) religion, (4) technology, (5) stratification, (6) cultural legitimation, (7) bureaucratic organization, (8) money and market complex, (9) generalized universalistic norms, and (10) democratic association.8 Information was taken from such sources as the United Nations Statistical Yearbook, the Yearbook of Labor Statistics, and UNESCO's World Survey of Education.

With experience of undertaking modules in a diverse range of subjects, she has acquired exceptional knowledge of contemporary and classical theories which include philosophy, history, cultural studies, film and literature.

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.

Her current research focuses on a redefinition of contemporary art history through postcolonial theories and the genealogy of cultural displacement; she also works on feminist art and theory of the 1970s.

World Music and Dance; Art, Technology and Culture; New Media Theory; Contemporary Arts and Music; Cultural Studies; Gender and Race Studies; Curatorial Studies;

The program offers a wide range of voices in dialogue, exploring the topics of contemporary art, theory, and cultural production by emerging and established visiting artists, as well as members of UCSB's faculty and graduate students.

Her wide - ranging interests in American art and visual culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries (2017).

Every semester there is seminar that introduces students to the contemporary theory and methodologies emerging in the nascent field, as well as to develop their understanding of critical theory and how it relates to their future role as cultural producers.

Practice - based theory and a shift to art - making practices situated in the context of cultural studies (including art and politics, philosophy, sociology, and science studies) has framed contemporary art discourse.

For over a decade, exhibition maker and curator Jens Hoffmann has developed a very particular style of exhibition that sits between cultural history, theater, author theory and contemporary art.

Her key works include Mingei Theory and Japanese Modernisation: Cultural National - ism and Oriental Orientalism, «Transnational Modern Design Histories in East Asia» and «Negotiating Histories: Traditions in Modern and Contemporary Asia - Paci c Art.»

Rogoff writes on the conjunctions of contemporary art with critical theory with particular reference to issues of colonialism, cultural difference and performativity.

She has articles in Theory & Event, Cultural Anthropology, American Quarterly, Junctures, Law and Contemporary Problems and Wicazo Sa Review.

Notable participants include: choreographer and dancer Kyle Abraham; poet Elizabeth Alexander; performer Eric Berryman; performance and installation artist Tania Bruguera; urban revitalization strategist Majora Carter; innovator James Burling Chase; actress and playwright Eisa Davis; architect Elizabeth Diller; The Met's Kimberly Drew; photographer John Edmonds; juvenile justice reformer Adam Foss; writer and performance artist Malik Gaines; social practice artist Theaster Gates; filmmaker Tony Gerber; FLEXN dance pioneer Reggie (Regg Roc) Gray; trombonist, painter, and composer Dick Griffin; dancer and choreographer Francesca Harper; trombonist Craig Harris; vocalist Nona Hendryx; playwright Branden Jacobs - Jenkins; cinematographer Arthur Jafa; artist and cultural worker Shani Jamila; trumpeter JAWWAAD; gaming pioneers Navid and Vassiliki Khonsari; NYU Professor and musician Jason King; philosopher Gregg Lambert; composer and Bang on the Can co-founder David Lang; novelist, filmmaker, and curator Ernie Larsen; Wooster Group founding member and director Liz LeCompte; Harvard Professor Sarah Lewis; journalist Seamus McGraw; poet Aja Monet; jazz pianist and composer Jason Moran; performance studies professor Fred Moten; visual artist Shirin Neshat; playwright Lynn Nottage; professor of contemporary rhetorical theory Kendall Phillips; doctor Jeremy Richman; poet Carl Hancock Rux; performance artist Alexandro Segade; writer and activist Tanya Selvaratnam; guitarist and composer Marvin Sewell; playwright and actress Anna Deavere Smith; conceptual artist Hank Willis Thomas; performance artist Carmelita Tropicana; puppeteer Basil Twist; theater director Roberta Uno; vocalist and composer Imani Uzuri; and Wooster Group founding member and actress Kate Valk, among others.

Reem Fadda, Associate Curator for Middle Eastern Art, Abu Dhabi Project Ms. Fadda is an active curator and cultural practitioner, focusing on contemporary cultural and aesthetic theory and practice in the Middle East.

Light was also shed on sociohistorical and historico - cultural subjects such as «Shopping — A Century of Art and Consumer Culture,» «Privacy,» the visual art of the Stalin period, or New Romanticism in contemporary art; other presentations revealed the influence of Charles Darwin's theories on art of the nineteenth and twentieth centuries, or the intriguing causalities between artists of the modern era and self - proclaimed «prophets» of this period.

In the group exhibition «The Projective Drawing» at Austrian Cultural Forum New York (ACFNY), curator Brett Littman applies Evans's theory, which is skeptical of drawing at its core, to challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works on view.

January to April 2013 saw the Ullens Center for Contemporary Art (UCCA), Beijing, show «On Off: China's Young Artists in Theory and Practice», which focused on emerging and mid-career artists born after the Cultural Revolution.

-- Stuart Hall's work on culture and representation — Artistic and / or curatorial practice — Filmmaking and media analysis — Cultural histories — local and diasporic — Literary Studies including criticism and theory — Researching visual archives — The relationship between contemporary visual art and cultural Cultural histories — local and diasporic — Literary Studies including criticism and theory — Researching visual archives — The relationship between contemporary visual art and cultural cultural politics

1997 Theories of the Decorative: Abstraction and Ornament in Contemporary Painting, Inverleith House, Royal Botanic Garden, Edinburg, Scotland; traveled to Edwin A. Ulrich Museum, Wichita State University, Wichita, Kansas, USA (curated by Paul Nesbitt and David Moos) Primarily Paint, Museum of Contemporary Art, San Diego, La Jolla, California, USA Pintura, Galeria Joan Prats, Barcelona, Spain; traveled to Galeria Marta Cervera, Madrid, Spain After the Fall: Aspects of Abstract Painting Since 1970, Snug Harbor Cultural Center, Staten Island, New York, USA (curated by Lilly Wei) Intimate Universe (Revisited): Seventy American Painters, Robert Steele Gallery, New York, USA (curated by Michael Walls) Schilderijen: Reinoud Van Vaught, Fabian Marcaccio, David Reed, Jonathan Lasker, Gallerie Tanya Rumpff, Haarlem, the Netherlands Wetterleuchten, Galerie Evelyne Canus, La Colle - sur - Loup, France (curated by Günter Umberg) Critiques Of Pure Abstraction, Independent Curators, Inc., New York, USA (curated by Mark Rosenthal)(traveled) Stepping Up, Andrew Mummery, London, England Relations Between Contemporary Architecture and Painting: Greg Lynn, Fabian Marcaccio, David Reed, Jesse Reiser / Nanako Umemoto, Künstlerhaus Palais Thurn und Taxis, Bregenz, Austria Some Lust, Patricia Faure Gallery, Santa Monica, California, USA Installations / Projects, Institute for Art and Urban Resources / P.

David Batchelor studied Fine Art at Trent Polytechnic, Nottingham (1975 — 8), and Cultural Theory at the Centre for Contemporary Cultural Studies, Birmingham University (1978 — 80).

(02/01/2012) New, radical theories in science often take time to be accepted, especially those that directly challenge longstanding ideas, contemporary policy or cultural norms.

New, radical theories in science often take time to be accepted, especially those that directly challenge longstanding ideas, contemporary policy or cultural norms.