Sentences with phrase «contemporary social movements»

The school desegregation suit in D.C. truly bubbled up from the ground, a history lesson that resonates with contemporary social movements.

The freedom of expression, education and relative economic independence prevalent in the modern Western culture is responsible for the unprecedented number and scope of various contemporary social movements.

His study of the Bible particularly, and his capacity to interpret Scripture in the light of contemporary social movements and political and world events have sensitized him to the need and demands of persons very different from himself.

His photos — from the Europride in London (1992) or the Love Parade in Berlin (1992), for example — appeared in magazines such as i - D, Spex, Interview, SZ Magazin and Butt, and established his reputation as a prominent witness of a contemporary social movement.

Not exact matches

His part of Switzerland had been heavily under the influence of Ragaz of Zurich, the blazing prophet of social Christianity who, like his friend Walter Rauschenbusch, saw in the labor movement the greatest single contemporary salient of the advancing kingdom of God.

The argument is that the Chicago school arose in the context of the social gospel, a movement that had much in common with contemporary political theology and that, under the stimulus of political theology, this school can recover something of what it had lost as well as move forward in new ways.

Obama is a progressive Christian who blends the emotional fire of the African - American church, the ecumenical outlook of contemporary Protestantism, and the activism of the Social Gospel, a late 19th - century movement whose leaders faulted American churches for focusing too much on personal salvation while ignoring the conditions that led to pervasive poverty.

After relating his personal experience with homosexuals in counseling and after analyzing the contemporary movement toward gay liberation, Williams devotes successive chapters to a discussion of four social scientists» views of homosexuality, to an analysis of the Biblical teaching, and finally to a presentation of the positions of three representative theologians - Barth (traditional), Thielicke (moderating), and McNeill (accepting).

Evidence that the drive for meaning is still alive and well in contemporary society is to be found in a number of current social movements (interestingly, some of these groups find it convenient to use church facilities as their meeting place).

However, it takes on another meaning in the context of new social movements and contemporary political reactions.

Their attempts to adhere, however inconsistently, to a religious tradition she vigorously faults as a failure of political engagement, negatively contrasting this contemporary men's movement with the Social Gospel movement that arose early in the century.

Referencing past precedents of feminist art, installation, performance, and ideology, the artworks in the show present an expanded visual language that has resulted from a more inclusive art world, shaped in part by the social movements of the 1970's, thereby paying homage to a generation who has paved the way for contemporary female expression.

The collection begins with Ashcan School painting and follows the major movements of the twentieth century in America, with strengths in Modernism and Social Realism, Precisionism, Abstract Expressionism, Pop Art, Minimalism, Postminimalism, art centered on identity and politics that came to the fore in the 1980s and 1990s, and contemporary work.

26x40 inches ink, acrylic, gouache on paper Angelo Monserat's Diligence series is inspired by the abstract expressionists of the 50s and references the movement and mark - making of their work in response to the rapid movement of present - day international trade and communication and the confluence of mid century social ideas still at play in this contemporary economy.

This exhibition and event series invited contemporary artists to respond to archival materials and poetry relating to the history of white southerners who migrated to northern cities in the 1960s and 70s and organized cross-racial social movements, while addressing historical and contemporary questions of equity, justice, and race relations.

In the 1990s, along with the advancement of market - oriented reforms, instead of big art movements, Chinese contemporary art begins to develop diversely with more social context.

Other exhibitions such as «It Takes a Nation: Art for Social Justice: With Emory Douglas, and the Black Panther Party, Africobra, and Contemporary Washington Artists» at American University in Washington, D.C., and «Ruddy Roye: When Living is a Protest» at Steven Kasher, make the connection between earlier black rights movements and today's Black Lives Matters activism.

Her research is situated at the intersection of literary studies, studies of contemporary visual arts and aesthetics, and the study of leftist political and social movements, bringing together contemporary U.S. Latino / a and Latin American cultural production within a hemispheric framework.

The exhibition explored in depth the relationship of radical politics to art, by providing visitors with factual context in the form of historical objects that brought home the social and historical realities the movement faced, interspersed with historic artwork that supported and reflected its circumstances and ideals, as well as contemporary pieces.

Her installations and public projects often employ the iconography of social movements and their residual documents to inter - rogate contemporary political engagement and social dialogue.

The Letter Paintings, by incorporating the names of mainly male and female African - American musicians, undermined prevailing aesthetic categories by conflating many contemporary movements including Conceptual Art, Color Field, Pattern and Decoration, diary entry and social commentary.

With the early Arts and Crafts movement and the Bauhaus vision of art integrated with everyday life as its historical point of departure, the Art and Craft department seeks to elaborate on the relationship between art and life, on matters of materiality (production, sustainability, globalisation), on design and architecture, and on artistic practice in social and political contexts in a contemporary perspective.

A contemporary artist hailing from Los Angeles, Arceneaux often finds inspiration in history, science fiction, social movements, philosophy, and architecture, for the creation of his immersive installations that artfully synthesize diverse media like video, sculpture, and painting.

Beijing is the origin of Chinese contemporary art scene, being that it has always been a center of social and political movements.

The discussion will open up a broader examination of current social / cultural movements that mirror our contemporary entrapments.

[4] He has also curated numerous exhibitions in many other distinguished museums around the world, including Events of the Self: Portraiture and Social Identity, The Walther Collection, Germany; Archive Fever: Uses of the Document in Contemporary Art, International Center of Photography; The Short Century: Independence and Liberation Movements in Africa, 1945 — 1994, [14] Villa Stuck, Munich, Martin - Gropius - Bau, Berlin, Museum of Contemporary Art Chicago, and P.S. 1 and Museum of Modern Art, New York; Century City, Tate Modern, London; Mirror's Edge, Bildmuseet, Umeå, Sweden, Vancouver Art Gallery, Vancouver, Tramway, Glasgow, Castello di Rivoli, Torino; In / Sight: African Photographers, 1940 — Present, [15] Guggenheim Museum; Global Conceptualism, Queens Museum, New York, Walker Art Center, Minneapolis, Henry Art Gallery, Seattle, List Gallery at MIT, Cambridge; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, AXA Gallery, New York, Palais des Beaux Art, Brussels, Lenbachhaus, Munich, Johannesburg Art Gallery, Johannesburg, Witte de With, Rotterdam.

This is perhaps the most significant pivot in our short history, but one we felt was a necessary evolution both in our own internal shifts of interests and in response to broader intersections in contemporary arts publishing, social and political movements and artist - centered practices.

Contemporary African photography has emerged during a period of significant historical and social change, including the post-World War II de-colonization movements, the quest for independent national identity, and the effects of globalization and modernity.

In 2013, he curated the group show, «So Real» at Radiator Gallery in Long Island City, which examined contemporary themes in artworks related either directly or indirectly to both the Social Realism and Socialist Realism movements of the early 20th century.

Smaller institutions like the Hammer Museum and the Museum of Contemporary Art in Los Angeles, the Walker Art Center in Minneapolis and the Queens Museum of Art, which is acknowledged as a pioneer of social - practice programming, have also begun bringing the movement into the spotlight.

WITH A FOCUS ON modern and contemporary art, her interests span conceptual and other avant - garde practices, social movements, and the African diaspora.

26x40 inches ink, acrylic, gouache on paper Angelo Monserat's Constraint series is inspired by the abstract expressionists of the 50s and references the movement and mark - making of their work in response to the rapid movement of present - day international trade and communication and the confluence of mid century social ideas still at play in this contemporary economy.

Traversing the boundaries of Fine Art, Illustration, and Graffiti, rising star of the UK Contemporary Art movement Alex Young's latest body of work investigates the social phenomena of alter - ego's, rendered primarily in spray paint, Young's -LSB-...]

Our Underlying Principles Collect contemporary, promote the art museum movement, take an active role in social welfare.

Although nearly one hundred years have passed since the birth of Dada in Zurich and much has changed in terms of the initial purpose of the movement (which was founded to diminish social pretensions, ridicule the human situation, and force audience self - awareness by attacking their common assumptions about art), there are contemporary artists, like Boller, who employ similar forms, gestures and attitudes towards materials which like a steady heart seem to keep the beat of the movement alive.

A social movement has coalesced around solitary confinement because the harm and disorder of exclusion from community is contrary to contemporary values.