Sentences with phrase «cultural commentary for»

Not exact matches

Jesus knew what the passages meant, knew their historical, cultural, and situational context, and knew how to apply these verses to the current crisis He was facing (See the Commentary on Luke 4:1 - 13 for more).

Now, the Grammy Awards presentation is not the show you watch for high - brow cultural commentary or family - friendly entertainment.

The book brings together a stunning array of past and present social commentary and data, making it an invaluable resource for putting «cultural revolution (s)» in context.

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.

Niebuhr's account of sin and his understanding of theology as cultural commentary provided a compelling «sociology» for a theology done in a new idiom.

For the US has witnessed an impressive range of cultural commentaries on the epidemic, exploring the conflicts and evasions that determine so much social policy, from safer sex campaigns to television soap operas.

Complete with cultural commentary, practical preparation guidance (including recipes), and a demonstration for just - right sauerkraut — and featuring an extended interview with Katz — this video is perfect for food - lovers of any kind.

The pairing of act and music isn't so much farce as inane fodder for ensuring The House's removal from anything resembling genuine social commentary, but it also indulges the laziest form of cultural fantasy, where the awkward, middle - aged white couple is allowed to engage in cultural appropriation for a spell before returning to their dull middle - class lives, and all without consequence.

Extras: New audio commentary featuring jazz and film critic Gary Giddins, music and cultural critic Gene Seymour, and musician and bandleader Vince Giordano; new introduction by Giddins; new interview with musician and pianist Michael Feinstein; four new video essays by authors and archivists James Layton and David Pierce on the development and making of «King of Jazz»; deleted scenes and alternate opening - title sequence; «All Americans,» a 1929 short film featuring a version of the «Melting Pot» number that was restaged for the finale of «King of Jazz»; «I Know Everybody and Everybody's Racket,» a 1933 short film featuring Paul Whiteman and His Orchestra; two Oswald the Lucky Rabbit cartoons from 1930, featuring music and animation from «King of Jazz.»

This definitive release recycles Altman's excellent DVD commentary and adds enticing new features, such as a rare - for - Criterion retrospective documentary where the likes of actors Rene Auberjonois and Keith Carradine reflect on the film's production and its cultural moment.

This is supposed to serve as commentary about how uncomfortable so many people still feel about discussing cultural differences, but this particular gag and a subsequent dinner with Linda's family are just straining for shock value.

In a profile for The New Yorker, John Brooks noted that Gutman was «probably the only writer of a broker's stock - market letter whose readers count on him not only for financial advice but also for cultural commentary, psychological insights, and even spiritual guidance.»

Extending the popular website of the same name, this book presents a wide array of collections — some featured on the website, most newly assembled for publication — interspersed with commentary and essays exploring the problems and politics of collecting materials that may lack conventional monetary or cultural value.

As his career has progressed from his start as an editor for Rolling Stone, his work has also evolved from straightforward music criticism to broader cultural commentary.

For the first time since 2007, the gallery spaces in the Villa Salve Hospes are being filled with a thematic group exhibition: OPEN HOUSE — A Group Show on Hospitality brings together eleven international artistic positions whose works provide commentaries on hospitality as a social, cultural and political phenomenon.

Lauded for her skewering commentaries on the intersection of the cultural canon and cultural waste, Bag's work frequently examines the art world hierarchies that govern not only taste, but likewise determine career trajectories.

Witte de With Center for Contemporary Art has distinguished itself with intrepid commentary on the shared cultural and political predicament through its curated exhibitions, which form the core of its program.

Notable galleries for 2014 include: Kevin Kavanagh (Dublin), presenting a storytelling series by Sonia Shiel, current ISCP NY artist - in - residence and recipient of Ireland's 2014 Arts Council Project Award; Laura Bulian Gallery (Milan), highlighting career Conceptualist Vyacheslav Akhunov, whose cultural investigations were featured in dOCUMENTA (13) and the 2013 Venice Biennale's Central Asian Pavilion; contemporary Bahamanian art hub Popopstudios (Nassau), spotlighting «everyday» assemblages and mixed - media works by founder John Cox; Frederieke Taylor Gallery (New York), revealing environmental concerns of downtown stalwart Christy Rupp, whose seminal public art projects factored into the 2012 exhibition Come Closer: Art Around the Bowery, 1969 - 1989 at the New Museum; Galerie Heike Strelow (Frankfurt am Main), combining sociopolitical commentary and black humor via Florian Heinke, who curated System of Diplomatic Chaos at Kunstverein Wiesbaden last year; and CONNERSMITH.

These photographs are more than representations and reconstructions of Wall's experiences, they are an agent for social commentary on violence and cultural miscommunication.

Driven by the conceptual and formal possibilities of the tension between light and dark, and good and evil, Paul Chan is best known for his projected animations that use shadows and silhouettes to engage cultural commentary and contemporary modes of communication.

Using the book as a symbol for knowledge, Benes conceals the information inherent to the object's purpose either as cheeky irreverence or as a commentary on American cultural values.

Matthew Darbyshire on the exhibition and commission: «In the development of this project, rather than getting too pop and «Twenty Twelve», I was thinking about the very real possibility of regression, and the potential for a more oblique commentary on the social, political and cultural implications of what's being built around us today.

He is capable of harmoniously intermingling diverse ideas and cultural phenomena in a very open, inclusive, and seductive way, that leaves room for irony and political commentary while remaining open to interpretation by the viewer.»