Sentences with phrase «cultural history done»

This video can be seen as a study in cultural history done almost subliminally, as each viewer instantaneously recognizes specific images and text.

Teachers and professors who testified cited research showing that students who learn their cultural histories do better academically.

Not exact matches

For reasons that aren't entirely clear, Glass was ousted from Twitter before it turned into a cultural phenomenon and didn't even get much company stock, according to a new book about Twitter's history.

In this novel Atwood does not abandon biblical history to those who have muted female testimony; instead, she imaginatively writes this testimony back into cultural contexts that would destroy it utterly and that fail to do so, even as she reveals the violence in any amputations of human stories and the historical vulnerability of all speech and silence.

Although the formulation of these truths has a cultural history, they are not the possession of any one culture, nor does their universal recognition constitute a cultural imposition upon others.

To suppose that the scientific study of nature is a natural by - product of a certain stage of cultural development simply does not fit the facts of world history.

In their view, books stressing contingency «offer a way forward, beyond the «old political history» and the new «social and cultural history» by a reunion of process and event,» In other words, what Individual people did — perhaps especially people who filled leading public posts — may be as genuinely significant as the ordinary forces acting upon ordinary people.

Granted that religious forms and institutions, like other fields of human and cultural activity, are conditioned by the nature, atmosphere, and dynamics of a given society, to what extent does religion contribute to the cohesion of a social group and to the dynamics of its development and history?

Does the discussion in Christ Without Myth take adequate account of the nature and status of myth as a cultural form, and thus as an indispensable ingredient of history?

More than this, he was sensitive to the fact that the writing of philosophy's history can be at once technically competent and narrow He praised the «philosophical greatness achieved in American philosophy, from Peirce to Santayana, but he complained of the cultural chauvinism in failing to recognize it.5 According to Hartshorne, «One might about as easily reach great heights in philosophy without benefit of the work done in modern America as to reach them in physics without using the work of modern Germans» (Creativity 11).

My own desperate clinging to the tattered label evangelical has less to do with any political or cultural uniformity as it does to these core convictions, or rather, the core conviction that the good news of Jesus Christ's death and resurrection for sinners and a broken world is the mightiest power set loose in the history of the world.

He did so by urging the expansion of the idea that the great books include the Eastern classics, as well as through his inspiring participation in Columbia's core courses on Asian humanities and through his many books making the cultural history of China and the rest of East Asia available to educated readers.

Reading his lively account of the scholars who excavate and display the Middle Ages, an account replete with cultural history, moral judgment, psychological speculation, gossip, and no small amount of romantic idealism and fin - de-siecle pathos, the reader can reflect as much upon his own world, and about the character of Cantor himself, as he does about the painstaking task of historical reconstruction that absorbed the lives of such as Theodor Mommsen, Marc Bloch, or David Knowles.

If this is true, it follows that the most conservative method of doing theology is to go back into history to a time when the tradition of faith carries the least amount of cultural baggage.

What it does achieve is a vision of Western philosophy and its ambiguously intimate relation to Western cultural history that, if once understood, can not easily or confidently be dismissed.

To me, this approach is the touchstone for assessing the difference between fact and fiction in history The core question is: Does the description of ancient people's behavior ring true when we compare it to the way contemporary people behave in a similar cultural area?

I'm doing a project on the history of peanuts and peanut butter in South America for cultural connections.

But the ACC has a level of history and cultural ties that the Big East does not, as we are reminded every decade or so when the conference picks off some Big East heavyweights.

We did not do this because everything in my mother's instinct, millennia of cultural and biological history, and what little medical research there is argues against it.

With separate histories and political - cultural traditions, the UK and Spain do not have the same nation - state DNA.

China has absolutely no cultural history of democracy, or primacy of the individual, the way Western world does.

She showed some of her public perception data indicating that regular citizens can make nuanced decisions and formulate sophisticated opinions, although they draw upon a variety of factors to do so including history, trust, controllability, familiarity, being informed, and cultural world views.

Do you want someone who understands your cultural heritage and shares your history?

What can we do as educational and cultural workers, at this crucial moment in history, when corporate revenue expands as the job market shrinks, when there is such a callous disregard for human suffering and human life, when the indomitable human spirit gasps for air in an atmosphere of intellectual paralysis, social amnesia, and political quiescence, when the translucent hues of hope seem ever more ethereal, when thinking about the future seems anachronistic, when the concept of utopia has become irretrievably Disneyfied, when our social roles as citizens have become increasingly corporatized and instrumentalized in a world which hides necessity in the name of consumer desire, when media analyses of military invasions is just another infomercial for the US military industrial complex with its huge global arms industry, and when teachers and students alike wallow in absurdity, waiting for the junkyard of consumer life to vomit up yet another panacea for despair?

«Most teacher preparation programs do not require prospective teachers to learn about the cultural and community history, racial dynamics, and equity issues that Chicago students experience.»

The free walking tours will take you all around the city, teaching you key Quechua history and cultural facts, and helping you plan a few things to do in Cusco in the coming days.

Diego, our guide for the trail and sanctuary did a wonderful job telling us about the cultural and natural history of the area.

Recent solo exhibitions include the Centro Cultural Banco do Brasil, São Paulo, Rio de Janeiro and Brasilia (2012); Deichtorhallen, Hamburg (2012); State Hermitage Museum, St. Petersburg (2011); Kunsthaus Bregenz, Austria (2010); the major touring exhibition Between You and Me (Kunsthal Rotterdam, Musée d'Art Moderne De Saint - Etienne and Artium, Vitoria, Spain, 2008 — 2009); MARCO, Monterrey, Mexico (2008); the Hayward Gallery, London (2007); MADRE, Naples (2006); the Calouste Gulbenkian Foundation, Lisbon (2004); the Baltic Centre for Contemporary Art, Gateshead (2003) and the National History Museum, Beijing (2003).

Latham's lurid career featured more prominently in press reports than it did in 20th century cultural histories.

How do you present these layers of history and cultural identity to viewers?

Contemporary Chinese Photography and the Cultural Revolution, Staatliche Museen Zu Berlin, Berlin, Germany (2017); Évidences du réel: La photographie face à ses facunes, Musée d'art de Pully, Pully, Switzerland (2017); Bizarreland, Exhibition of Chinese and Contemporary Photography, Nantong City Center Art Museum, Nantong, China (2017); Working on History.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

The fair, which is organized by the cultural production company, Candlestar, is doing an admirable job of honoring the city's photography history while simultaneously appreciating the present cultural moment, a notion best examined through one of the five commissioned exhibits on display.

With such a rich history, and so many things to do, it's the ideal place to live and work for creatives seeking industrial inspiration and a regular programme of art, design and cultural events.

If I Didn't Care: Multigenerational Artists Discuss Cultural Histories.

His solo exhibitions include, Jayce Salloum: history of the present [selected works 1985 - 2009], Mendel Art Gallery, Saskatoon, Canada (2012), Jayce Salloum: Récits alternatifs (du Liban à l'Afghanistan, par la Vallée de l'Okanagan...), Canadian Cultural Centre, Paris, France (2012), Bamiyan (the heart has no love / pain / generosity is not a heart), a collaboration with Afghan - Hazara artist Khadim Ali, Royal Ontario Museum, Toronto, Canada (2010), and Jayce Salloum: history of the present, Kamloops Art Gallery, Canada (2009 — 2010).

Art As Object 1958 - 1968, MOCA, Los Angeles, US Drift a Project of John Baldessari, Julião Sarmento, Lawrence Weiner commissioned by Delfim Sardo, Centro de Centro Cultural de Belém, PT Before the End (Sequence 2), Le Consortium, Dijon, FR White Columns 2004 Benefit Auction, White Columns, New York, US Tonight, Studio Voltaire, London, UK Bearings: Landscapes from the IMMA Collection, Irish Museum of Modern Art (IMMA), Dublin, IR Ulysses, Ineluctable Modality of the Visible, Austria Center for Contemporary Art, Österreichische Galerie Blevedere, Vienna, AT Beyond Posters a Visual History of Gallerie Susanne Ottesen, Copenhagen, DCA Gallery, New York, US Incommunicado, Cornerhouse, Manchester, UK D'Un Lieu L'Autre, Oeuvres de la Collection Daniel Bosser, Hommage Aux Collectionneurs, Centre D'Art de Lyon, FR Beyond Geometry: Experiments in Form, 1940's -1970's, The Modern and Contemporary Art Council of the Los Angeles County Museum of Art, Los Angeles, US; traveled to Miami Art Museum, Florida, US The Big Nothing, Arcadia University Art Gallery, Glenside, Pennsylvania, US Joyce in Art, Visual Art Inspired by James Joyce, an International Exhibition of Art from 1914 to 2004, Royal Hibernian Academy Gallagher Gallery, Dublin, IR Reflecting the Mirror, Marian Goodman Gallery, New York, US Not Done!

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

Since the very idea of a «psychedelic art» is tenuous, the exhibition does not propose a canonical presentation, but attempts to establish a series of artist experiments that relate to the many «plateaux» of the psychedelic, and its multiple histories as they unfolded in particular cultural contexts in Europe, Scandinavia, Latin America and Japan.

True or untrue, myths surrounding the early funding of the movement by the CIA in order to affect a form of American cultural Imperialism stick to the group; as does the pivotal position it holds in the canon of art history, as the turning point when «art» migrated from Europe to America following the Second World War.

Zugaza himself did predoctoral work in art history at Madrid's Complutense University, specializing in modern and contemporary art, but left to join his family's cultural - consulting business.

Faculty of Social Sciences, Department of Business Administration, 1979, Ankara / TURKEY Adapazarı High School, 1974, Adapazarı / TURKEY Art History, Yalçın Sadak, Yeditepe University, 2010 - 2015, Istanbul / TURKEY Workshops Joined 2008 Vedat Konyalı Basics of Photography Workshop, Altunizade Cultural Center, Istanbul / TURKEY 2010 - 2015 Art Historian, Yalcın Sadak 2012 Orhan Taylan Painting and Drawing Workshops, Istanbul / TURKEY 2013 Monoprint Workshop, Yeditepe University, Faculty of Fine Arts, Istanbul / TURKEY 2013 Japon Calligraphy Workshop, Faculty of Fine Arts, Istanbul / TURKEY 2014 Landart Workshop, Yeditepe University, Department of Landscape Architecture, Istanbul / TURKEY 2014 Fresco, Design, Restoration and Decoration Workshops, Palazzo Spinelli Firenze, Associazione Corso Di Disegno E Tecniche Di Decorazione, Floransa / ITALY Selected Exhibitions: 2017 «Did You Know», Boris Georgias City Art Gallery, Varna / Bulgaria 2017 Paper Works Exhibition, Pinelo Art Gallery - MIAMI 2017 Child Brides — Violence to Woman,, Caddebostan Cultural Center, Istanbul / TURKEY 2016 SURVIVE / Hayatta Kal!

The BBC's schedule is full of Africa's natural history, but rarely does it reflect on the continent's social, political and cultural history.

An interesting comment — «You don't need much knowledge of cultural history and the philosophy of science to understand why the testimony of mediaeval monks written in Latin doesn't stand a chance against statistics.

You don't need much knowledge of cultural history and the philosophy of science to understand why the testimony of mediaeval monks written in Latin doesn't stand a chance against statistics.

We have a unique legal, cultural and societal history that informs everything we do and how we operate,» said Mr. Gallant.

Maybe we don't have access to prized toile, enamelware or bergère chairs at the local market, but we do have a rich cultural history with fine pieces of furniture from Quebec, for instance, as well as skilled craftsmen that rival the best in the world.