Sentences with phrase «cultural identity using»

Not exact matches

In fact, cultural diversity in the US has led to variations in names and naming traditions, with names being used to express creativity, personality, cultural identity, and values.

Attendees will learn how to use play therapy to assess the differences between individual cultural development and family and group identity development.

Since the beginning of time, cultural and societal traditions have been used as markers of identity.

Approaches to racial socialization that promoted cultural pride and identity were commonly used for this young age group and have been consistently linked to positive outcomes in prior studies.

Yale Law study, entitled «Identity - protective Cognition Thesis» (ICT),» treats cultural conflict as disabling the faculties that members of the public use to make sense of decision relevant science.

This webinar will explore how some educators are using those levers to create interdisciplinary units that integrate a variety of texts and learning methods to help students delve into social issues, including identity, cultural history, diversity, and civic engagement.

Her conceptual framework, family cultures, has been used widely to examine the interconnectedness among families» political, cultural, and social histories and racialized identities; social practices; and literacy processes.

In a recent conversation, a colleague of mine mentioned that what and how he would teach a class would depend on the students he was teaching: he would adapt what he taught to what his students found to be interesting or relevant because he wanted to use history to help them explore and determine their personal and cultural identity.

As students learn to use technology tools to build representations of a social world's characteristics, they generate reflective critical thought through their analysis and critique of the identities, relationships, and values constructed by the cultural practices and discourses in that social world.

After her Gujarati Indian family's move to a remote Hawaiian island suspends them in cultural isolation, 16 - year - old Rani Patel uses rap to forge an identity amid family drama, cultural restrictions, and abuse.

This exhibition seeks to correlate directly with How to Read El Pato Pascual: Disney's Latin America and Latin America's Disney at MAK Center for Art and Architecture at the Schindler House and The Luckman Fine Arts Complex at Cal State L.A., through the idea of creating identity and using iconography as political and cultural tools to represent the experiences of the people who have most suffered from corporate imperialism.

Yinka Shonibare's work explores race, class, cultural identity, and colonialism, primarily through use of brightly colored «African» batik fabric.

Sydney Shavers is an interdisciplinary artist who uses Western cultural sign systems to assess ascriptive identities such as race and gender.

Akunyili Crosby's works are multilayered both in their materials (she uses paint, charcoal, pencils, fabric, paper transfers, and collage) and in their meaning — she explores questions of cultural identity, relationships, and geography through portraiture, interior space, and objects.

Identity Shifts A companion exhibition to Posing Beauty, this collection - based display features works by African American artists who use representations of the human figure or some aspect of the body (including hair) to explore how we construct and perceive personal and cultural iIdentity Shifts A companion exhibition to Posing Beauty, this collection - based display features works by African American artists who use representations of the human figure or some aspect of the body (including hair) to explore how we construct and perceive personal and cultural identityidentity.

To accompany her exhibition Between the Dog and the Wolf, Van Meel has produced a publication which brings together a group of peer contributors to explore the ways in which specific use of language and words can create a sense of space, time, class and cultural identity.

He was born the illegitimate son of a Japanese poet father and an American mother, and struggled with questions of cultural identity throughout his life (his father would not allow him to use his family name in Japan).

Using various media, including photography and video, the artists explore the ways in which cultural identity and bodily perception are driven and socially conditioned by the global economy and the media.

Heidrun Holzfeind uses photography, documentary video and sculpture to explore individual and collective narratives that reveal the concept of identity as a social construct dependent on cultural and socio - economical circumstances.

This collection - based exhibition features works by African American artists who use representations of the human figure or some aspect of the body (including hair) to explore how we construct and perceive personal and cultural identity.

Covering many subjects and countries, from war to human rights issues and from cultural identity to the sex industry, Meiselas uses photography, film, video and sometimes archive material, as she relentlessly explores and develops narratives integrating the participation of her subjects in her works.

Please RSVP to: [email protected] Tim Okamura explores social identity within the urban environment, using metaphors and cultural iconography in his work.

Wangechi Mutu uses her training in sculpture and anthropology to reveal contradictions of female and cultural identity, referencing colonialism, African politics, and fashion.

Friday, December 6, 9 pm at the New World Center Farewell to the Past: Yinka Shonibare MBE Yinka Shonibare MBE - known for work exploring cultural identity, colonialism and post - colonialism within the contemporary context of globalization - uses music and dance to captivate and engage the viewer by mirroring our world in a regal, beautiful and unexpected way.

Not all the artists are black, of course, and racial and cultural identity do not preside — but are instead replaced by — as Ligon writes, curatorial erudition, and the «formal, political, and metaphysical ways the colors have been used.»

Using a range of approaches, her work elaborates on the aesthetics of 1960s and»70s American avant - garde film with an investigation of cultural identity and the role of the subject.

There is an interest in defining a period of our collective history and cultural understanding through objects of symbolic meaning used for ritual and cultural identity.

Through the use of high and low cultural iconography and art historical references I create a working space between both cultural identities in which samples could be -LSB-...]

Punchbag added further complexities to questions of raced, gendered and cultural identities raised by Glenn Ligon's Skin Tight: Muhammed Ali Text (1995)[Figs.85 - 86], a punchbag and text piece which specifically sought to address «how black men have used boxing to confront issues of black American identity» and «the construction of masculinity in relation to questions of violence, the commodification of black subjects, sexuality and resistance.»

Common themes of hunger, cultural / private identities, migration, feeling lost, and linguistic insufficiency, are familiar to me enough that I use them to wrap my sculptural propositions.

The artist uses fragments of images taken from magazines to illustrate and comment on the roles of women, cultural identity, African politics and international fashion.

The myriad elements used in her projects, such as dolls, quilts, and uniforms, are handmade and labor intensive, foregrounding the role of craft in the construction of cultural identity.

Lalla Essaydi, the Morrocan - born artist uses iconography from 19 - th century Orientalist paintings as an inspiration and a starting point for the exploration of her own cultural identity.

She uses them to speak meaningfully about cultural heritage, gender, beauty standards, race, and identity while transforming hair accoutrements into sculptural objects.

Known for using batik in costumed dioramas that explore race and colonialism, Yinka Shonibare MBE (RA) also employs painting, sculpture, photography, and film in work that disrupts and challenges our notions of cultural identity.

Known for using batik in costumed dioramas that explore race and colonialism, Yinka Shonibare MBE also employs painting, sculpture, photography, and film in work that disrupts and challenges our notions of cultural identity.

Martinez uses painting, sculpture, neon and installation to comment on issues affecting communities nationally, while responding to specificities associated with the City of Los Angeles, including its overlapping and intersectional modern hybrid cultural identities.

In the 1970s and 1980s, photographers such as Robert Frank (American, born Switzerland, 1924), Jim Goldberg (American, born 1953), Larry Sultan (American, 1946 - 2009), and Nan Goldin (American, born 1953) exposed their lives and those of others, using single or multiple pictures, to examine broad cultural questions of family and identity.

The featured artists use a variety of methods and materials to explore concepts of identity and issues of cultural transference.

Nicole Killian's work uses graphic design, publishing, video, objects and installation to investigate how the structures of the internet, mobile messaging, and shared online platforms affect contemporary interaction and shape cultural identity from a queer perspective.

The weaving techniques she learned from her father are transformed through her use of these unconventional materials and geometric patterns, building upon her own cultural identity while commenting on the idea as a whole.

Past artists who have created work for Rivington Place's window include Philomena Francis who used piped black treacle in her artwork mo» lasses III to raise questions about identity and viewing the black female body, and most recently Nilbar Güres» Beekeeper, a photographic composition examining representations of femininity and cultural identity.

These works don't set out to make specific cultural references explicit but the materials I use and the forms they take do of course carry with them their own set of references and identities.

Weems and Holzer use text to interrogate power through self - expression, creating new narratives for cultural and political resistance, while Katchadourian voices the frustrations of everyday life while inserting her artistic identity into the male - dominated history of portraiture.

Stemming from her South American heritage and migration to Europe, Calero constructs social spaces that use sensory engagement as a democratic entry point for audiences to investigate socio - political themes of cultural representation and national identity.

Whether it be Sekhukuni and his use of the Internet as medium, Mooney and her fascination with ephemerality and the social notion of space or Adams and his interrogation of hybrid racial, sexual and religious identities, each are operating outside the stereotypical approaches canonized by South African art history, thanks to the possibilities / challenges presented to them by a new political and cultural climate.

Using a range of media including photography, she subverts representations of femininity and cultural identity

Traversing theoretical and practice - based inquiry in my artistic research, I use theories from the transdisciplinary WGS field to examine hidden dynamics informing relationships between individuals, as well as between the individual and society, exploring how cultural pillars of identity are activated.

A 2000 graduate of the Whitney Museum Independent Study Program, Geyer works with photography, video and performance, using both fiction and documentary strategies in order to address larger concepts such as national identity, gender, and class in the context of the ongoing re-adjustment of cultural meanings and social memories.

Washington Project for the Arts presents The Art of the Superhero — Revisited, a group exhibition organized by F. Lennox Campello exploring our cultural fascination with masked men and caped crusaders.The artists included in the exhibition approach their topic with a mix of levity and seriousness, using the figure of the superhero to explore issues of identity, immigration, and the struggles of daily life.