Sentences with phrase «cultural influence between»

Liliana Porter's work will be included in the exhibit How to Read El Pato Pascual: Disney's Latin America and Latin America's Disney, a Pacific Standard Time exhibition of over 150 works by 48 Latin American artists who investigate and challenge nearly 100 years of cultural influence between Latin America and Disney, on view Sep 9 - Jan 14.

The MAK Center presents at these two locations «an exhibition of over 150 works by 48 Latin American artists who investigate and challenge nearly one hundred years of cultural influence between Latin America and Disney.

The free movement of people, goods, and cultural influences between neighboring countries in peacetime can only threaten those who have abandoned belief in limited government and a market economy.

I am particularly interested in researching the trading and mutual cultural influences between the Roman and the Chinese worlds in the 1st to 4th centuries A.D.; however, I have never quite managed to pluck up the necessary courage to pursue this ambition.

Not exact matches

By almost any of the conventional measures of cultural and economic influence, the clash over water security and heritage between a tiny North Dakota Native American tribe and a wealthy and well - connected Texas pipeline operator would appear hopelessly tilted one way.

One of the contributions of Eliade, which will have great significance for study of NT history is that Eliade sees cultural contacts and reciprocal influences between Indo - Iranian, Mesopotamian, Mediterranean worlds.

His phenomenal success in reversing the ascendancy of the Philistines, in seizing the famous fortress of Jerusalem for his nation's capital, and in extending his sway and influence until he was the mightiest monarch between the Euphrates and Egypt transformed the face not alone of the Hebrews» cultural status but of their politics also.

Using reason to understand the cultural influences in the Bible is what allows us to differentiate between cultural norms which no longer apply and spiritual truths which do.

Just for that reason it represents clearly the tension between general cultural influence and a tightly organized in - group that is to be found in many other movements.

Additionally, many factors known to influence breastfeeding duration, including cultural practices, prenatal education, hospital practices, and postpartum support, are likely to vary between less developed countries and the United States.

The visible differences between us are the cumulative result of genetic, environmental and cultural influences over long periods of time, but rarely do we consider these factors together, which can lead to discrimination on the basis of one or another.

There is an under - appreciation of how cultural differences between scientists and countries influence the success of international scientific endeavors.

It includes an overview of African Americans» burden of cardiovascular disease; how traditional risk factors and adverse health behaviors affect the disparities between African Americans and whites; a discussion of the genetic and biological factors that might contribute to cardiovascular disease in African Americans; and medical treatments and the social, cultural and environmental factors that influence prevention and disease management in African Americans.

At the film's recent press day, Costner talked about the appeal of playing Coach White, Niki Caro's directing style, the bond that developed between all the actors during filming, the pivotal role a coach can play in a young person's life, the Jim White - type coaches who influenced Costner's life in a positive way, what he learned about Latino culture growing up in Visalia, why he waits for projects to come along that he can really respond to irrespective of genre, the biggest cultural gap he experienced on this film, and how sports movies allow us to address other issues within the wider society.

The design of the chandelier in the lobby combines French national flower fleur - de-lis and Guangzhou city flower Kapok that perfectly displays Sino - French influences and accentuates the strong cultural links between France and Guangzhou.

The artist conceived and re-conceived the exhibition in his Los Angeles studio, eventually presenting paintings, sculptures and video the reflect his individual voice, collapse the division between artist and ordinary people, and emphasize his belief in the social and cultural influence of art, particularly in this historic, political moment.

Inspired by a childhood steeped in African American cultural influences, Rashid Johnson creates layered artworks that engage a conversation between personal biography and the implied gravitas of larger cultural and historical narratives.

Cultural influences from one part of the world become trends elsewhere — we should all welcome these conversations because they influence a deeper understanding between all of humanity on a multitude of levels.

It was a deeply affecting experience for the artist, whose K - pop and propaganda - influenced videos, performances, and installations explore the intersections and cultural collisions between East and West.

The show looks at cross - cultural influence and divergence — both historical and recent — between countries such as Cuba, Brazil, South Africa and Angola, as well as other regions such as Mozambique, and Namibia; featured artists born in or living between these countries or in the diaspora.

Working with appropriated images and texts, Gilsdorf creates sculptures and performances that delve into the relationship between historical narratives, the iconography of authority, and the ways in which representations influence our perception of cultural values.

Her sculptures and performances delve into the relationship between historical narratives, the iconography of authority, and the ways in which representations influence our perception of cultural values.

Making a parallel between then and now, the show will highlight the role of female artists (or lack thereof) in the movement through the works of Magda Cordell and will examine the ways the relocation of certain artists influenced their art on grounds of cultural shifts.

Although each artist belongs to and emerged from distinct cultural milieux, the exhibition explores the formal and conceptual affinities shared between the three, revealing the broad cultural influences and forces that inspire each artists» practice and bridges their work.

Akunyili Crosby's characters and scenes, however, occupy the liminal, in - between zone that post-colonial theorist Homi K. Bhabha refers to as «the third space», a point of overlap, conflation and mixing of cultural influences specific to diaspora communities.

Now for his solo show at OUTLET, Berman brings us splices of artistic cultural influence from Japanese Ukiyo - e prints to Aztec myths, with an interplay between fact, memory and fiction, reflecting upon his own history of displacement and relocation.

Using symbolism exploring Biblical text, diagrams from scientific hypothesis, and visual psychedelia produced by an influx of cultural influence seemingly aimed at searching for the «unknown» the work serves as a catalyst to further reflect upon topics of belief and wonder as intellectual and spiritual intersections between fact and faith.

Crosby's paintings represent the duality between the socio - political complexities of post colonial Nigeria and her inherited cultural influences.

Artist Statement As a culturally displaced artist myself, I have been drawn to the theme of cultural displacement and identity and to social psychological and cross-cultural studies that are heavily influenced by immigrant experiences and by the interaction between people and space.

Art and Black Los Angeles 1960 — 1980, this full - day symposium explores the relationship and parallels between the African American artistic communities in Los Angeles and New York through examining the social and cultural atmosphere of the 1970s in both cities, the significance of the Just Above Midtown artist space to the New York community, and the influences these artists have on their contemporaries.

This in - between quality of Benning's current work reflects decades of enquiry into the operation and influence of cultural material, beginning with Benning's earliest video works made in 1989 and subsequent explorations in drawing, painting and music production.

The photographs in the exhibition navigate the complex relationship between innate identities and identities evolved from social, political and cultural influences.

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.

Inspired by a childhood steeped in African American cultural influences, Rashid Johnson creates layered artworks that engage a conversation between personal biography and its relationship to larger cultural and historical narratives.

«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003

2001 Empathy, Pori Art Museum, Pori, Finland Mies in America, Whitney Museum of American Art, New York, USA What «s New: Recent Acquisitions in Photography, Whitney Museum of American Art, New York, USA InSITE 2000 - 2001, Installation Gallery, San Diego, USA and Centro Cultural Tijuana, CECUT, Tijuana, Mexico Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, USA In Between: Art and Architecture, MAK Center for Art and Architecture, Schindler House, West Hollywood, USA Hieronymus Bosch, Museum Boijmans Van Beuningen, Rotterdam, Netherlands Políticas de la differencia: Arte Iberoamericano fin de siglo, Centro Pernabucano, Recife, Brazil

Over four decades of cultural development, from the Gilded Age to the Jazz Age, the exhibition examines Stettheimer's unique artistic style, her position as a link between groups within the New York art world, and her continued influence on artistic practice today.

Since the early 1980s, his oeuvre has built new bridges across the rift between American and European modernist and postmodernist painting, and his art has been wide open to other cultural influences.

It is in this respect that her work operates in the liminal, in - between zones that post-colonial theorist Homi K. Bhabha refers to as «the third space», a point of overlap, conflation and mixing of cultural influence specific to diaspora communities.

The spiritual and cultural significance of growing miniature bonsai trees derives from a thousand - year - old horticultural tradition in Japan, representing a careful, contemplative and Zen - influenced relationship between humans and nature.

But as experimental studies show, it's possible to disable or blunt culture's heuristic influence: when people's cultural identities are affirmed, they don't experience the threatening affective response, or are less influenced by it, as they consider information that challenges beliefs that pre-dominate in their group; when they can't discern a consistent connection between the cultural identity of advocates and positions on some risk issue, they can't simply adopt the position of the advocate whom they perceive as having values most like theirs.»

Really, this story is about the intersection of several of the nastier aspects of US cultural life — ignorance, anomie, the poor state of the health (especially mental health) and education systems, especially in the south, the influence of right - wing populism, the gross differences between rich and poor and of course their bizarre and anachronistic gun laws.

The prospective scenarios proposed by this report are based on a number of hypothetical social, economical and cultural situations, among others an ageing population, a changing socio - cultural reality due to immigration, a deepening divide between the rich and the poor, the omnipresence of IT in all sectors of society, the inability of the «welfare state» to maintain its offer of public services and goods, the feminization of the legal practice, a growing focus on quality of life, new business models, a transnational practice of law and a shift in influence from the West to the East.

«You learn the way laws are made, how political influence works, relations between [governmental] groups, cultural questions, work on constitutional reform,» he enumerated.

Cultural differences between workers and clients have been found to influence worker expectations of clients as well as their service delivery (Fletcher, 1997; Boyd - Franklin, 2003).

The study found out that interactional justice not only had positive influence on the attachment between enterprises and enterprises, but also could reduce the negative influence brought by cultural difference to enterprises.

Chapter topics range in scope from evolutionary approaches to understanding relationships, the «battle between the sexes,» cultural influences on relationships, female sexuality, personality in relationships, intimate partner violence, relationships and health, social development, and adult relationship outcomes.

We used a 3 - year cross-sequential longitudinal design to examine the relations between self - efficacy judgments in three different domains (academic, social, resisting negative peer influences), cultural identity, theories of intelligence, and depressive symptoms.

In this chapter, I will focus my discussion of emotion socialization on three areas: the role played by cultural display rules and imitation; the impact of gender differences in infant temperament and language development on socialization; and the sometimes surprising influence of processes of differentiation between mothers» and children's emotional expressiveness.

Although I acknowledge that biological differences between infant males and females play a role in shaping their emotional development, I argue that the subsequent emergence of gender differences in emotional expressiveness is heavily influenced by cultural values and attitudes concerning gender roles.