Sentences with phrase «cultural life moves»

Not exact matches

Our company business model consistently reflects the entertainment, information, active, cultural, educated, involved lifestyles of our community, the people who choose to live, work, move, visit and own second homes here.

The character of this suffering moves theological attention to the social systems that shape our lives — economic, political, cultural — as well as to public events themselves (the Holocaust, programs and policies of economic austerity, military intervention, terrorism, ethnic nationalist expression, struggles for survival and freedom).

When my wife and I moved to Pasadena, California, we joined a group of well - educated couples who were meeting in a local Baptist church on Sunday mornings for a freewheeling discussion of life, social issues and various cultural challenges to the Christian faith.

An Emergent definition of relevance, modulated by resistance, might run something like this; relevance means listening before speaking; relevance means interpreting the culture to itself by noting the ways in which certain cultural productions gesture toward a transcendent grace and beauty; relevance means being ready to give an account for the hope that we have and being in places where someone might actually ask; relevance means believing that we might learn something from those who are most unlike us; relevance means not so much translating the churches language to the culture as translating the culture's language back to the church; relevance means making theological sense of the depth that people discover in the oddest places of ordinary living and then using that experience to draw them to the source of that depth (Augustine seems to imply such a move in his reflections on beauty and transience in his Confessions).

«In the perspective of the Bible, conversion is turning from idols to serve a living and true God and not moving from one culture to another and from one community to another as it is understood in the communal sense in India today», and further that so long as baptism remains a transference of cultural or communal allegiance, «we can not judge those who while confessing faith in Jesus, are unwilling to be baptised» (Renewal in.

These benefits include but are not limited to the power of the human touch and presence, of being surrounded by supportive people of a family's own choosing, security in birthing in a familiar and comfortable environment of home, feeling less inhibited in expressing unique responses to labor (such as making sounds, moving freely, adopting positions of comfort, being intimate with her partner, nursing a toddler, eating and drinking as needed and desired, expressing or practicing individual cultural, value and faith based rituals that enhance coping)-- all of which can lead to easier labors and births, not having to make a decision about when to go to the hospital during labor (going too early can slow progress and increase use of the cascade of risky interventions, while going too late can be intensely uncomfortable or even lead to a risky unplanned birth en route), being able to choose how and when to include children (who are making their own adjustments and are less challenged by a lengthy absence of their parents and excessive interruptions of family routines), enabling uninterrupted family boding and breastfeeding, huge cost savings for insurance companies and those without insurance, and increasing the likelihood of having a deeply empowering and profoundly positive, life changing pregnancy and birth experience.

The vast technical background necessary for creating cinematic stories, illuminating interviews with the greatest living filmmakers, in - depth analyses of high quality movies... The material provided by Cahiers du Cinéma, Sight & Sound, Cinemagic, Cinefantastique and many others has inspired thousands of people to dedicate their lives to filmmaking, and thanks to the wonders of modern technology, these priceless cultural beams of historic value and prime educational significance continue to inspire, astonish and enlighten us, bringing up a new generation of artists who might persevere and thrive to one day fill the shoes of the likes of Orson Welles, Krzysztof Kieślowski, Jean - Pierre Melville, Agnes Varda, Paul Thomas Anderson, David Fincher and dozens of others whose work continually delight and move us in every way possible.

In addition, the excellent selection of documentaries continued with the moving and mesmerising Marina Abramovic: The Artist is Present, damaging drug war dissection The House I Live In and enthralling cultural portrait This Ain't California.

Faces Places is quite a moving film, and speaks to a particular cultural mindset that knits art into the fabric of public life.

Life moves fast, and the time it takes you to do the job once and do it right for a hyperspecific cultural group can make or break your product.

Based on thousands of primary documents and 180 on - the - record interviews, the story unfolds day by day, hour by hour, and at times minute by minute, with a rich cast of characters — military officers, American and Viet Cong soldiers, chancellors, professors, students, police officers, businessmen, mime troupers, a president and his men, a future mayor and future vice president — moving toward battles that forever shaped their lives and evoked cultural and political conflicts that reverberate still.

You Bring the Distant Near by Mitali Perkins Mitali Perkins's You Bring the Distant Near traces the lives of five Bengali women across three generations: sisters Tara and Sonia, their mother Ranee, and eventually, their daughters, Anna and Chantal, as they navigate the intricacies of interwoven cultural identities, and move from India, to London, then New York City, and finally, New Jersey.

Commenting on Three Sisters, the judges said the novel was, «A moving exploration of Chinese family and village life during the Cultural Revolution, that moves seamlessly between the epic and the intimate, the heroic and the petty, illuminating not only individual lives but an entire society, within a gripping tale of familial conflict and love.»

Also, because I am not from the western part of the world, I do not have the cultural mindset that I have to move out and get into a world of debt to live on my own when I reached 18.

For those less interested in being continuously on the move as the «nomadic» lifestyle dictates, the agency have helped local community groups set up a series of cultural and homestay programs allowing you a rare insight into the local life and customs, including, for example, a trip that offers the chance to spend a week learning to train Kazakh eagles in Bayan Ulgii province.

Since moving to Mexico, Glassford has immersed himself in Latin American life, using found materials in his work and amassing a large collection of Mexican cultural objects that inform his art - making.

After five years living under strained conditions with his family in Massachusetts, Gorky moved to New York and became absorbed into the cultural milieu of a city on the brink of modernism.

Organized around the concept that inanimate objects and inert cultural artifacts are conduits for narrative histories, the program considers how artists use moving images to extend the life of things and materials that would otherwise appear to be stable and resolute.

J.B. Blunk: Curriculum Vitae Chronology 1926 Born August 28, Kansas City, MO 1946 Moved to California 1949 B.A. University of California, Los Angeles 1949 — 1950 Drafted, Korean War 1952 — 1954 Lived and worked in Japan as potter's apprentice 1954 — 1955 Artist in Residence at Palos Verdes College 1955 Moved to Northern California 1957 — 1962 Built house in Inverness, California 1962 Began working with wood 1969 — 1970 Travel to Mexico and Peru 1971 Apprenticeship Grant from Louis Comfort Tiffany Foundation 1979 Cultural Exchange Travel Grant to Indonesia, U.S.I.C.A. 1983 Travel to Japan 1986 California State Art in Public Places Program competition award for sculpture 1999 Lectured at California College of the Arts, San Francisco, CA 1990 Art Consultant to Land Studio Landscape Architects and MW Steele Group 2002 Died June 15, Inverness, CA

Recent works include the three - screen installation The Unfinished Conversation (2012), a moving portrait of the cultural theorist Stuart Hall's life and work; Peripeteia (2012), an imagined drama visualising the lives of individuals included in two 16th century portraits by Albrecht Dürer and Mnemosyne (2010) which exposes the experience of migrants in the UK, questioning the notion of Britain as a promised land by revealing the realities of economic hardship and casual racism.

The artist moved to Mexico in the late 1980s and has lived in Europe since 1994, skirting these legal and cultural quagmires by scrubbing his work of Native American subject matter and selling internationally.

They — along with many other artists whose works could easily have fit in this exhibition — are vernacular cosmopolitans of a kind, moving in - between cultural traditions, and revealing hybrid forms of life and art that do not have a prior existence within the discrete world of any single culture or language.

Station to Station is a 21st century cultural experience that moves by train from the Atlantic Ocean to the Pacific Coast: stopping in ten different locations from major cities to off - the - grid spots, each time for a one - night - only live event that merges music and contemporary art.

2015 Frantz Fanon: Black Skin White Mask, Arnolfini Centre for Contemporary Art, Bristol, United Kingdom Frantz Fanon: Black Skin White Mask, Contemporary Art Museum, St. Louis, USA Frantz Fanon: Black Skin White Mask, Institute of Contemporary Art, London, United Kingdom Looking for Langston, Territories, Who Killed Colin Roach, Passion of Remembrance, Tate Britain, London, United Kingdom Looking for Langston, Young Soul Rebels, This is Not an AIDS Advertisement, New Queer Cinema, Cine Belas Artes, São Paulo, Brazil The Attendant, Badasssss Cinema, The Darker Side of Black, Territories, Queer Lisbon, Lisbon, Portugal Better Life, M + Moving Image, West Kowloon Cultural District, Hong Kong

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

It's to this area that Andrea Zittel moved from Brooklyn in 2000 to make an attempt at total living, which involves designing and building domestic and work spaces, producing clothes, growing food, and having greater agency over one's social and cultural experiences — all of it done on a relatively small and sustainable level.

Since moving to New York in 2014, she has assisted with the development of exhibitions and live programming at various museums and cultural institutions.

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

It highlights the different approach in the generation of artists living through the Cultural Revolution, who find their subject in researching the past while dealing with the present, and the new generation, who engage in an uprooted society, moving forward into a new social - culturalCultural Revolution, who find their subject in researching the past while dealing with the present, and the new generation, who engage in an uprooted society, moving forward into a new social - culturalcultural future.

She worked alongside the Picture Generation and the activities of CalArts in the late 1970s, creating moving - image works that critically anticipated the prevalence of video gaming, virtual reality, and the impact of online networks on self - representation, social life and cultural practices.

Kader Attia grew up moving between Algeria and the suburbs of Paris, and uses this experience of living as a part of two cultures as a starting point to develop a dynamic practice that confronts cultural differences.

Zeid's life and work present a substantial set of scholarly and curatorial challenges, demanding new interpretive frameworks that move beyond the fracturing prism of cultural - national categories.

A further 15 % moved on for both a better work - life balance and a better cultural fit.

As the next generation of lawyers move through the ranks with their different cultural approach to work, life and career, will the old hierarchical, largely tenure - based titles still prove effective?

Additionally, the cultural mix of communities and regions is changing constantly as people arrive to work and live in Australia, and move within Australia.

Burke continues, «I work with clients from the very young to the very mature; from diverse cultural backgrounds; varying levels of financial ability; some who have lived in the same town all of their lives and in the same house in which they were born, and whose first and only real estate transaction is to sell their lifelong home to move to a retirement community.»