Sentences with phrase «cultural moment for»

Not exact matches

On the one hand, there is the thesis of Oswald Spengler, who believed that he had identified a natural law for the great moments in cultural history: First comes the birth of a culture, then its gradual rise, flourishing, slow decline, aging, and death.

We withhold a third cheer — partly because at the present cultural moment it seems inappropriate to give three full cheers for anyone or anything, partly because we remember too well recent history's oppressive misuses of Thomas's thought.

Indeed, foreign - policy issues for the moment aside, it is not too much to say that the Democrats» current electoral dilemma boils down to this: their old economic issues no longer work, and on cultural issues they lose.

Waiving for the moment the far from settled question of the extent that Gandhi's techniques of nonviolence were adapted to the particular social and cultural situation in which he found himself, we still must ask whether we can really see the vindication of hope for the higher values in a cumulative and secure achievement of orders of persuasion over brute force.

The reality of the matter is quite the opposite: Juan is not familiar to us at all today, and the reason our cultural imagination no longer has much room for him — and would certainly be incapable of producing another figure like him — is that he, far more than the buoyantly eternal Quixote, is a figure fixed in a particular cultural moment.

To be fascinated with Romantic personalities such as Kleist or Hoffmann is all good and well; yet for these voices to reveal their relevance to our cultural moment here and now, we ought not just indulge in but genuinely reflect on our lasting fascination with these writers and what they have to tell us.

It is worth stepping back for a moment to consider briefly the larger cultural context within which the vagaries of contemporary moral education are worked out.

We live in a cultural moment (and have been for some time) where worship songs appropriate destructive imagery and negative language to talk about God.

And because so many of us are able to stream these movies at the same time, there's ample opportunity for unexpected cultural moments, where it seems like everyone is watching the same thing.

Ponder for a moment the peculiar character of European cultural history.

To say that a symbol has a «history» can mean two things: (a) that this symbol was constituted at a certain historical moment and that therefore it could not have existed before that moment; (b) that this symbol has been diffused, beginning from a precise cultural center, and that for this reason one must not consider it as spontaneously rediscovered in all the cultures where it is found.

The new art labels are a tribute to this innovative moment in cultural history and to one of its shining stars, Fortunato Despero, who had a deep connection with Campari, working extensively to produce truly unique works of art for the brand,» said Karraker.

I try to save my most pure levels of outrage for important, world - changing, cultural moments like when Dunkaroos were discontinued in the United States... but what the actual f ***, Marlins?

The food scene is thriving in Spartanburg, but if you can tear yourself away from the table for a moment, head to Chapman Cultural Center to see 4 (yes, 4!)

Reah Bravo, an intern and then an associate producer for Rose's PBS show, said she had been the recipient of unwanted sexual advances from the host, and it had taken a «fierce moment of cultural reckoning» for her to «understand these moments for what they were.»

At a time when that government was trying to enact a harshly anti-gay law ---- sidetracked at least for the moment by a court ruling ---- that includes jail time even for those who fail to report knowledge of homosexual conduct, Cabrera decried the rise of «cultural shifters going after our young.»

If you're looking for cultural dating locations to impress your date, here are some of the best destinations around London at the moment.

Dating outside your race brings with it cultural interest and potential for learning moments with someone you deeply care about.

All things considered, Black Panther is both one of the best MCU movies yet and a watershed moment for big - budget tentpoles, when it comes to onscreen racial and cultural representation.

When the film name - checks «Wedding Crashers,» it feels like a needless reminder that Vince Vaughn is a spokesman for a bygone cultural moment.

It feels like a cultural moment, evidenced by the fact that it was all anyone was able to talk about for days after its release.

Zoolander and Hansel are veritable Rip Van Winkles, but — distinguishing the film from its Austin Powers template, as well as Zoolander 2's immediate predecessor — it's the cultural innovations they encounter that are held up to ridicule, such as phones that are bigger than Zoolander's (redeeming his microscopic cellphone from the original), hipster patois (although «hashtag» has for some reason penetrated Derek's vocabulary), and a gender - neutral model (Benedict Cumberbatch) whose name, All, and uncanniness mock the trans movement at a particularly precarious moment in our history.

We're all hoping CRA has a cultural moment the way Black Panther is having, which would translate to breakout opportunities for its stars.

Titled after the local slang for the city's fabled 42nd Street, The Deuce explores the rough - and - tumble world of the sex trade from the moment when both a liberalizing cultural revolution in American sexuality and new legal definitions of obscenity created a billion - dollar industry that is now an elemental component of the American cultural landscape.

Less successful are materialistic valley sister Debbie (Danielle Harris) and Donnie (Flea)-- the former at least receiving a couple of redemptive moments (her relationship with tribesman Buku (Obba Babatundé) is carried with a sort of nonchalant respect that allows for the flowering of a friendship across cultural — and linguistic — barriers) while the latter is basically just a purveyor of a «wedgie dance» (that doesn't register much past the diaper and sleepover set) and possessor of a signature soundtrack sting so frenetic it sets teeth on edge.

With trans issues being at the forefront of the cultural moment, it's no surprise that cries for representation in film extend to trans and non-binary actresses as well.

All signs say Marvel Studios» «Black Panther,» being released Thursday evening by Walt Disney Co., is having a cultural moment fueled by massive pent - up demand for what is expected to be the first global superhero blockbuster to feature a mostly black cast and an African American director.

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.

Its cultural impact can not be denied — years from now, a generation of black men and women will point to it as (hopefully) a turning point, a moment when Hollywood and comic book movies made something that was truly for them, for the first time (no disrespect, Blade).

Allison Willmore wrote that the film is an «unfortunate metaphor for our complicated cultural moment» at Buzzfeed last month and Ira Madison called it «tone - deaf» in a piece for The Daily Beast a few weeks ago.

He's a talented skateboarder hamstrung by a drug habit, and she is the one who has to decide whether they are on the cusp of an important cultural moment or if her love for him and her forgiveness of his shortcomings will bring both of them down.

In The Apartment, of course, Fran makes her decision to be with Baxter on New Year's, while Joe Gillis decides to be with Norma Desmond that same hallowed night in Sunset Blvd. — and both moments, as they occur at the crux of historical and cultural demarcations, encompass Wilder's flair for emotions at crosscurrent, and the dark of a dying era with the light of possible futures.

If this all sounds a little oblique, Kates presents a dizzying whirlwind of visuals, which not only illustrate the argument, but also make the intellectual babble seem terribly exciting — re-creating a cultural moment when ideas still mattered and an aesthetic revolution was there for the taking.

A frequent collaborator of Sacha Baron Cohen (who can currently be seen flexing his musical muscles in the awards - laden Les Miserables), Dan Mazer forged his reputation as a producer / writer in both television and film, with his crowning moment to date being his Oscar - nominated work on the screenplay for Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, which went down a storm upon its release Stateside.

There is solipsism as well as grandeur in these doom - and - gloom spectacles, but there is also tremendous feeling — and in «Donnie Darko,» that feeling manifests itself most powerfully in an abiding reverence for the cultural touchstones of its moment.

Though Applegate is mostly known for her TV work, she's had some unforgettable moments in film that have left her as part of our cultural lexicon and primed for more work — isn't it about time that we see more Christina Applegate in film?

Darth Vader's «I am your father» moment is now ingrained in the cultural lexicon, but it was one of cinema's most unexpected, game - changing twists, and Han Solo being frozen in carbonite was a chilling image (literally) that wouldn't be resolved for another three years.

For millions of people, Nancy Kerrigan being attacked in January 1994 was a defining cultural moment and one of the most high - profile scandals in the history of American sports.

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?

We were thrilled when, not long after the release of Mr. Peanut and the launch of Adam's website, we were approached by Natasha Vargas - Cooper who loved Adam's site (and his book) and wanted us to create a site for her book Mad Men Unbuttoned, which is a series of essays drawn from moments in the show that elaborate on the cultural indicators to which they're clearly or likely attached in some way.

The book is an important contribution to the cause for the proclamation and defence of the inviolability of human life, dignity of the person and his fundamental inalienable rights.These pages unfold in the midst of a cultural battle, at a historic moment when medical science is characterized, to borrow an expression used by Paul Ricoeur, by the hypertrophy of means and the atrophy of ends.

As I took in all the swivelling hips, thudding drums and thwacking of iron, the ongoing cultural impact of that brutal industry seemed for a moment to look perhaps a little brighter.

In the spiritual and cultural heart of Bali, visitors are transported to a place where joy is found in luxuries as simple as time and nature, and a quiet moment of reflection will resonate for years to come.

2017 — LOG at LUMP Gallery, Raleigh, NC, curated by Maria Britton — AWKWARD MOMENTS, Lesley Heller Workspace, New York, NY 2015 — SACRED PLACES, Smithy Center for the Arts, Cooperstown, NY 2014 — MEMENTO MORI, Field Projects, New York, curated by Deborah Brown — CROWD, curated by Andrea Brown for The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackfor the Arts, Cooperstown, NY 2014 — MEMENTO MORI, Field Projects, New York, curated by Deborah Brown — CROWD, curated by Andrea Brown for The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackfor The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackFor The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackfor Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackson

The dual exhibition marks a pivotal moment for the artist, whose previous films include a documentary on the Handsworth race riots and another on influential black cultural theorist Stuart Hall.

White speaks to the innovative position of artists and designers in the current moment of cultural, political, and spiritual upheaval — and calls for a re-imagination of how we relate to the world and our governments.

Born in Indonesia to Chinese and Scottish parents, and later a resident of Australia and the Netherlands, Fiona Tan is known for lush, decorative and meditative works that draw on her interests in the dual searches for cultural identity and moments of simplicity.

2013 Black Hair: Black Identity, Iona College Chapman Gallery, New Rochelle, New York, USA Singular Masses: An Examination of Racial Identity, Memphis College of Art, Hyde Gallery, Memphis, Tennessee The Moment for Ink, Chinese Cultural Center, San Francisco, USA Ballpoint Pen Drawing Since 1950, Aldrich Contemporary Art Museum, Ridgefield, Connecticut, USA Seven Sisters, Jenkins Johnson Gallery, San Francisco, USA

Established in 1932, the Biennial has long been a site for critical discussions about contemporary art, while providing an opportunity for deep thinking and reflection on the broader cultural concerns of a given historical moment.

In announcing the selection of the curators, Scott Rothkopf, the Whitney's Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, said: «Jane and Ru are two of the most compelling and engaged curatorial voices of our moment, with broad and sensitive instincts for artistic and cultural relevance.