Sentences with phrase «cultural movement through»

Li's work suggests an almost synesthetic relationship between embodiment and reading, naturalizing the simultaneous experience of bodily movement through space and cognitive or cultural movement through language.

Not exact matches

It is a living religion which has received and is still receiving its vitality from the people who confess it; it is a great movement which has passed through various stages of development over its long and complicated history, influencing and being influenced by the religious and cultural forces in its environment.

Viktor von Strauss, the first to notice the ancient cultural change that was later named the Axial Period, described what he observed as «a strange movement of the spirit [which] passed through all civilized peoples».3 Such «movements of the spirit» may be the key to our understanding of the next phase.

Moreover, the Zionist settlement contributed greatly to exacerbating Palestinian Arab nationalism; and dialectically — through its development of the country and raising of hygienic, economic and cultural levels — it provided the sinews for a strong indigenous nationalist movement.

This may seem like an unremarkable turn of events, but according to Grant Castleberry of the Council on Biblical Manhood and Womanhood (flagship organization for the complementarianism movement, which advocates hierarchal gender roles in the home, church, and society), it represents a severe «cultural capitulation» which, «instead of helping guide children towards embracing who they actually are, blurs reality,» «confuses them,» and «drags them through the dark labyrinths» of their parents» gender - based delusions.

We are aware that as a response and reaction to the predominant presence of social theories rooted in the West, there is a growing recognition of and movement towards understanding theories through the wide range of diverse contextual and cultural perspectives available in the East, and that the production of local theories have started a long time ago.

The launching of the global movement of Mobilizing Cultural Diversity for the UN Millennium Development Goals was held on the occasion of the 31st International Theatre Institute Congress and Theatre Olympics of the Nations in May 2006 in the Philippines, through a UNESCO General Resolution and a Presidential Administrative Order.

Jack Whitten's narrative Abstract Expressionist works from the 1960s draw imagery from the Civil Rights movement, including ghosted images of Dr. Martin Luther King, Jr; Joan Semmel's figurative paintings question representation of female sexuality through the lens of self - portraiture; Gay liberation and the AIDS crisis are the cultural context for narrative paintings by the late Hugh Steers (1963 — 1995).

Showcasing works from the 1960s through 2013, the exhibition surveys political satire and cultural commentary through art movements ranging from capitalist realism to contemporary pop art.

From Neolithic hand axes, through William Morris, John Ruskin and the socialist movement, to David Bowie's 1972 Ziggy Stardust UK tour, 21st Century capitalism and the invasion of Iraq, the exhibition weaves a mythical narrative through moments and events from Britain's shared cultural memory, moving back and forth between the past, present and an imagined future.

Memphis Living is an homage to the designs of the short - lived Memphis Group founded in Milan by architect and designer Ettore Sottsass, designs Bas first encountered predominantly through their pop cultural references and simulations, and which he only later came to know as an aesthetic movement.

Despite the universal nature of dance and the innately compelling images of movement, these dances embody local cultural knowledge at risk of disappearing in the placeless calculations made by the demands of capital as it flows through the European Union.

Our programs trace the social, cultural, and artistic threads of these movements through music, dance, visual arts, crafts, religion, cosmology, food culture, folklore — and much more.

It posits a transnational generational formation of cultural producers aligned with leftist movements and ideologies — specifically, those whose politics are anti-capitalist, anti-imperialist, and decolonial — and whose artistic production is shaped by social transformations brought about through neoliberalization and the influence of recent subaltern - popular movements.

[56]: 43 What, however, can be said, is that it was a movement that developed in the early 20th century mainly in Germany in reaction to the dehumanizing effect of industrialization and the growth of cities, and that «one of the central means by which expressionism identifies itself as an avant - garde movement, and by which it marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the dominant conventions of representation.»

At the opening reception of his latest exhibit, The World of Line, Ink, and Nude by Chang - Woo Seok, now on display at the Korean Cultural Center Washington DC through June 8, the artist demonstrated his very personal technique, making use of his prosthetic limbs to grasp a brush and his torso movement to paint across a room - sized canvas of traditional Korean paper, spread across the gallery floor.

Enwezor and his curatorial team of Mark Nash, Co-Curator, Film; Rory Bester, Associate Curator; Lauri Firstenberg, Associate Curator; and Chika Okeke, Associate Curator, investigated a variety of sources to document European domination from 1885 — 1945, the development of political and cultural consciousness from the mid-1940s through the 1950s, the decade of independence from 1960 - 1970, and liberation movements in African nations.

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.

Ligon's paintings and sculptures examine cultural and social identity through found sources — literature, Afrocentric coloring books, photographs — to reveal the ways in which the history of slavery, the civil rights movement, and sexual politics inform our understanding of American society.

Performance artist Ryan McNamara explores the way that people understand themselves within their bodies and the cultural zeitgeist through dance and movement.

Glenn Ligon's intertextual works examine cultural and social identity — often through found sources such as literature, Afro - centric coloring books, and photographs — to reveal the ways in which slavery, the civil rights movement, and identity politics inform our understanding of American society.

Its cultural prestige will reach far into the 20th century to give critical support to nearly every modernist movement from Fauvism and Cubism through Abstract Expressionism.

PAMM and the Guggenheim Foundation both combine a focus on international and transnational artists and cultural movements with a deep interest in local context, and her work at both institutions has re-affirmed Nawi's belief in the crucial role museums play in writing and rethinking histories, and building and contributing to communities through the establishment of public dialogue.

Long involved in the civil rights movement, Whitten created «memorial paintings» — several of which were featured in the exhibition Jack Whitten: Five Decades of Painting (on view at the Walker Art Center September 2015 through January 2016)-- which pay homage to cultural events and figures ranging from Ralph Ellison and Martin Luther King, Jr. to the Sandy Hook Elementary massacre of 2012 and the terrorist attacks of September 11, 2001.

What comes through immediately is that a combination of his close reading and study of modern western sculpture, and the cultural and social implications of the civil rights movement in America formed Melvin Edwards.

The installations engage elusive anxieties of belonging — states of non-conformity in cultural, political, and physical limbos — through the various movements and sounds encountered.

Even though Burri was never explicitly tied to any movement, to most viewers his abstract «unpainted paintings» should appear comfortable in his cultural moment, absorbing the monochromatic interests of Abstract Expressionists, while also setting the ground for Arte Povera and assemblage art.The co-curators work extensively to expand these associations through the exhibition's wall labels, which relate Burri to various artists, works, and moments far beyond the scope of midcentury abstraction, including Piero della Francesca's Madonna of Partition (1455 — 6)(for the subject of incised fabric), Joseph Beuys (as an artist formed by war), Italian Neorealist cinema (for its use of artifice and rupture to reappropriate the realism of Facist war propaganda), and even Rodin's Gates of Hell (1880 --- 1917)(for the «Combustione Plastica» series» hellish melting of form).

Visitors will have the opportunity to explore the cultural and artistic riches of a country whose contributions to art not only have enriched the most important international artistic movements, but also have influenced the currents of the modern age through a vision that incorporated inherently Mexican elements.

The artist is particularly interested in the social and political legacies of cinema; by revisiting twentieth century revolutionary movements through their cultural manifestations, Jones proposes that new forms of collective action and self - representation may yet be possible.

Through nearly 100 objects, the show aims to upend dominant narratives of the period and to unearth rich stories by examining watershed cultural moments from the Hairy Who to the Wall of Respect, from the Civil Rights movement to the AfriCOBRA, from vivid protest posters to visionary outsider art, and from the Free University movement to the radical jazz of the Association for the Advancement of Creative Musicians.

Lu was a Co-Artistic Director of ROUNDTABLE: The 9th Gwangju Biennale (Korea, 2012)[9] through which her focus developed around the ways in which the de-bordering and loosening of economic, sovereign, social, cultural and historic frameworks by digitization, global trade and political movements challenges our ideological and national logics.

David Hockney's career has spanned and epitomised the art movements of the last five decades; his story is one of precocious achievement at Bradford Art College, the Swinging 60s in London where he befriended many of the iconic cultural figures of the generation, to California and the cool of the swimming pool series of paintings, through the acclaimed set designs for countless operas around the world and major retrospective exhibitions.

These shows have brought into the spotlight the work of artists who travelled through and were affected by the same cultural influences that spawned and fed the AbEx movement.