Sentences with phrase «cultural objects which»

Part 6 of the Tribunals, Courts and Enforcements Act 2007 provides immunity from seizure for cultural objects which are loaned from overseas to temporary public exhibitions in approved museums or galleries in the UK where conditions are met when the object enters the UK.

Not exact matches

[7] Many theological students, especially women, African Americans, and Hispanics, regularly and vigorously object that their «theological education» is in important respects inappropriate to the faith communities to which they belong and to the social and cultural worlds in which they expect to live and work in the future.

In simpler language, we may state that primordial objects in the universe (grounded in an ineffable reality) are causally transformed into a limited set of cosmological, biological and cultural entities, which at the same time, allows for an endless number of creative outcomes and novel possibilities.

A focus on the cultural dimension of religion represents a decision to take seriously the symbolism of which religion is constituted as an object of study.

It isn't as good as Clueless, but just as that teen movie did a better job with Jane Austen than all the supposedly legit screen adaptations of her novels that flanked it, Cruel Intentions is less presumptuous than the efforts of Vadim, Frears, and Forman, which were all presented as prestigious cultural objects.

Although most of the cultural treasures from that era have either been destroyed or have disappeared from the country, some have been recovered, including a cache of 20,000 golden objects which were thought to have been lost.

It is the internet itself — as an object, a medium, a distribution pipeline and cultural mirror — which has devalued controlled media while legitimizing the value and contribution of the individual voice.

Casa del Herrero is steeped in cultural heritage, which is seen in both the George Washington Smith designed house and the collection of fifteenth and sixteenth - century art objects from Spain.

Fine Art Registry (FAR) is a U.S. patented identification numbering system and database, realized, engineered and specially developed as a Web - based, permanent standard registration system and globally networked database for fine art, which is based on the Getty's Object ID, the core world standard for the identification of art and cultural objects.

The typography was refracted by objects from London architecture: «We took models of the main architectural and cultural symbols of the city which echo the idea of Future London Academy — knowledge through the lens of London,» ONY explains.

This exhibition presents the work of artists who examine the relationships of objects — which hold importance beyond their physical form — to experiences of places and cultural identities.

Inspired by the idea of an imagined society in which psychotherapy is a freely available drop - in service, Johnson's installation of large - scale paintings, hanging plants, Persian rugs and four wooden day beds questions established definitions of the art object and its limitations, as well as the relationship between individual and shared cultural experience.

VMFA also participates with the American Association of Museum Directors (AAMD) Object Registry: AAMD Object Registry which lists new acquisitions of archaeological material and works of ancient art and tracks resolutions of claims for Nazi - era cultural assets.

Although both British and American pop art began during the 1950s, Marcel Duchamp and others in Europe like Francis Picabia and Man Ray predate the movement; in addition there were some earlier American proto - pop origins which utilized «as found» cultural objects.

After moving to New York in 1974, he began employing objects and found materials in his work, resulting in such creations as the «Dreadlocks» series of 1976, which used collected barbershop hair, a medium that he believed had spiritual associations in addition to cultural ones.

Grounded in dialogue, their images, objects, and essays elucidate a new relationship to art, one in which information merges into matter, the biological merges with the cultural, and local specificity blends into the planetary.

These are the only cultural objects that mounir fatmi remembers from his childhood home in 1970s Tangier — all of which he was forbidden to touch or were positioned out of reach, but which vividly captured his imagination.

As part of a new generation of artists associated with «New Materialism,» which proposes that objects and materials assert their own power over the viewer independent of subjective cultural interpretations, German and Mongolian - Chinese multimedia artist Timur Si - Qin is fascinated by the immediate visual and emotional power of brand logos and advertising in and of themselves.

In a culture that is stuffed full of imagery, icons, argument, products, brands and just plain junk, can we invent something new by mining, reframing, re-contextualizing, and re-conceiving some of the ideas and objects that make up the cultural moment in which we live?

Her paintings are layered geographies, in which these fragments of cultural objects are chromatically twisted and blended into complex wholes.

Within her images and installations, she unearths associations between different actors (people, objects, and sites), which, in many cases, problematize the ways that different organizations engage their publics and are shaped by socioeconomic and cultural developments.

This unruly object was complemented by a photocopied publication, which featured interviews (conducted by Cruzvillegas) with knitters, community gardeners, slam poets and other figures who issued from a cultural space that was alien to clichés of Parisian identity.

Within her images and installations, she unearths associations between different actors (people, objects, and sites) that, in many cases, problematize the ways in which different organizations engage their publics and are shaped by socioeconomic and cultural developments in society.

Timothy Earl Neill objects are made to question a utopian suburbia, in which he «seek (s) to confront the notions of ideological stability within dominant cultural modes of thought.»

Exploring both personal and collective memories of black girlhood, the labyrinth reflects Stingily's poignant, referential found objects and architectural forms, which she compares with political and cultural threat.

Prina's objects, which are often serialized and long - term, draw attention to the making and preservation of cultural and art history, as well as the systems of the art business.

Objects in dOCUMENTA (13)-- the majority of which are the work of artists — are primarily valued for their encoded social, political and cultural relations, even when they are singularly authored.

By combining things found on the street or in the studio and relating them to specific narratives, Mirza explores «the socio - cultural history of objects and the contexts in which they originally emerged / developed.»

Through a combination of visual and verbal allusions her work triggers cultural metaphors and personal associations, which allow the viewer to witness the transformation of the most ordinary objects into something compelling and extraordinary.

She explains: «I am interested in generating a range of responses to existing cultural objects, which have been placed out of context.

For his exhibition at the Frye Art Museum — Aranda's first in a museum setting — the artist will continue this line of inquiry and present a new body of work that explores the ways in which common objects and imported products become emblems of dual cultural identity.

Accompanying the re-animated colour - changer is a digital video work that surveys and examines an existing cinema organ in its original installation, a building which has now become a Regent's Street store, illustrating the disembodiment of the machine from cultural consciousness and its passage from sound - producing object to silent relic.

In these times of diversity and multicultural experience, the artist's image is both a cypher for the human condition as well as the foundation for complex iconography in which the cultural object stands to reflect the impact of societal norms on the individual.

Based in Berlin, Nevin Aladağ uses everyday objects and situations as a starting point for her artworks, in which she deals with cultural and political codes, as well as their origins and histories.

In constructing traps and lures, Rantanen explicates his interest in duplicitous objects; the sculptures are, in this respect, self - reflexive, drawing skeptical attention to their own status as artworks — a designation which, while superficially arbitrary, enacts an intrinsic transformation upon the cultural and monetary value of its subjects.

This exhibition will present new works that explore the ways in which common objects and imported products become emblems of dual cultural identity.

The Whitechapel Gallery has published this list of objects, which are being loaned to the gallery for a forthcoming exhibition, as information under The Protection of Cultural Objects on Loan (Publication and Provision of Information) Regulations 2008 and that by publishing this information the Gallery makes no representations that any of these objects fulfill all the requirements of the section 134 of the Tribunals, Courts and Enforcement Acobjects, which are being loaned to the gallery for a forthcoming exhibition, as information under The Protection of Cultural Objects on Loan (Publication and Provision of Information) Regulations 2008 and that by publishing this information the Gallery makes no representations that any of these objects fulfill all the requirements of the section 134 of the Tribunals, Courts and Enforcement AcObjects on Loan (Publication and Provision of Information) Regulations 2008 and that by publishing this information the Gallery makes no representations that any of these objects fulfill all the requirements of the section 134 of the Tribunals, Courts and Enforcement Acobjects fulfill all the requirements of the section 134 of the Tribunals, Courts and Enforcement Act 2007.

Matthew Brannon's solo exhibition «Concerning Vietnam» is the result of several years» worth of ongoing research and formal experimentation, it features unique large - scale prints, sculptures, and installation - based objects in which Brannon applies his inimitable graphic style to the psychological, political, and cultural impact of the Vietnam War.

In light of Sherrie Levine's practice, which forever questions ideas of originality and copies of images and objects, the boar can be seen as a potent emblem of cultural fertility on overdrive.

By Proxy includes Marcel Duchamp's assisted readymade With Hidden Noise, a ball of string with an unknown object rattling inside it; embroidery works by Alighiero Boetti; three drawings from John Cage's 1990 series River Rocks and Smoke, in which chance operations are performed by smoke settling in the fibers of the paper; Oliver Laric's Yuanmingyuan Columns, a new work created with 3D scans of Chinese cultural artifacts ensconced in Bergen, Norway; Yoko Ono's seminal chess set and war allegory Play it By Trust; and a work from Xu Zhen's recent Eternity series, which juxtaposes the East and West by mounting headless replicas of key Hellenistic and Buddhist sculptures neck to neck.

Emirati artist Hassan Sharif, a seminal figure in conceptual art and experimental practice in the Middle East, explores craftsmanship and cultural context through his «Objects» series (1982 — present), in which he assembles inexpensive and mass - produced goods from local markets.

Indifferent Matter: From Object to Sculpture explores how matter can be both indifferent and contingent on encounter, exploring the malleability of meaning and the ways in which objects are accorded cultural and historical value.

I appropriate familiar objects and social events, which are universally recognisable within specific cultural contexts (games, souvenirs), to invite audiences to take a look at the society that they live in, often revealing underlying belief systems, drawing audiences into a series of questions that ask «how do we come to know what it is that we know» — Yara El - Sherbini, 2015

Through her work, Alona Rodeh examines cultural phenomenon through the agitation of objects, spaces and situations, which she develops into choreographed architectural performances, installations and images.

The impact of objects in these terms is not only sociological, but economical, political, existential, psychological, epistemological: it is total — beyond a label which is meant to mark a certain, already passed, historical - cultural moment.

Hales Gallery is pleased to announce Michael Smith's participation in The Inhotim Collection's touring exhibition, Do Objeto para o Mundo — Coleção Inhotim [From the Object to the World — The Inhotim Collection], which is travelling from the Palácio das Artes and the Centro de Arte Contemporânea e Fotografia in Belo Horizonte to the Itaú Cultural in São Paulo.

For his inclusion in the 2014 Whitney Biennial, Tasset created «Artist Monument,» a monument which is the vehicle of cultural commemoration and preservation, honoring artists who, like himself, work to capture a moment of time in an object.

MG I always liked the way your work connects to a long history of figurative sculpture, which to me is strongly interwoven to the basic ideas of art making: funerary sculptures, totemic figures, magical or cultural objects.

Mike Kelley's Arenas series of the late 80s and early 90s mark a shift away from the artist's performance - oriented activity and towards a new sculptural dexterity, in which cultural resonance is elicited from an eerie reframing of everyday objects.

Jean Genet... The Courtesy of Objects Artforum International; March 1, 2011; Schambelan, Elizabeth; 514 words A PROJECT BY MARC CAMILLE CHAiMOWlCZ A BOWLER HAT, a dressing table, a scrum of silyer - painted shoes; a Roxy Music tecoro, a movie poster, a school of carp in an indoor pond: Marc Camille Chaimowicz's installations are spaces in which the cultural unconscious becomes, however fleetingly, an