Sentences with phrase «cultural preconceptions»

That is, there is no one anywhere who has honestly examined the evidence, without wishful thinking based on ideological or cultural preconceptions, and concluded that mainstream science is wrong.

Over the past six years, Su - en Wong has examined cultural preconceptions through a series of dynamic and thought - provoking works.

The works available in the collection include: The Synchronised Swimmer, The Singer, The Bellhop and of course, The Hobo, and they all embrace the concept of Americana and kitsch cultural preconceptions.

Combining three - dimensional elements within a two - dimensional pictorial space to create visually and conceptually loaded images, Muniz creates work that fosters a shift in visual perception as well as cultural preconceptions.

Gabriele Schwab, in her analysis of this hermeneutical event in the bush, acknowledges that the elders «recreated their own cultural pattern within Shakespeare's plot» but concludes, «The Tiv people had to project their own cultural preconceptions in order to reduce the otherness that would have made Hamlet incomprehensible in their context.»

For black men, though, the challenges of the corporate life are daunting at least in part because they are sometimes hard to pin down — influenced as much by age - old prejudice as by cultural preconceptions, the subtleties of psychology, and the weight of human history (more on that soon).

Not exact matches

In addition to criticizing cultural symbols, feminists are hoping for the emergence of new images and concepts from women's struggle to experience beyond or beneath or without the preconceptions embedded in present language and concepts.

So whether you're dating in Atlanta as a native Georgian or you've set your sights on Atlanta as a destination for a couple of dates, be prepared to have your preconceptions challenged and your cultural palate infused with that characteristic Southern hospitality.

Disney has really carved out a genre for itself: the underdog sports story as cultural melting pot, complete with the Middle American white coach / scout / father figure whose preconceptions are overturned by scrappy kids who overcome every hurdle with heart and hard work.

by Walter Chaw Tom Green's Freddy Got Fingered is the most startling debut since Luis Buñuel's Un chien andalou, with which it has a few things in common: both are constructed with a wilful disdain towards narrative; both are aimed at the outer limits of shocking imagery; both display an open hostility for the cultural status quo; and both joke on their audience's entrenched preconceptions of film form.

Whether introspective and deeply personal or engaged with broader social and cultural issues, each artist demonstrates the importance of art and culture in our everyday lives, challenging our preconceptions and opening up new ways of engaging with the world around us.

Philosophical, cultural and artistic exchange will help us progress from curiosity and preconception to experimentation.

The Govett - Brewster is a pathfinder, generating courageous exhibitions, innovative artists» projects, cultural initiatives, significant publications and rigorous conversations with a wide national and international reach that stimulate ideas, challenge preconceptions and enrich the imagination.

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

These thought - provoking works of art will not only challenge the viewers» preconceptions about written language and cultural identity, they will also invite them to interact with the art.

In announcing his appointment, the Post described Mooney as a writer with a distinctive voice and a consistent argument: «that people's preconceptions — political, religious, cultural — color the way they view science.»

The more we can move toward embracing the best of all worlds, and choosing our tools according to what works best, not what fits our own cultural, ideological or political preconceptions, the better chance we have of meeting the challenges that await.