Sentences with phrase «cultural production as»

#globalization #museums #access #representation #decolonization #history A recent conference at the Stedelijk Museum in Amsterdam, «Collecting Geographies — Global Programming and Museums of Modern Art,» invited participants to question the responsibilities accrued to arts institutions when they present works of global cultural production as a response to market interest.

The jabbering, edgeless context of the Internet inevitably hovers over such work, as it does contemporary cultural production as a whole.

Not exact matches

The 225,000 - square foot production facility in Collingwood, Ontario functions as a custom fabrication shop, supplying glass to a variety of cultural, residential, commercial, and retail projects including over 100 Apple Stores in North America.

This means not only that we are approaching the texts as fully human productions — I point out that statements of divine inspiration are statements concerning ultimate origin and authority, not method of composition - but even more that we take seriously that aspect of literature of most interest to cultural anthropologists: how it gives symbolic expression to human experience.

By setting his, discussion in the context of a dialectic (externalization, objectification, internalization), he has in effect stressed the importance of social interaction for the production and maintenance of religion but at the same time he has recognized the independent capacity of religion to exist as a cultural system and to shape individual thoughts and attitudes.

What we have, then, as a general framework implicit in these studies is a three - factor model of cultural production.

If understanding is a closure of meaning that includes an encounter with the alterity of the text, how can the production of meaning comprehend the complexity of the text as both a «cultural speech performance» (29) and a code of linguistic signs?

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).

It also could provide a means whereby other influential factors could be investigated and addressed, such as differences in the social and economic purposes of broadcasting, the social sources of violence and how media portrayals interact with those causes, how the restraints and traditions of media production cause the media to pick up particular cultural images while ignoring others, and how particular audiences respond to and use media images.

By implementing organic farming as an alternative production system, growers may substitute cultural and biological inputs for synthetically - made chemicals and fertilizers... Continued

As agricultural researchers, we need to utilise our skills in communication and cultural literacy, to implement supply chain efficiency and improved production processes that fit within the community we are working in.

Also at 9:30 a.m., the Lehman College Center for Human Rights & Peace Studies hosts its eighth annual conference, Artist as Witness: Cultural Production, Conflict, and Human Rights in Syria, Lehman College, 250 Bedford Park Blvd. W., East Dining Room, Music Building, the Bronx.

These include food production, alongside supporting services such as soil development, regulating services such as pest control and climate regulation and cultural services such as the use of the grassland for recreation.

Once they learned to grow enough food to nourish those not directly involved in its production, it was not far to civilization — broadly defined as a society endowed with government, social classes, urban centers, extensive trade, and widespread cultural influence.

And, anchored by gorgeous production design and the pop naturalism of its performances, How to Make It in America dramatizes this particular cultural moment with uncommon style and a little grace as well.

While Lelio admits that the subject matter alone required substantial research and as many as 10 consultants throughout production («At the beginning it was a bit paralyzing... because we wanted to really get it right in terms of the cultural texture and all the cultural nuances»), in the end, it simply came down to the emotional truths of these star - crossed women onscreen.

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.

The Sundance Institute Theatre Program works in «the space in - between» an artist's idea and a project's production as well as opening up new spaces of aesthetic, cultural and geographic exploration

The disappointing level of production in Cuban cinema was mitigated by the award - winning director Carlos Lechuga's Santa y Andrés (Santa and Andrés, Carlos Lechuga, 2016); a low budget production (as most current independent Cuban films are), which came to fill a gap in Cuba Cinema, a return to our essence and roots through a commitment to the cultural soul of the nation.

They represent the culmination of a cultural change that began as the 1980s indie film movement shifted control of American film production away from the major studios to the entrepreneurship of individual (not necessarily «independent») outsiders.

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.

Yorkville was a place where, potentially, you could develop a more discerning eye for understanding the production of culture and sometimes come to recognize the coincidence between mass cultural production and the regression of one's own intellect, as bikers, greasers, hippies, teenyboppers, and sometimes political organizers, congregated in the coffee shops and flop houses, or just hung out on the streets, all pretending that we were creating a new society free from the normative shackles of conventional morality and lifestyle but basically we were looking for drugs, sex and rock and roll and our twenty minutes of fame.

Despite Gutenberg's cultural status as the forebear of the modern book production process — Time magazine named him «Person of the Millennium» in 1999 — relatively little is known about the details of his life.

Tezuka Productions — the Japanese production studio founded by the Father of Manga, Osamu Tezuka, and brought to the anime and manga fandom famous works that stirred controversial, political and cultural awareness to the masses since the 50's, for such titles as Astro Boy, Unico, Budda, Blackjack, etc. — specifically appointed the Digital Manga Guild to localize their library to English, and then eventually to other languages.

Comprised of a range of works on paper as well as two large - scale sculptures previously shown at last year's Venice Biennale, Moran explores the intersection of American history with that of cultural production — namely jazz and art.

As the consumption cycle of advanced multinational corporate capitalism was sped up in order to sustain the production of luxury goods, cultural production became more and more mass - commodity production.

Made in Germany is being organized as a project that will — for the first time in this regard — demonstrate artistic production in Germany as an interdependent network of national circumstances, differing biographical and national specifics as well as the ensuing cultural exchange.

She is continually exploring what it means - as an artists - to take the role of an observer, and how that type of action can be documented and presented in the context of cultural production.

One argument of Merge (IV) could be that the aesthetic of a natural process can be a cultural production; one must be as suspicious of assumptions of the natural as those of the synthetic.

With a focus upon contemporary art since the 1960s, MUMA seeks to establish the museum as a dynamic site for cultural production, pedagogy and participation — through exhibitions, collection development, curatorial research, publishing, and academic and community engagement.

Through living and working in Detroit, Barr and Rice have identified Detroit's collapsed economy as the first post-industrial American city, yet simultaneously a breeding ground for new strategies of cultural production.

The program offers a wide range of voices in dialogue, exploring the topics of contemporary art, theory, and cultural production by emerging and established visiting artists, as well as members of UCSB's faculty and graduate students.

Some employ making as a form of politics, others explore how race and cultural production affect aesthetics, while still others combine these methods or create their own.

As you will see in the exhibition, each of these artists successfully melds formal aesthetics and personal experiences with cultural production.»

After one year in the space they shut down operations, and from 1981 until they ceased activities in 1996, Group Material constituted a flexible membership of three to five artists who organized projects in the public sphere — function as a medium for collective cultural production and public address.

Harlem Postcards is an ongoing project that invites contemporary artists of diverse backgrounds to reflect on Harlem as a site of cultural activity, political vitality, visual stimuli, artistic contemplation and creative production.

Sietsema is not interested in trompe - l'oeil for the sake of showing off; at the end of the day, his paintings and works on paper are a highly considered critique of the production of cultural objects and the roles that they play as they circulate.

While there is no theme this year as such, we're hunting for work that experiments and explores in general, crossing disciplinary boundaries, challenging established notions of time and space, cultural production, and the objet d'art itself.

While Mike Kelley took this up in the 1980s, and artists such as Sheila Pepe, Sheila Hicks, and Josh Faught have plotted other trajectories of textile in the expanded field, Susan Cianciolo's work reopens these questions surrounding the matriarch, the amateur, artisanship, and collectivity in the context of the accelerated speed of contemporary cultural production.

Tagged as: 315 Gallery, Aidan Alexis Koch, Alex Hovet, Andrea Rosen Gallery, Anna Sagström, Annie Rose, babycastles, Bailey Scieszka, brad troemel, Cecilia Salama, Chuck Charlotte, Clemente Soto Vélez Cultural & Educational Center, Daniel Johnson, Diamond Stingily, DJ Wtchcrft, Elizabeth Englander, Elizabeth Jaeger, Erin Davis, Fatty Spice, Gabrielle Mertz, Galerie Richard, Greg Ito, Jacqueline Marie, JessAudrey, John O'Connor, joshua citarella, Keltie Ferris, La'Shaune Steward, Laura Marie, Lauren Marsolier, Lee Maida, Matthew Herrmann, Max C Lee, Mumbo's Outfit, New York Studio School, PervvyPanda, Phaan Howng, Phillip Vanderhyden, Pierogi, PS160, Rachele Cateyes, Rin Johnson, Rochelle Brock, Sam McKinniss, Shoog McDaniel, Sonya Belakhlef, Sophia Narrett, Steel Stillman, Stephen Grebinski, Tawni Staples, team gallery, Tetsumi Kudo, uv production house, Wee Girls Club

A reference to fifty - four countries that constitute the African continent, the title of 1 - 54 establishes the parameters of the fair's ethos: as a platform that strives to represent multiplicity and showcase the diversity of contemporary African art and cultural production on an international stage.

In its inaugural year, the Southeast Queens Biennial: A Locus of Moving Points identifies movement as an organizing principle for understanding Southeast Queens as a gateway for travel and a source of cultural production and exchange deeply rooted in its immigrant communities.

Playful in tone and less reliant upon the exploitative construct of the case - study scenario in such large scale video projects as Them, 2007, and Repetition, 2005, Artur Zmijewski's earlier videos stand in contrast to these somewhat over-determined provocations; while recent Zmijewski productions have adopted a nearly formulaic approach to positioning cultural difference and conflict, and thereby seem to codify the subject as «other» a priori — a risk that critic and art historian Hal Foster has insightfully called the «self - othering» of «the artist as ethnographer» — three earlier Zmijewski works engage a simpler, more agile approach.

By bringing pivotal works to diverse communities, The Art Production Fund hopes to reach wide audiences and reduce the physical as well as the psychic distance of cultural, class, linguistic, racial and income barriers that hinder participation in contemporary art.

The mission of the Mark Morris Dance Group is to develop, promote, and sustain dance, music, and opera productions by Mark Morris and to serve as a cultural resource to engage and enrich the community.

identifies movement as an organizing principle for understanding Southeast Queens as a gateway for travel, cultural production and exchange deeply rooted in its immigrant communities.

The research project aims to investigate the heritage of documentary practices in contemporary art in relation to the history of film, documentary photography, television and video art, as well as to situate these contemporary documentary practices within current cultural production.

1965 - 1975» depicts the energy of the cultural environment of this American city as a center for figurative production, as well as the heterogeneity of the contributions of some artists known as Chicago Imagists (Roger Brown, Ed Flood, Art Green, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Ramberg, Suellen Rocca and Karl Wirsum), who had identified the roots of their personal research in Surrealism and Art Brut, in a way that anticipated the new tendencies of the 80's and 90's, from Graffiti to Street Art, from wild cartoons to urban murals.

While delving into one of the most primordial and complex systems of communication, that of clothing, Huanca conveys distinctive and precise observations on the function of the garment, as an ever evolving manner of language production and a traditional form of cultural transmission.

Duchamp's decision to show a urinal in a gallery would become known as one of the most important gestures in what's called «Conceptual Art,» or art that asks us to question our most fundamental understandings of cultural value and artistic production.