Sentences with phrase «cultural representations as»

Most of your work deals in some way with the female form, drawing on present - day cultural representations as well as historical motifs.

Recently reinstalled, the reorganized and enhanced gallery contains twice the number of cultural representations as previously displayed.

Not exact matches

In this history, he claimed, we learn to see historical conceptions of God as symbolic representations of the human drama of cultural development.

Martin sees disturbing parallels between the cultural representations of people who fall by the wayside in the world of work — through unemployment, «deskilling» or lack of training — and those who fall ill as a result of «inferior» immune responses, leading to AIDS, cancer or a host of other diseases.

It's perplexing why Kaurismäki feels compelled to call upon racial passing and cultural appropriation as sources of momentary, cheap comedy, especially considering that these are significant issues in ongoing conversations about the representation of difference.

As a product of the operatic cultural ideal, he is a multiplicitous representation.

Take the cultural cues in his work: the Rockwellian Americana he essays in Blue Velvet; the Bauhaus by way of Antoni Gaudi of Dune; or the late - Hitchcock identity puzzles he rejiggers in Lost Highway and Mulholland Drive — both commonly seen as satires of what they represent but more accurately described, perhaps, as simple, uncommented - upon representations of what a lower layer of consciousness might consider to be unadorned gospel.

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.

The political import of interrogating the conception and representation of rape in film and film criticism is flagged in Russell's introduction, as she notes that to dismiss the question of rape «is to collude with the displacement and obscuring of violence that naturalizes it in our cultural imaginary» (p. 2).

This practice works best as a response to gaps in cultural learning and representation that happen when curriculum is perceived to have too narrow a focus on a white, middle - to - upper - class, male - dominated view of the world.

Ideas of representation and cultural awareness are central to the concept of windows and mirrors, but critical reflection and thoughtful action are central to the idea of literature as a sliding glass door, a concept similar to windows in that both present different experiences, but sliding glass doors also can represent a change in perspective about the possibilities in the real world that a particular text helps the reader to consider.

Resources provide opportunities to: - work to a brief as per industry standard - explore existing radio dramas - listen to radio drama with focus on The Archers - explore the history of radio dramas - explore symbolic codes - explore cultural codes - explore technical codes - explore conventions of radio drama - explore style and structure of radio drama - explore representation in radio drama

The concepts covered are: * Camera techniques * Audio techniques * Editing techniques * Mise - en - scene codes * Narrative structure * Genre conventions * Representation * Ideologies * Cultural Spheres and Universes * Institutional Techniques * Audiences models and theories * A wide range of media theories broken into contextual areas into sociological and political This is vital tool in the lead up to the exam period, where it can be used as a revision guide for key concept development, and as a compliment to other units you are teaching.

As students learn to use technology tools to build representations of a social world's characteristics, they generate reflective critical thought through their analysis and critique of the identities, relationships, and values constructed by the cultural practices and discourses in that social world.

Start by marking «Representation: Cultural Representations and Signifying Practices» as Want to Read:

The city of Jakarta is unique in offering a representation of all of the different cultures of Indonesia and a growing connection with international influences which create a lively city with plenty of cultural attractions as well as modern and entertaining facilities such as bars and clubs.

I don't think this approach enriched the game by any means, but it does serve as a built - in defense to any accusations of poor or inadequate cultural representation that could be levied at Infamous 2 and its characters.

Not only did it grant infamy to a South Africa writer, but it also spanned vast and diverse topics such as racism, sexism, cultural appropriation, representation, censorship, artistic freedom, and more.

Bangkok - raised artist Korakrit Arunanondchai engages a myriad of subjects such as history, authenticity, self - representation, and tourism through the lens of a cultural transplant.

2007 — Representation 2007, Jenkins Johnson Gallery, NYC 2006 — 10 Years — A Retrospective, Dolby - Chadwick Gallery, San Francisco 2005 — Domestic Disturbance, Evanston Art Center, Evanston, IL 2005 — Sinister, Tarble Art Center, Eastern Illinois University, Charleston, IL 2004 — The Reflected / Refracted Self, Carl Hammer Gallery, Chicago 2004 — The Artist as Collector, Northern Indiana Arts Association, Munster, IN 2004 — American Realism, Plus One Plus Two Galleries, London 2004 — Meat Market, Lyonswier Gallery, NYC 2003 — Group Show, Dolby - Chadwick Gallery, San Francisco 2002 — Here and Now, Cultural Center, Chicago (catalogue) 2002 — Harboring Beauty, Gesheidle Gallery, Chicago 2002 — Art Chicago, Chicago 2002 — San Francisco International Art Exposition, San Francisco 2001 — Snowglobe Invitational, Gescheidle, Chicago 2001 — Pin - up, Lyonswier Gallery, NYC 2001 — Welcome to My Dollhouse, Zolla - Lieberman Gallery, Chicago 2001 — Subject Matters, Standard Gallery, Chicago (catalogue) 2001 — Artists / Alumni, Block Museum, Northwestern University, Evanston, IL (catalogue) 2001 — Narrative Sampler, Lyonswier Gallery, Chicago 2000 — Les Chemical Carnales, Hyde Park Art Center, Chicago 2000 — Shake the Coat, North Park University, Chicago 2000 — Union League Civic and Arts Foundation Scholarship Exhibition, Chicago 1999 — Union League Civic and Arts Foundation Scholarship Exhibition, Chicago 1999 — Votive Offerings, Hyde Park Art Center, Chicago

Mimi Jung's work examines multiple dimensions of self - preservation, particularly as it relates to private and public self - representation, and the ways in which those depictions are manifest through social and cultural mores.

[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.»

Photographers may consider this theme in several ways: as the formal use of light in photography, as a metaphor (personal, spiritual, psychological, etc.), or as a representation of cultural concerns (social and political).

She unearths missing archival images that serve as portals to a collective, diasporic memory and, disrupts myths to reclaims cultural figures and representations.

The presentation of Frances Stark's paintings, which employ text appropriated from the writings of musician Ian Svenonius, constitutes a vigorous defense of censorship on grounds of its necessity in equalizing political representation in cultural spaces, much as Black suggests.

The artworks included in this small, focused, survey exhibition encourage conversations surrounding indigenous cultural practices such as mark - making and mapping; visual representations of settlement and expansion; and depictions of changes to the landscape brought about by colliding cultures.

Her research mines the relationship between Asia and the Americas, investigating transpacific economic and cultural circulations, as well as questioning the representation of indigenous realities in colonial aesthetics.

Employing appropriation as a strategy of production, they incorporate prefabricated objects and imagery into their art, repositioning them in ways that expand our perceptions of history, representation, class, violence, resistance, and cultural practice.

«Ngarnda (Pain)», then, takes on a sublimely beautiful aspect as a powerfully reclaimed representation of identity, community and cultural memory.

This new exhibition expands on Smith's earlier interest in the tension between the pictorial representation and the moving image, and in the way they can both be distorted as soon as they shift cultural contexts.

Although his imagery seems to allude to some form of cultural commentary, the relation between abstraction as an irrational process on the one hand and the manifestation of the overlapping poured shapes on the other asserts a calculated agreement to disagree with the language of painting and its representation.

The three artists included in this year's residency exhibition extend this notion to explore how communities themselves can influence the ways in which art is produced, whether through incorporating images that document change and progress, questioning the contexts of cultural and physical representation so as not to repeat history's mistakes, or archiving materials from a community's past in order to benefit future generations.

Her research interests include the histories and theories of modernity, housing, domesticity and the metropolis, politics of power and post-colonialism, utopias, as well as artefacts and their cultural representations.

Informed by Ringgold's legacy as well as the current political climate, the exhibition poses questions about how to reconceptualize cultural representation, engagement, and critique: What spaces for agency are available to black artists today, and by what means have they produced spaces for themselves?

The paintings meander through various systems of knowledge and representation such as Tantric iconography, a landscape in the isolated dictatorship of North Korea, illustrations of cellular generation and radical cultural histories seen through the lenses of fellow artists Emily Roysdon and Cameron Rowland.

Some would argue that as African Americans, their belief in the modernist project came at the expense of being on the wrong side of the cultural politics of the time, and an emphasis on figurative representation.

First, Ofili's visual representations of the social and cultural politics of «race» and racism are discussed — particularly in reference to early works such as Afrodizzia (1996) and the striking figurative painting No Woman, No Cry (1998).

Though she is known as a painter, recently her work has engaged with museum collections in which she has creatively interrogated the history and representation of the African diaspora and looked at the role of museums in discussion around cultural histories.

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 Act 2007.

Kobena Mercer used the term «burden of representation» in 1990 to refer to the expectation placed on black artists, and exhibitions about black artists, to stand as representative of a cultural group or its contributions.

Pica approaches such heavy - duty topics, as well as the uncertainties of communication at large, with a keen wit and an infectious sense of play, quietly undermining cultural myths and clichés and poetically exploiting the perpetual gap between reality and its representation.

The paintings themselves are conceived by involving elements of cultural and geographic surroundings, as well as elements of digital representations culled from vast online sources to my own camera.

While we await confirmation, try translating this: «I see the potential of the creative process as a representation of a new language to be simultaneously constructed and discovered, on the basis of pre-existing aesthetic and cultural templates.»

Stemming from her South American heritage and migration to Europe, Calero constructs social spaces that use sensory engagement as a democratic entry point for audiences to investigate socio - political themes of cultural representation and national identity.

In this this auction the centerpiece was the «The Golden Calf» which sold for # 10,345,250 with buyer's premium and was cited as a reference to Hirst's representation of cultural excess, worshipping false idols and likely Hirst's own myth making.

His work engages issues of cultural identity through representation of and as the «other» through a variety of narrative formats.

Possessing many technical skills, Taaffe has moved decisively between unique pictorial inventions and appropriations, as well as overlaying divergent modes of representation, through cultural patterns found in ornament, and biomorphic abstraction.

James explores these concerns through topics such as identity politics, gender, cultural stereotypes, pedagogical structures, domestic and captive animals and representations of nature.

The inaugural exhibition, «Photographing L.A. Architecture,» demonstrated Krull's interest in the cultural history of Southern California and also marked the beginning of his representation of noted L.A. artists such as Julius Shulman, James Fee, and Edmund Teske.

Together, tactics of queerness such as humor, subversion, caricature, exaggeration, and others, can be used to disorient objects themselves: to see them anew, to give them new context, to understand how they perform as socio - cultural representations.