Sentences with phrase «culture magazines such»

Hancock's work has be shown at several exhibitions including the Museum of Contemporary Art, Atlanta, and has been published internationally in various art and culture magazines such as Oh Comely, F5, and VUU Collective's Super Special.

Not exact matches

Newer magazines such as Crisis, Catholic World Report, and the evangelically oriented Books & Culture do not have that advantage.

When sexual promiscuity in almost every movie, when television airs homosexual dating shows, when you read the headlines of the magazine covers at the grocery checkout isles — it makes a parent wonder how to raise up Godly children in such an ungodly culture.

Other than film, her writings encompass political commentary, travel, sports, humor and pop culture for such publications as Salon.com, The Boston Globe, McClatchy News, The Oregonian, Fodor's travel books, The Advocate, Meredith Corporation, Women's eNews, PopMatters, The Forward, various Northwest travel magazines, and Detroit and Denver sports outlets.

The magazine takes a broader approach with articles spanning across subjects such as science, philosophy, adventure, and online culture.

Forest and Stream magazine in 1877: ``... the dog show held in the city last week was a success... a magnificent triumph for the dogs and for the projectors of the show... (people) representing as much of the culture, wealth and fashion of the town... That such a collection of dogs was ever gotten together before in any country we very much doubt...»

Roland Kelts is the author of Japanamerica: How Japanese Pop Culture has Invaded the US, and he writes for publications in the US, Europe and Japan, such as The New Yorker, The New York Times, Harper's Magazine, The Christian Science Monitor, The Guardian, The New Statesman, Time magazine, The Yomiuri, The Japan Times andMagazine, The Christian Science Monitor, The Guardian, The New Statesman, Time magazine, The Yomiuri, The Japan Times andmagazine, The Yomiuri, The Japan Times and others.

Since opening on November 12, 2016, the exhibition has earned extensive media coverage and rave reviews, in publications such as The Wall Street Journal; London - based Burlington Magazine, billed as the world's leading monthly publication devoted to the fine and decorative arts; and Hyperallergic, an online forum with perspectives on art and culture around the globe.

Josephine Meckseper, born in Germany, uses commercial forms of presentation such as vitrines, window displays, and magazines, to demonstrate inextricable influences of consumer culture on society.

Collier usually photographs images that already exist in popular culture — such as record - album sleeves, magazines, coffee - table books, Hollywood film stills, and pictorial calendars — set against neutral studio backdrops.

Portocarrero regularly collaborates with contemporary art magazines, such as Artishock and Terremoto; and has contributed with her writings on art and culture in numerous publications.

He has been the director of a number of galleries and founder of art magazines such as Mostre e Musei, Contemporanea, Impresa per l'Arte, Ground Art and Culture, Inside.

Of course, I write this letter in part because the same logic applies to this magazine, whose very purpose is supposedly to render such redundancy more visible, unfolding its implications not only for artistic production but also for art's relationship with the culture at large.

For although increasing attention is paid to art from this region on the international level — with biennials in Istanbul and Sharjah, Catherine David's ongoing project «Contemporary Arab Representations,» and the visibility of the Middle Eastern art - and - culture magazine Bidoun — there is still a paucity of such exhibitions in London.

The images that filled the glossy pages of these magazines once accompanied articles on blithe topics — fashion, popular culture, sex and cruising — intertwined with heavier issues such as gay rights, political activism and HIV / AIDS.

The artists of the Pictures Generation, such as Cindy Sherman, Sherrie Levine, Laurie Simmons, Barbara Kruger, David Salle and Robert Longo, explored a new stylistic vocabulary grounded in their interest in popular culture, appropriating images from books, magazines, advertisements, television, and film.

The cultural interventions of DIS are manifest across a range of media and platforms, from site - specific museum and gallery exhibitions such as DIS Image Studio (2013, The Suzanne Geiss Company, New York, US), ProBio at EXPO 1: New York (2013, MoMA PS1, New York, US) or Dressing the Screen for the British Council (2012, UCCA, Beijing) to ongoing online projects which most notably include DIS Magazine, a virtual platform that examines art, fashion, music, and culture, constructing and supporting new creative practices.

Her arts / culture reviews and essays have been published in online national and international magazines such as Letras Libres, Culture Strike, Los Angeles Review of Books, and Tropics oculture reviews and essays have been published in online national and international magazines such as Letras Libres, Culture Strike, Los Angeles Review of Books, and Tropics oCulture Strike, Los Angeles Review of Books, and Tropics of Meta.

In a reference to the minor arts, or traditional crafts and trades such as ceramics and roofing, Theaster Gates extends his consideration of time, place, history and culture in a series of new works that incorporates the roof of a decommissioned church, the gym floor of a shuttered high school, and an archive of Ebony magazines.

Proliferating across art forms, from performance and music to film, video, photography, painting and sculpture, the artists embraced semantics, historicism, new feminism, celebrity, and market competition, while also establishing a strong DIY culture, speaking out through instigating magazines, events and criticism, to the point that an inevitable backlash began, with people wanting something less hermetic that would directly address impending crises such as AIDS and Reaganomics.

Artists created charged works by juxtaposing disparate images sourced largely from popular media, such as Hannah Höch's 1930 photomontage Untitled (Large Hand Over Woman's Head), a work of layered images from magazines that speaks to the representation of women in popular culture, and Kurt Schwitters» Mz 426 Figures (1922), an assemblage of discarded newspaper and printed detritus, which evokes the urban environment in which he lived.

In Warholian fashion, Johnson often imbues his work with queer desire and dry melancholy as he mines lowbrow registers of American culture, resituating material drawn from such sources as People magazine, pulp fiction, celebrity auto - biographies, Hollywood histories, and advertisements.

His best - known photographs, such as portraits of friends and youth culture denizens, stillifes, images of garments, and the «Concorde» series, have been shown in exhibitions and magazines throughout the world.

At Barbara Davis Gallery, London - based artist Danny Rolph collages pop - culture imagery, cutouts from newspapers and magazines, and personal mementos such as family photos and invitations to his exhibitions.

Works by such Pop artists as the Americans Roy Lichtenstein, Andy Warhol, Claes Oldenburg, Tom Wesselman, James Rosenquist, and Robert Indiana and the Britons David Hockney and Peter Blake, among others, were characterized by their portrayal of any and all aspects of popular culture that had a powerful impact on contemporary life; their iconography — taken from television, comic books, movie magazines, and all forms of advertising — was presented emphatically and objectively, without praise or condemnation but with overwhelming immediacy, and by means of the precise commercial techniques used by the media from which the iconography itself was borrowed.

Warhol, Heinecken, Prince, and Levine have appropriated source imagery that is readily recognizable as not being originally authored by the artist — studio portraits of Marilyn Monroe, pages from women's magazines, Marlboro ads, or Walker Evans's photography — to highlight the mass reproduction and circulation of such imagery within popular culture.

Fashion / lifestyle magazine for adults who experience various play such as skateboards and club culture, and now enjoy fashion in the sense of youth.