Sentences with phrase «culture of these places draw»

The charm, history, and culture of these places draw in just about all of us.

Not exact matches

As they have argued, family, citizenship, church, neighborhood, community, schools, and markets need to be drawn closer together in a more integrated whole, in every aspect ranging from the built environment to the cultivation of genuine local cultures arising from the varying circumstances of diverse places.

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).

«I've felt a deep connection to Africa and its culture for much of my life, and responded immediately to Eric's beautiful script about a man drawn into a violent conflict that leads him to discover his own profound connection to that same place and people.»

Much of Wakandan technology would not seem out of place in «Star Trek,» while costume and make - up draws from various African cultures.

But New Orleans is also the birth place of jazz: a community that to this day draws on a deeply rooted musical culture.

«Big draws were the Passion Play in Oberammergau, 200 years Oktoberfest and certainly the RUHR 2010 (European Capital of Culture) with more than 2,500 events and exhibitions taking place.

They populate an imaginary place called «Magulandia,» but were drawn from the essence of Chicano and Mexican culture.

The exhibition presents a body of work (sculptures, photographs, and drawings) that address several themes dear to the artist: Confrontation between cultures, unfortunately often taking place in the form of violence, the subject of language and knowledge, and even the relationship between said knowledge and so - called ignorance.

Her original work adds to the canon of art historical research and also extends our own commitment to drawing connections across time and place in the continuing narrative of the history of visual culture.»

With the Culture Wars still in full pitch, a collage by Chris Ofili titled The Holy Virgin Mary and featuring artfully placed clumps of elephant dung drew outrage from the Catholic community and New York Mayor Rudy Giuliani, who threatened to withdraw funding from the museum.

Scharf placed his bright imagery, drawn from television and pop culture, on the streets and in nightclubs of the city, helping to nurture a dynamic and freewheeling scene.

Of course, there were many thematic and visual references to poverty and exclusion that were framed by the discourse of art history — as in a metal construction by Jannis Kounellis [who died in February this year] that combines a hard - edged steel - cast minimalist frame with multicoloured rags of Arte Poveraat White Cube, for example; or in a an arresting display of Sadie Benning's «drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie ObadiOf course, there were many thematic and visual references to poverty and exclusion that were framed by the discourse of art history — as in a metal construction by Jannis Kounellis [who died in February this year] that combines a hard - edged steel - cast minimalist frame with multicoloured rags of Arte Poveraat White Cube, for example; or in a an arresting display of Sadie Benning's «drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadiof art history — as in a metal construction by Jannis Kounellis [who died in February this year] that combines a hard - edged steel - cast minimalist frame with multicoloured rags of Arte Poveraat White Cube, for example; or in a an arresting display of Sadie Benning's «drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadiof Arte Poveraat White Cube, for example; or in a an arresting display of Sadie Benning's «drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadiof Sadie Benning's «drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadiof wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadiof African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadiof notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadiof Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadiof Donald Trump, on view at Galerie Nathalie Obadia.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

Three drawings by Gerhard Rühm literally place the banal within a formal structure of high culture, with commentary on Austria's violent past scribbled onto music staves.