Sentences with phrase «culture references such»

Other popular culture references such as E.T. and Hawaii 84 T - shirts and Doritos chips provide a context that is at once American and global.

Not exact matches

Its categories — such as «Christ against culture» and «Christ of culture» — have ever since been familiar reference points in the field of Christian ethics and in debates about how Christians and the church should engage matters of politics, society and culture.

For Dupré, Western culture's acquiescence in the materialist and positivist view of creation has resulted in such a profound neglect of the transcendent life that references to contemplation, meditation or mysticism only bring smiles of condescension or else incomprehension.

Names such as Hermione and Iris have enjoyed revivals of late due to some pop culture references.

Popular culture is becoming increasingly pornified, where Playboy merchandising and pole - dancing kits are targeted at children and pornography references such as «barely legal» and «MILF» are understood in the mainstream.

Randall is an enthusiastic narrator who leavens her prose with references to such pop culture phenomena as the group Talking Heads («And you may ask yourself, Am I right?

As the white, and purple fringe gradually becomes the skirt base in violet, and a geometric white design, the hem detailing artfully creates an optical illusion that makes the skirt appear to be being woven on the wearer — a befitting reference to the masterful artisanship of the cultures in which Lanvin was alluding to through designs such as this.

As we've come to expect from these type films, the dialogue is loaded with numerous goofy puns and timely pop - culture references that always provide entertainment for the grown - ups, but I don't think we've ever had them thrown at us at such a machine - gun like pace.

The Matrix has become such a touchstone of American pop culture - referenced, copied, parodied, and parroted)- that it's hard to remember just how new and different and distinctive it was when it debuted in 1999.

Adam Stockhausen's production design is dazzling, and it's fun to identify the nonstop references to pop culture, but they come in such profusion that the process becomes exhausting instead of exhilarating.

Such references more often than not feel like awkward pop culture plugs, in hopes of reaching out to a contemporary audience, or firmly dating this movie in 2013.

Most odiously, the movie gave rise to the prolific shit machine of co-screenwriters Jason Friedberg and Aaron Seltzer, which for many years polluted movie theaters with its audience - insulting, pop - culture - reference - as - punchline brand of dispiritingly popular spoofery, as seen in such abominations as Date Movie, Epic Movie and The Starving Games, whose title, I would imagine, is some manner of humorous allusion to the popular book and movie franchise The Hunger Games.

These include creative expressions such as idioms (up a creek); puns (references to an ill - fated cruise's «poop deck»); inside jokes (may the forest be with you); invented words (oyvaycation); pop culture memes (no vacation nation); similes (a hayfever sufferer in a garden is like a diabetic in a chocolate factory); and metaphors (down the black hole).

Reference laboratories provide us with advanced blood work, such as thyroid and seizure medication levels, urine testing, and culture, cytology, and biopsy results to further maintain your pet's health.

Thanks to countless pop culture references and notorious 20th - century organized crime figures such as Al Capone, Bugsy Siegel and John Gotti, the concept of organized crime calls to mind images of bygone eras when speakeasies, Mob - run casinos and infamous M...

That's why such games often replace extreme representation (be it either gore / hardcore / graphic or childish) with symbolic or pop - culture references.

The writing and comedy are the game's strongest suit and it delights in playfully skewering popular culture, making references to or poking fun at such things like Twitter, Doctor Who, and Back to the Future.

Her references could be literary and philosophical, what she said about her work was deep but different than an academic discourse, as much rooted in daily visual experience as in popular culture and in direct transmutation into paint of such experience.

He often works with found objects and materials drawn from stereotypical references to African American culture such as chicken wings, dreadlock clippings and Night Train liquor bottles and the outdoors have served as his exhibition space where he has sold snow balls in the street and installed real porcelain urinals on trees.

Sara Greenberger Rafferty's videos often address important political issues such as gender identity using references from comedy and popular culture.

Furthermore, these chopped - up bits of newspaper introduced fragments of externally referenced meaning into the collision: «References to current events, such as the war in the Balkans, and to popular culture enriched the content of their art.»

Encouraged by SAIC professor Ray Yoshida, many Chicago Imagists also drew on references outside of fine art, such as comics, cartoons, and popular culture.

Described as a «modern - day dandy» and is known for exhibitions combining sculpture, film and performance, many referencing pop culture icons such as the Simpsons and Felix the Cat.

Many of the 21st century artists — such as iona rozeal brown, Trenton Doyle Hancock, and Robert Pruitt — mix national, international, historical, and pop - culture references with personal stylistic preferences to produce images that provoke more questions about identity than they answer.

The selection includes works by the foremost practitioners of the art of miniature painting in England, Nicholas Hilliard and Isaac Oliver, and portraits of writers, such as William Shakespeare and John Donne, who wove miniatures into contemporary culture through references in their plays and poems.

Mixing art historical references with images taken from the internet, their subject matter knows no limits: from icons of popular culture such as Roy Orbison to much admired paintings of the past such as Georges Seurat's Bathers at Asnières (1884); from the lonesome cowboys in a Steven Spielberg film to the shocking photographs of Mexican photographer, Enrique Metinides.

Creating works from synthetic materials such as resin, neon and rubber and reworking ubiquitous matter such as glass, plexiglass, wood, sand and metal, Webb often parodies modernism to wry and poetic results - referencing consumer culture and making use of the solid and the open and the soft and rigid to explore new sculptural possibilities.

Mixing art historical references with images taken from the internet, the paintings of Polish artist Wilhelm Sasnal (born 1972) borrow liberally from the image glut around us, appropriating anything from icons of popular culture such as Roy Orbison to paintings of the past such as Georges Seurat's «Bathers at Asnières» — from the lonesome cowboys in a Steven Spielberg film to the photographs of Enrique Metinides.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

His references span from the deep and dark corners of the carefully mannered art world to the more esoteric branches of culture such as inglorious comic books, unsung hip hop heroes, and freakish, hallucinatory imagery from the drug - fueled political past.

It simultaneously references iconic pop culture symbols, such as marquee signs in Las Vegas and Times Square, and historical fountains built in civic spaces, such as Bernini's Triton Fountain.

His pieces often combine a dark sense of humor with a certain playfulness and Pop culture references, such as music videos, tabloids, and rock music.

Since the mid-1970s she has referenced and critiqued American popular culture, suggesting the influence of Pop Art while pointing to Abstract Expressionism through large, physical, drippy paintings of cartoon and comic characters such as Felix the Cat, Mickey Mouse, and Homer Simpson.

How did name - dropping «Chelsea» — and here the mention means west Chelsea, not the neighbourhood as a whole — come to indicate just the right amount of arriviste culture and instrumental snobbery that a television import, from the UK no less, could risk a $ 60m production budget on such a reference?

Anthea Hamilton is a UK - based artist who creates multi-media installations that resemble theatrical stages or film sets and incorporate arrangements of prop - like objects, references to modernist paintings, and appropriated images of pop culture icons such as blow - ups of John Travolta in John Travolta, Bust - like, 2012.

Anthea Hamilton — renowned for her bold and humorous works that often include references from the worlds of art, fashion, design and popular culture - has designed seven costumes in collaboration with Jonathan Anderson, LOEWE's Creative Director, that incorporate the colours and the shapes of different varieties of squash or pumpkin; many of the silhouettes of the costumes, made with materials such as hand - painted leather or painted silk crepon, were inspired in designs from the 1970s.

She uses references to popular culture (such as action movies, music, song videos or computer games) to give us back, in the form of a reflection, a far - reaching critique of contemporary phenomena such as migration, feminism, multiculturalism and globalization are explored and exposed within the framing realities of war and financial speculation that mark our present moment.

While the two schools of abstract expressionist painting shared certain characteristics ---- large scale; bold, gestural brushwork; emphasis on the materiality of paint; figure and ground equal or collapsed into overall, non-hierarchical compositions ---- Bay area artists, influenced by Asian cultures and the expansiveness of the western landscape, in addition to European painting, invited landscape references into their work whereas New York painters resisted such associations.

A pioneer of the 1960s California «Finish Fetish» and «Light and Space» movements, and an original member of the legendary Ferus Gallery's roster, Bengston's early paintings combined post-colorfield / proto - minimalist compositions anchored by iconographic references to popular culture (such as chevrons, in the context of the Vietnam War) and personal passions: the car and surfing culture of Venice Beach, motorcycle racing, and nature.

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 Obadia.

There are references to pop culture characters such as Mickey Mouse, with the artist toying over the idea of false realities and choosing to live in an idealistic world.

His ethereal pieces experiment with the beauty of natural landscapes as well as pop culture references and influences, such as fast food.

«Today my work takes pop culture references from a variety of different sources such as newspapers, memorabilia and public records, to create artworks that are iconic and accessible.»

Through various manipulative techniques involving negative layering, solarization and drawing and collage, Webber incorporates imagery gleaned from mass culture to produce «fractured narratives» referencing social and political issues such as homelessness, AIDS and women's roles in society.

Like German conceptual artist Joseph Beuys, with whom he studied at the Düsseldorf Art Academy, Kiefer confronts the past by referencing such myths as Isis and Osiris, the ancient Egyptian myth of destruction and regeneration, and the history of German philosophy and culture.

Encompassing the engaged and the conformist, references to celebrity and mass - culture, every media available and being completely democratic in terms of iconography, and definitely containing some inherent traits of pop art, it's safe to state that Urban Art is the perfect mirror of postmodernism, and as such, it's a movement in its own right.

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.

Often making reference to Italy's history and culture in his works, he has employed traditional mediums such as bronze sculpture, mural painting, and mosaic, and often references Italian Futurism, aiming to connect the present and the past.

A recurring element in her research is the exploration of «otherness», in relation to both sexuality and geographical places, particularly expressed through the recollection of products of popular culture, e.g. cinematic images and movies, and references to artistic heritages such as archaeology and African art.

Such reference points help situate Costa's affinity for consuming the stuff of world culture and regurgitating it according to the unavoidable particularities of his own sensibility, as well as the compositional decentralization that informs each of his works and his exhibitions as a whole.