Sentences with phrase «culture references within»

Give pop culture references within your explanations to help students connect the answer and question to real life.

The sheer amount of pop culture references within Deadpool 2 was staggering.

Not exact matches

Yet at every point it must be read in reference to the culture within which it emerged, so that its «situation - conditioned» and temporal elements may be seen in their true perspective.

An equally striking illustration of the influence within the Protestant churches of the movement of thought of which Professor Dewey is the foremost exponent is the book by Professor Baker, Christian Missions and the New World Culture, to which reference has already been made.

Though Spongebob Squarepants is a well known popular culture reference and extensively used right here within the United States, the display isn't so identified in other places.

It may be small, but it's enormously diverse,» he continued, referencing the four cultures and languages (French, Italian, German, and Romansch) found within its borders.

The title references recent terminology related to after - burial gatherings that have become popular within township youth culture in postapartheid South Africa.

Whilst Houseago's oeuvre can be seen as a continuation of a historical sculptural tradition, the unusual combinations of materials, the inclusion of references drawn from popular culture and the unusual interplay between two and three - dimensional elements, all challenge the hierarchy inherent within visual forms, and the materials and values associated with them.

In a thought - provoking new painting that references art history and popular culture, Metzger recreates the «diver down» logo while maintaining its emblematic proportions, within the constraints of a large canvas that fills the horizontal dimensions of the Museum's entryway.

Respectful, even affectionate references to local culture and art history are always present in Dashper's work, whilst his own adaptations of abstraction, conceptualism and minimalism fully acknowledge their lineage within international art.

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.

By combining references to art history with modern surfaces and materials, she explores fine art aesthetics within the design of daily life, especially the way it has been appropriated by consumer culture.

Razmi's body of work focuses on issues of identity and gender while appropriating national, cultural and artistic references to reposition pop - culture within a contemporary Iranian context, giving her re-embodied, re-contextualized works a tongue - in - cheek quality.

Featuring: Amna Asghar, Dana Davenport, Umber Majeed, Tammy Nguyen, Ke Peng, Sahana Ramakrishnan, Sheida Soleimani Amna Asghar speaks on the construction and translation of disparate references, cultures, geographies, and generations from Pakistan and America; Dana Davenport addresses the complexity of interminority racism within her own community and institutions from her experiences as a Black Korean American; Umber Majeed's practice attempts to unpack the temporalities within South Asia as site, familial archival material, popular culture, and modern national state narratives; Tammy Nguyen interrogates natural sciences and non-human forms to explore racial intimacies and US military involvement in the Pacific Rim; Ke Peng documents the feeling of alienation and disorientation from urbanization and immigration by taking a journey into an imagined childhood in China, Hunan, where she was born and Shenzhen, a modern city where her family relocates to; Sahana Ramakrishan explores myths and religion from Buddhist and Hindu tales to speak upon the magic of childhood and the power dynamics of sexuality, race, and violence; Sheida Soleimani is an Iranian - American artist and a daughter of political refugees, making work to highlight her critical perspective on the historical and contemporary socio - political occurrences in Iran.

Lives and works in Philadelphia, USA) combines the glossy aesthetics of commercial culture, personal narratives and re-mixed references to other artists» works within his vibrant sculptures, videos and fully immersive installations.

El Anatsui, Sanford and Hank demonstrate symbolic bricolage by referencing their knowledge of culture, history, spirituality and their experiences as black men living and working within dominant society.

Themes of exaggerated consumption, film noir and the depiction of women in art, the dystopic American landscape, and the intersection of popular culture and politics, are explored through works by acknowledged masters such as Jasper Johns, Claes Oldenburg, Ed Ruscha, and Andy Warhol, as well as by many artists not traditionally associated with Pop whose art may be understood within its wider field of reference.

A further reference is made to the image - laden culture which drives our everyday world, from pixels on a screen to the ubiquitous use of imagery in advertisement to selfies, and the way in which these images are organised in our world, either physically or digitally, often forming a grid, or pattern, within which windows to other worlds and perspectives can be seen.

Crucially, however, Gillick's references to prior forms of progressive art are always situated in relation to other vital co-ordinates for understanding the place of art within contemporary culture.

Combining references to art history with modern surfaces and materials, the artist explores fine art aesthetics within the design of daily life, specifically the ways it has been appropriated by consumer culture.

As in music, the art of postproduction breaks with traditions of referencing and citation, moving instead towards a culture of «shareware» in which forms, already within -LSB-...]

The Dutch reference for a preliminary ruling is based on the following facts: A report commissioned by the Dutch Ministry of Education, Culture had opined that the lending of e-books did not fall within the scope of application of Directive 2006/115 (as transposed into Dutch law) and, as a result, libraries could not benefit from an exception to the exclusive lending right to lend e-books to the public.

Aside from the amount of time spent by counsel for the plaintiff, the matter appears to have moved forward efficiently and within the culture shift referenced by Justice Karakatsanis in [Hryniak v. Mauldin, 2014 SCC 7 (CanLII), [2014] 1 S.C.R. 87] as part of promoting timely and affordable access to the civil justice system.

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