Sentences with phrase «from commercial culture»

integrate appropriations from commercial culture and combine multiple mediums to parody and critique previous conceptions of high art.

The pieces integrate appropriations from commercial culture and combine multiple mediums to parody and critique previous conceptions of high art.

Not exact matches

The phrase went viral, sparking a pop culture phenomenon akin to «Wassup» and «I Love You, Man» phrases from commercials of years past — printed on T - shirts and used in memes online.

During this time Egypt continued to be a center for continuing cultural and commercial emigrations from neighboring Arab countries as well as a crossroads for the infiltration of Western culture — an infiltration which remained within the bounds imposed by the desire to maintain the Arabic and Islamic character of the culture of Egypt.

Mainstream commercial yogurts made from milk have few bacterial strains and might not culture coconut milk the way you might hope.

Tom Watson, the Labour deputy leader and shadow culture secretary, wrote to Hancock asking him to recuse himself from any policy discussions about the Evening Standard or its commercial interests given his history of working as Osborne's chief of staff.

In the afternoon, the CoW agreed to forward the following draft Resolutions to plenary for adoption, on: Sustainable Boat - Based Marine Wildlife (UNEP / CMS / COP11 / CRP9); Renewable Energy and Migration Species (UNEP / CMS / COP11 / CRP10); Taxonomy and Nomenclature of Birds Listed on the CMS Appendices (UNEP / CMS / COP11 / CRP12); Conservation Implications of Cetacean Culture (UNEP / CMS / COP11 / CRP13); and Live Captures of Cetaceans from the Wild for Commercial Purposes (UNEP / CMS / COP11 / CRP15).

If the only choice available to you is commercial milk, choose whole milk, preferably organic and unhomogenized, and culture it with a piima or kefir culture to restore enzymes (available from G.E.M. Cultures 707-964-2922).

I am wondering what kind of yogurt you use... do you use starter (from somewhere like cultures for health) or do you use commercial yogurt as your starter?

An advertisement film (variously called a television commercial, commercial or ad in American English, and known in British English as a TV advert or The principle of Yin and Yang is a fundamental concept in Chinese philosophy and culture in general dating from the third century BCE or even earlier...

The educational force of the wider culture is now the primary site where education takes place, what I have called public pedagogy — modes of education largely produced, mediated, and circulated through a range of educational spheres extending from the new media and old broadcast media to films, newspapers, television programs, cable TV, cell phones, the Internet, and other commercial sites.

«We need to move away from an expensive and time - consuming culture of proliferating external examinations - modules, re-sits and retakes - towards fewer high - quality qualifications overseen and conferred not by commercial organisations but by institutions of academic excellence such as our best universities,» said Mr Gove.

As corporations vie more and more aggressively for young consumers, popular culture — which traditionally evolves from creative self - expression that captures and informs shared experience — is being smothered by commercial culture relentlessly sold to children by people who value them for their consumption, not their creativity.

The hotel is a few minutes walk from the city's key attractions including Albert Dock, the Liver Buildings, Liverpool Museum, Mathew Street, Liverpool ONE and the Liverpool Echo Arena, and located in the centre of the commercial district, making it the ideal base from which to explore the famed home of the Beatles, Scouse stew and the 2008 European capital of culture.

She took the plunge and transitioned from the corporate world as a commercial law attorney towards devoting her time to discovering travels and cultures.

With resplendent sunsets, rainforests and wildlife, indigenous cultures and friendly locals, Sabah is a renowned paradise on the Malaysian part of Borneo island.Whether you are a business traveller, a family on vacation or someone looking for that elusive weekend escape, Oceania Hotel has the right room for you.Oceania Hotel is a new 3 star hotel situated in the heart of beautiful Kota Kinabalu.Located just 10 minutes drive from the airport and few minutes drive to the shopping malls, dining destinations, nightlife and the commercial district, this hotel is a perfect mix of convenience and tranquility for all tastes and travellers.

This coincided with the period when the city was ruled by the Itzae, a group of seafaring warrior traders or Putun from Chontal Maya territory in Tabasco and Campeche who had political and commercial ties with central Mexican cultures.

Pop Life: Everyone needs a Thrill traces an arc from the 1950s to the mid-1960s, when there was a massive shift from Abstract Expressionism to work that began to reference and incorporate the symbols of an exploding consumer and commercial culture, ultimately giving rise to Pop art.

Influenced by the happenings staged by Allan Kaprow, George Segal, Claes Oldenburg, and others, which incorporated everyday objects and popular culture, Lichtenstein turned to an entirely new imagery culled from the contemporary world of advertisements and comic books and adopted the graphic techniques of commercial illustration.

His interdisciplinary practice combines painting, sculpture, and performance, and merges disparate fields and influences, from interior and stage design to film and comics, exploring desire, memory, and estrangement in contemporary domestic and commercial culture.

At this time there was a general shift from the gestural abstraction of the Abstract Expressionists to imagery drawn from popular, commercial culture.

[4] During the 1920s, American artists Patrick Henry Bruce, Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery (mundane objects culled from American commercial products and advertising design), almost «prefiguring» the pop art movement.

Pioneering young artists, mostly from New York City, exploited the rising commercial culture and used it to launch a brand new artistic rebirth.

Andrew Falkowski's newest text paintings riff off pop - culture sources culled from junk mail, commercial packaging, magazines, art history and punk songs.

Bourque - LaFrance's interdisciplinary practice combines painting, sculpture, and performance, and merges disparate fields and influences, from interior and stage design to film and comics, exploring desire, memory, and estrangement in contemporary domestic and commercial culture.

McGinness» work, taking inspiration from skate and surf culture and graphic design, has been characterized as «equal parts Pop, Baroque, commercial and street.»

Snakes, spiders, scorpions, and other bits of nature from his hometown appear mixed in with Catholic symbolism, aliens, gang members, pop - culture references, and commercial imagery, giving brand logos and religious icons the same attention and placement.

This exhibition presents Warhol's book work, from early student - work illustrations of the late 1940s, through to his careers as a commercial artist in the 1950s, Pop fine artist and underground filmmaker in the 1960s, and photographer and Pop culture icon of the 1970s — 80s.

With diverse influences from graffiti, street culture, and outsider art, she has produced commercial and non-commercial work in various media.

This commercial process allowed him to easily reproduce the images that he appropriated from popular culture.

From the overtly politicised visual language of Kiki Kogelnik's anti-war sculpture Bombs in Love (1962) and Eulàlia Grau's photographic montages, the exhibition reveals the subversive underbelly of Pop's exploration of modern commercial culture.

This exhibition explores the paramount role of Jewish women in the creation of Vienna's salon culture — social hotbeds of political discourse and a culture from the late 18th to the early 20th century held in private homes — while foregrounding the hostesses» contribution to the capital's cultural, commercial and political life even in the face of sexism and facism.

After co-founding and co-directing resource sharing networks OurGoods.org and TradeSchool.coop from 2008 - 2014, Woolard is now focused on her work with BFAMFAPhD.com to raise awareness about the impact of rent, debt, and precarity on culture and on the NYC Real Estate Investment Cooperative to create and support truly affordable commercial space for cultural resilience and economic justice in New York City.

Through commercial images of fashion, merchandise, and advertisements, in addition to moments from his daily life, Ethridge's works reveal the fine line between the generic and the personal, combining art historical themes with contemporary culture.

It was an idea that venerated the banality of popular culture and sought not only to demolish rarefication in art, but to radically redefine the artist from Romantic visionary to an organising principle in a commercial system of mass production.

His canvases manifest his ability to transmute images steeped in commodity - culture and perceived as commercial or quotidian art into lovely visions, both separate from and contingent upon the emergent mass media which originally produced them.

In 1960, James Rosenquist translated his training as a commercial billboard painter into fine art when he began creating paintings of monumental scale that collaged advertising and magazine images from all realms of American life into dizzying display of the country's culture of mass mediation.

Chu's window display operates as both an artistic and commercial display, challenging what is and what is not art by fusing the gallery with the street culture from which is is inspired.

Commonly associated with artists such as Andy Warhol, Roy Lichtenstein and Jasper Jones, pop art draws its inspiration from popular and commercial culture such as advertising, pop music, movies and the media.

Artists of the post — World War II era who drew inspiration from popular culture considered printed words as a legitimate subject for a work of art in the same way that they appropriated comic - strip heroes and commercial products.

Media and commercial culture played an important role in Katz's work of the 1960s, which drew from film, television, and billboard advertising.

Michel Majerus's visual language freely samples from art history and popular culture, redeploying canonized styles and genres alongside graphics borrowed from youth subcultures and the commercial mainstream.

Traveled to Spacex Gallery, Exeter (catalogue) 1997 Material Culture; Sculpture from the 80s and 90s, Hayward Gallery, London (catalogue) Fergal Stapleton and Rebecca Warren, The Showroom, London (catalogue) Martin, Commercial Gallery and 146 Brick Lane, London Class Vegas, The Embassy, London 1996 Berlin Art Fair NIS Project at world PC Expo, Tokyo On Camp / Off Base: Pimple Life, Tokyo Big Sight Exhibition Centre, Tokyo (catalogue) Disneyland After Dark: La Ronde, Kunstlerhaus Bethanien, Berlin (catalogue) Rebecca Warren and Fergal Stapleton, Cleveland, London Light, Richard Salmon, London.

Adrian Wong bases his series of neon works on the proliferation of signage and commercial messaging that covers his native Hong Kong, a method of appropriation and simulation shared by Wiyoga Muhardanto from Indonesia whose branded sculptures satirise consumer culture.

Majerus samples from popular culture and art history, redeploying canonical styles alongside graphics borrowed from youth subcultures and the commercial mainstream.

Pop art Style derived from the popular culture of the 1960s, including commercial illustration, comic strips, and advertising images.

Johns and Rauschenberg, and soon Andy Warhol, Roy Lichtenstein, and others, complicated modernism's claims of artistic authorship and authenticity by turning to popular and often banal subjects drawn from mass culture and producing works that mimicked — and often exploited — commercial modes of production.

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.

Centerfolds, cartoon creatures, commercial facades and strange street characters populate my work, reflecting Mexican culture's condition of colonization and its customization of American icons; all with the purpose of conveying a personal baroque narrative that resembles an abstract urban, chaotic sediment reminiscent of Tijuana, Mexico, the city I come from.»

In any case, this is the first documented example of appropriation in art history even though the name wasn't in common use until the 80s, when it was referred to artists like Andy Warhol, Roy Lichtenstein, Claes Oldenburg who appropriated images from commercial art and pop culture and, in the case of Sherrie Levine, even appropriated themselves into art.