Sentences with phrase «from cultural ties»

Not exact matches

Such ill - defined relations worked reasonably well for a considerable time, while the mechanism that kept Catholic institutions tied to the Church was a powerful cultural feeling for Catholicism (enforced by the tuition payments and donations that came from the members of that culture).

In human terms, this has a disastrous consequence for certain groups of people like the tribals, scheduled castes, traditional fishermen and such other groups who depend on them to eke out a living... They would also be torn away from their natural roots as well as from their community and cultural ties - producing in them a sense of isolation» (Quoted from ISA Journal Dec. 94).

One who is not a Christian (especially the modern nondualist Hindu and perhaps a Mahayana Buddhist) might ultimately agree to go along with the idea, from the Christian point of view, of an invisible» church of a Christ not tied to any one religious or cultural tradition.

I saw a cultural Christianity cut off from the deep theology of the Bible and enamored with books and audio and sermon series tying current events to Bible prophecy — supermarket scanners as the mark of the Beast, Gog and Magog as the Soviet Union or, later, Saddam Hussein or al - Qaeda or the Islamic State as direct fulfillments of Bible prophecy.

Aside from economic and cultural ties, part of the Serbian rationale for a close relationship with Russia and fraught one with the EU is the contested status of Kosovo.

Zara is battling yet another issue of cultural appropriation, as the affordable fashion brand has been accused of stealing the traditional baati style from Somali, calling it a Tie - Dye Maxi Dress, with no mention of cultural inspiration.

Marco stands out from other dogs with his unique cultural ties to Italy, Po said.

It used to be that games existed in a cultural ghetto kept away from other art forms, cropping up only when some crazed Hollywood executive felt that they could make some quick money from a movie tie - in.

From his earliest works, Mellors has explored themes tied to contemporary society, from mediation and cultural systems, to technology, art and civilization through the use of video, installations, puppets and animatronics equipped with an irreverent and cutting irFrom his earliest works, Mellors has explored themes tied to contemporary society, from mediation and cultural systems, to technology, art and civilization through the use of video, installations, puppets and animatronics equipped with an irreverent and cutting irfrom mediation and cultural systems, to technology, art and civilization through the use of video, installations, puppets and animatronics equipped with an irreverent and cutting irony.

Within the scope of its 10th year anniversary celebrations, the exhibition brings together artists from neighboring geographies that have historical, political, and cultural ties with Turkey including the Balkans, the Caucasus, and the Middle East, etc..

Ms. Block, who has traveled to Cuba for many years and long made the case that the island nation and the Bronx share important cultural and economic affinities, encountered resistance from some of the museum's leadership in her push to make the show happen and to deepen ties with Cuba.

Their tactics are diverse and often borrowed from other disciplines like archaeology, anthropology, and theater, but are tied together by a shared interest in a pop - cultural vernacular.

The 20 featured works of art are coming on loan from the Fundação Luso - Americana (Luso - American Development Foundation), a private foundation created in 1986 with the mission of strengthening cultural and economic ties between Portugal and the United States.

Featuring works by 134 artists from 31 different countries, along with a diverse collection of cultural artifacts that range from traditional Korean funerary dolls to an archive of 3,000 photographs of people with teddy bears, the exhibition is a sprawling, multifaceted investigation of the ties that bind people to images and images to people.

«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003

Thanks to the Department of Cultural Affairs for welcoming Betty Seid, a Chicago - based independent curator (with past ties to the Museum of Contemporary Art and... read more... «New Narratives: Contemporary Art From India»

You can point the finger at all sorts of participants in this battle, but I believe (and we have been examining and discussing at length on this site for more than 8 years now) the principal drivers of the polarization are coming more from: (1) the corporate energy interests who are protecting their profits against regulation and other policies that would move the system away from fossil fuels, and using their clout in the political process to tie things up; (2) right - wing anti-government and anti-regulatory ideologues whose political views appear threatened by scientific conclusions that point toward a need for stronger policy action; (3) people whose religious or cultural identities appear threatened by modern science; and so forth.

Aside from Sam, the remainder of the attorney team is comprised of associates and foreign legal consultants with top - level academic credentials (Harvard, Yale, University of Chicago, New York University, University of Pennsylvania, and Peking University) and superior local language skills: all team members speak both Mandarin Chinese and English, supported by acute local cultural sensitivity acquired from being native Chinese, educated here for extended periods, or retaining strong family ties to mainland China or Taiwan.

Indian Residential Schools were created to separate Aboriginal children from their families in order to minimize and weaken family ties and cultural linkages, and to indoctrinate children into Euro - Christian Canadian society.