Sentences with phrase «history in a modern context»

Not exact matches

It's as if their role in this history is to carry on what Christians have been doing for the past two centuries, except in a modern rock context — Underground blaze the sound to Armageddon.

In modern history the work ethic was first given a great impetus by the Protestant Reformation, in which context Martin Luther and John Calvin argued convincingly that the great and good life was ultimately experienced not in the monastery or convent, but in working at one's job in everyday lifIn modern history the work ethic was first given a great impetus by the Protestant Reformation, in which context Martin Luther and John Calvin argued convincingly that the great and good life was ultimately experienced not in the monastery or convent, but in working at one's job in everyday lifin which context Martin Luther and John Calvin argued convincingly that the great and good life was ultimately experienced not in the monastery or convent, but in working at one's job in everyday lifin the monastery or convent, but in working at one's job in everyday lifin working at one's job in everyday lifin everyday life.

So far as I understand the matter, the conditions of reasonableness in our situation are secular, even if not secularistic, conditions, i.e., they demand the unqualified acceptance both of the method and world - picture of modern science and critical history and of the reality and significance of this world of time and change, which is the context of our lives as secular men.

But I have found that grappling with their views in the context of Italian history has been a serviceable way to understand the place of religion, in the sense of systems of ultimate meaning, in modern Italy.

To place the horse evolutionary history in a chronological context, we estimated the divergence time between the ancestors of the ancient horse population and ancestors of the modern horse populations, as well as the divergence time between the ancestors of Przewalski's horses and domesticated horses.

I feel sure that each student left the discussion I facilitated more confident in his or her ability to express ideas in a group, respectfully challenge opinions, and use history as context for the issues of the modern day.

Like the dioramas of the Museum of Natural History or the period rooms of The Metropolitan Museum of Art, Hello Meth Lab in the Sun creates theatrical depictions of three specific social / historical contexts: the utopian hippie commune, the clandestine meth lab, and the varied sites of modern industrial production.

In Selah, Biggers reclaims representation of the African diaspora in the context of North America by combining tribal motifs with markers of modern history, creating a collection that is at once both socio - politically aware and, perhaps unintentionally, groovIn Selah, Biggers reclaims representation of the African diaspora in the context of North America by combining tribal motifs with markers of modern history, creating a collection that is at once both socio - politically aware and, perhaps unintentionally, groovin the context of North America by combining tribal motifs with markers of modern history, creating a collection that is at once both socio - politically aware and, perhaps unintentionally, groovy.

The art is created in a contemporary context, but reflects upon signs and codes from modern art history.

For the series, Art History 201, «Anna Stothart, Brown Foundation Curator of Modern and Contemporary Art, engages in conversation with nationally - known artists about their work and its role in the greater context of the history of art.History 201, «Anna Stothart, Brown Foundation Curator of Modern and Contemporary Art, engages in conversation with nationally - known artists about their work and its role in the greater context of the history of art.history of art.»

His subject matter was not chosen as particularly suitable for formal experiments in abstraction: in his late works «he continued to explore visual perception, natural phenomena, modern life, the course of history and the social and ethical contexts that determine the endeavours of mankind».

MoMA's early history is marked by an ongoing interest in celebrating forms and techniques not usually considered in the context of fine art — perhaps the outgrowth of its habitual revolt against the strictures of good taste as the museum worked to legitimize «ugly» and «nonsensical» Modern art in the 1930s.

During the symposium, a selection of key experts in the field have addressed these questions and framed them in the wider context of the naissance of the modern and contemporary art museum and the role models of Pontus Hultén and Willem Sandberg, our continuous engagement with the art production of the 1960s, the place of these exhibitions in the wider artistic oeuvres of the participating artists, post-1960s «labyrinthine» exhibition practices at large, and the growing discipline of exhibition history.

In keeping with The Met Breuer's mission to present modern art in the context of the history of art, this exhibition will include select works from The Met collection by other artists who shaped Hartley's vision, including French modernist Paul Cézanne, Japanese printmakers Utagawa Hiroshige and Katsushika Hokusai, and American painters Winslow Homer and Albert Pinkham RydeIn keeping with The Met Breuer's mission to present modern art in the context of the history of art, this exhibition will include select works from The Met collection by other artists who shaped Hartley's vision, including French modernist Paul Cézanne, Japanese printmakers Utagawa Hiroshige and Katsushika Hokusai, and American painters Winslow Homer and Albert Pinkham Rydein the context of the history of art, this exhibition will include select works from The Met collection by other artists who shaped Hartley's vision, including French modernist Paul Cézanne, Japanese printmakers Utagawa Hiroshige and Katsushika Hokusai, and American painters Winslow Homer and Albert Pinkham Ryder.

Gutai: Splendid Playground seeks both to examine Gutai's aesthetic strategies in the cultural, social, and political context of postwar Japan and to further establish the group in an expanded, transnational history and critical discourse on modern art.

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The Painted Word: Language as Image in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text in Modern Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver, Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005

The exhibition aims to demonstrate Gutai's extraordinary range of bold and innovative creativity; to examine its aesthetic strategies in the cultural, social and political context of postwar Japan and the West; and to further establish Gutai in an expanded, transnational history and critical discourse of modern art.

The exhibition traces how iconic works from Western modern art have been interpreted or «twisted» in a different cultural context to create images and ideas clashing with orthodox interpretations of art history.

Through its annual exhibitions, art history fellowships, and rich calendar of public programming, CIMA situates Italian modern art in a broad historic and cultural context, illuminating its continuing relevance to contemporary culture.