Sentences with phrase «in bourgeois culture»

Not exact matches

His thesis, fiercely argued, and indeed with an extreme of rhetoric faintly reminiscent of Nietzsche, was that the culture of his day, both bourgeois and modernist, was in fact so thoroughly feminized as to make the redemption of masculinity impossible outside of an apocalyptic scenario; and that this, and not some alleged patriarchal bias, was the root of all modern decadence (and violence).

Their attitude to time is completely opposed to that of bourgeois culture which aspires to possession, that is to extension in time, best of all, to eternity.

Many think of Modern Orthodoxy as a tepid compromise, Orthodoxy Lite, an accommodation with the values of bourgeois culture, satisfied with mediocrity in the study of Torah and half - hearted about the demand for single - minded commitment to God and His commandments.

He saw in petty - bourgeois culture a moral realism that recognized the cost and limits of human existence, reinforcing a healthy skepticism of progress.

Many think of Modern Orthodoxy as a tepid compromise — Orthodoxy Lite, an accommodation with the values of bourgeois culture, satisfied with mediocrity in the study of Torah, and half - hearted about the demand for a single - minded commitment to God and His commandments.

The nineteenth century philosopher Friedrich Nietzsche shrewdly observed that in his day the bourgeois elites of Europe wanted the fruit of Christianity (i.e., moral culture) without the tree itself (i.e., the actual doctrine and practice).

As a college professor, I've been blessed by living in abundance with very little real work, but I haven't used my leisure to be a voracious consumer of French culture, as our libertarians or bourgeois bohemians might have predicted.

We are immersed in a thoroughly secular bourgeois culture, and so we have to will ourselves, again and again, to recall our religiously formed and religiously ordered rights and responsibilities as parents, as families.

With early Romanticism gradually fading away into the petit - bourgeois aesthetic cocoon known as Biedermeier (c. 1815 — 1848), German culture increasingly acquiesces to Romanticism's most worrisome features: its strident nationalist undertow; its messianic aspirations, which mutated into delusions of racial superiority; its Rousseauian attempt at recovering authentic, immediate Life (Leben); the variously violent and sexualized mythology in which its major representatives (Friedrich Schlegel, Heinrich von Kleist, Johann Gottlieb Fichte, Novalis) ground their longing for human - engineered salvation.

There were good functional reasons why the rising bourgeoisie emphasized the virtues of frugality and literacy; it would be hard to detect a comparable functionality in the particular manners and canons of aesthetic taste that came to be associated with bourgeois culture.

Lionel Trilling once observed that in Flaubert's novel Bouvard and Pecuchet «bourgeois democracy merely affords the setting for a situation in which it becomes possible to reject culture itself.»

Rainer Werner Fassbinder plays a working - class gay man hoodwinked by his uppity bourgeois lover in this unsparing portrait of queer culture in 1970s West Germany.

Probably the most thought - provoking portion of Professor Wax's essay is her discussion of how both models — no - excuses and income mixing — «assume that, to succeed in school and in life, poor children need to be taught bourgeois, middle - class values — and socialized away from their culture of birth.»

As noted, both income mixing and no - excuses schools assume that, to succeed in school and in life, poor children need to be taught bourgeois, middle - class values — and socialized away from their culture of birth.

Inspired by Alois Riegl's theory, which suggests that civilizations and cultures oscillate between two spatial conceptions: the «haptic», in which objects are isolated, and the «optic» conception, where they are combined in a continuous space, «Inhabiting Time» juxtaposes close to thirty, apparently autonomous, fragments (art works) by: Francis Alÿs, Carlos Amorales, Jean - Michel Basquiat, Louise Bourgeois, Moyra Davey, Jenny Holzer, Donald Judd, On Kawara, Joachim Koester, Gonzalo Lebrija, Richard Long, Gordon Matta - Clark, Jean - Luc Moulène, Rivane Neuenschwander, Steven Parrino, Robert Rauschenberg, Dieter & Björn Roth, Robert Ryman, Robert Smithson, Rosemarie Trockel, Franz West y Hannah Wilke, among others.

Caroline Bourgeois is the curator of the Pinault Collection in Paris and has organized numerous exhibitions around the world, such as Passage du temps (2007) at Lille's Tripostal, Un certain état du monde (2009) at the Garage Center for Contemporary Culture in Moscow, Qui a peur des artistes?

Lucas Blalock explores contemporary culture, Louise Bourgeois has a show in the UK, Mark Bradford talks about Caillebotte, and more in this week's roundup.

In the politically radical 1960s and 1970s, it once again became fashionable to toll the death knell for painting, perceived as a product of bourgeois culture.

As well as being deeply affected by the traditional culture of Odisha in India, Panda cites as influences Conceptual artist On Kawara and the French - American artist Louise Bourgeois.

Today, it is hard to deny the similarity between the bourgeois museum and the contemporary liberal dogmas of open - ended contemplation and abstract self - realization that guide curatorial and museum culture since the dismantling of the Soviet Union in the 1990s.

Bourgeois was named Officer of the Order of Arts and Letters by the French minister of culture in 1983.

Hauser & Wirth features another art world grande dame, Louise Bourgeois, whose work is at the center of the gallery's thematic presentation, which spotlights the spider, an insect that's viewed as a positive omen in Chinese culture.

Kevin Bourgeois presented by Causey Contemporary, New York Kevin Bourgeois assembles At Play in the Fields of the Lord, a site - specific and interaction installation that furthers his investigation and critique of unseen policing and social fragmentation within «The Cloud» of anonymous, ephemeral contemporary culture.

It might seem peculiar to be proposing that all of this, apocalypse too, be projected backward but in fact the conditions of bourgeois culture have not changed all that much in the past two hundred years.

2015 Off the shelf Group Show, / i» klectik / Art Lab, London, UK Offprint London, Tate Modern, with AKINA Factory, London, UK DIY Cultures, Rich Mix, London, UK Alternative Takeover 2015, 47/49 Tanner Street, London, UK Chat / 1, Group Show, I'm Not Done Projects, The Rose Lipman Building, London, UK 2014 State of Origin, Group Show, Unit24 Gallery, London, UK More Than One Point in Space, Group Show, TriSpace Gallery, London, UK Night Contact Open Submission finalist, Brighton Photobiennial, selection by judge Thurston Moore, selection by judge Anne Bourgeois - Vignon Empty Stretch Perfect Wasn't Bad 2 Print Sale, 867 Broadway, Brooklyn, NY, USA Find Rangers Issue 3 Release and Photo Show, 838 Gallery, San Francisco, USA WLAC - West London Arts Collective exhibition at W3 Gallery, London, UK Eccentric Exhibition, The Regent - Islington, London, UK

«Büttner has remarked that throughout art history — from Joseph Beuys to Nam June Paik — men have destroyed pianos to symbolize the death of bourgeois culture — a violent last gesture in the face of its end.

But, in thinking back, I remember reading Robert Goldwater, Louise Bourgeois's late husband, who did pioneering research in primitive art and its impact on modern art, especially his Gauguin scholarship; it was he who thought of tribal art as equally ranked with the finest achievements of the so - called highest cultures, both aesthetically and culturally.