Sentences with phrase «institutions present this history»

A number of remembrance centres and museums were visited to experience how various institutions present this history in an educational context.

Not exact matches

Throughout history, from the secret beginnings of the «invisible institution,» through the second great schism and reformation up to the present, African - American religion has affirmed simultaneously both conceptions of God.

What is in essence remembered, and rightly remembered, is that the institutions of Israelite prophetism and priesthood were present in the people's history from the very earliest times, and that they developed together in the closest kind of relationship.

What we need to engage in are acts of imagination that penetrate the apparent opacity and aimlessness of the historical present, and reveal how persons and institutions are accomplishing their destinies in relation to the sovereign God of history.

Presenting what he claims is the first grand history of democracy for well over a century, he attempts to challenge many of our Western assumptions about the origins and nature of democracy and political institutions.

«Other content will include: quality research papers from Lagos State Tertiary institutions covering a wide variety of topics digitised for the platform; vocational training videos; creatively presented history lessons and online courses on coding.»

A history of incarceration in America, from its origins as a Quaker - influenced institution to the present.

Small Differences and Critical Junctures: The Weight of History: How institutions change through political conflict and how the past shapes the present

Having poor to fair credit history is nothing to be shameful about, especially if you're trying to do something about it, and LoanMart realizes that this may affect many applicants in the bank, credit union, or pawn shop arenas who just need a little extra financial support to get out of a rut; when the final determining factor for an applicant is presented to an institution, it usually pertains to credit.

Another piece of Long Beach history sustained by the LBPRM is the Long Beach Municipal Band, a local institution since 1909 that continues to present eight weeks of free outdoor evening concerts each summer for thousands of music lovers.

While the recent upsurge of feminist activity in this country has indeed been a liberating one, its force has been chiefly emotional — personal, psychological and subjective — centered, like the other radical movements to which it is related, on the present and its immediate needs, rather than on historical analysis of the basic intellectual issues which the feminist attack on the status quo automatically raises.1 Like any revolution, however, the feminist one ultimately must come to grips with the intellectual and ideological basis of the various intellectual or scholarly disciplines — history, philosophy, sociology, psychology, etc. — in the same way that it questions the ideologies of present social institutions.

His work has been presented in galleries and institutions, nationally and internationally, and was recently featured in the exhibitions Crossing Brooklyn at Brooklyn Museum, Radical Presence at Studio Museum in Harlem, and Between History and the Body at 8th Floor Gallery.

Rather than an essentialist survey of the metropolis and its artists, the exhibition presented a snapshot of projects, people and the histories and institutions structuring aspects of their socio - cultural present.

Jeremy Strick, director of LA's MOCA, commented at the time: «In 2007 numerous institutions around the country are presenting programs that shed light on women's history and the broad network of activity that characterises its impact within the artworld».

Art Night is a mini-festival conceived and organised by Unlimited Productions who, each year, will invite a leading cultural institution and curator to work in a different area of London, exploring the history, culture and architecture.The first edition is curated by the Institute of Contemporary Arts (ICA), with curator Kathy Noble, who will present a series of artists» works and new commissions in unusual locations across Westminster, forming a trail running from Admiralty Arch to Temple.

She has presented publicly in lectures, keynote addresses and hosted a number of community forums around topics of «Indigenous Self - Determination through Art» and the «Environmental Responsibility and Sustainability in Contemporary Indigenous Art Practices», «The History and Impacts of Economics on The Indigenous Object» as well as «Renegotiating Conservation: Revisiting the Roles and Responsibilities of Cultural Institutions in Canada regarding Indigenous Made Objects.

A founder of the Young British Artists Movement, that presented to the art scene of 90 - es a new generation of world established artists, Damien Hirst has created a new page of the art history, showing his works in such institutions as Tate Gallery (London), Museum of Modern Art (New York), Stedelijk Museum (Amsterdam), Fondazione Prada (Milan), Israel Museum (Jerusalem), The Broad (Los Angeles).

Bharucha's use of the institution's history as justification for the administration's present - day actions fail to acknowledge what the college has come to represent and how it is currently situated in 21st century New York City.

In this show, both of these Bay Area - based institutions select from their impressive collections to present a range of ephemera and works that constellate four important art moments in California history.

During that time, Muntadas not only researched the history of «academia» as an institution in the Western world — tracing its historical development from its inception in ancient Greece to its scholastic rebirth in medieval times, its re-foundation during the Enlightenment, its establishment in the New World, to its present challenges — but also interviewed a dozen renowned faculty members at Harvard, MIT and other research universities across the United States.

This ambitious collaboration and commissioning initiative, organized in conjunction with leading curators and scholars of African art and history, significantly adds to the museum's current offerings and advance its long - term objectives to partner with other internationally recognized institutions and present imaginative and adventurous programs that also engage new audiences in the city.

«Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas» presents works by three critically recognized African American artists, drawn from the collections various institutions, private individuals, and the holdings of the Seattle Art Museum.

Within each of these geographic areas, the history of the galleries, artist collectives, individuals, collectors, artists, and institutions — including the South Dallas Cultural Center, the Arts District, Good / Bad Collective, Toxic Shock, and others — will be presented through the ephemeral objects produced by these neighborhoods over the past fifty years along with research compiled for the DallasSITES project.

This history ranges from the establishment of the first unauthorized Chinese burial site on Cemetery Street (now Po Yan Street, on which Para Site is situated) in 1850 to the pivotal role Hong Kong played in facilitating the return of remains of members of past Chinese diasporas through institutions such as the Tung Wah Coffin Home from the late 19th century to the present.

Operating simultaneously as an artist and arts institution since its founding on September 11, 2001, the Bruce High Quality Foundation presents It's About Time, a talk covering the paradoxes of working simultaneously as an artist and organization, issues of timelessness, the construction of history, the progress of garbage, the politics of specificity, how to run a free art school, how to get rich, branding, the internet, the auction market from 1973 to present, community spirit, drinking in public, and how to build a better tomorrow.

Our major cultural institutions have not saddled up like our So Cal brethren (or ponied up like the Getty) to present a united front in support of a multifaceted regional cultural history.

As Charlotte's oldest visual arts institution, we are proud to have a substantial history of collecting and presenting works of art by Romare Bearden.»

The exhibition is accompanied by a fully illustrated catalogue edited by Henriette Huldisch with additional contributions by Edith Decker - Phillips and Emily Watlington, published by Hirmer Verlag in association with the MIT List Visual Arts Center.The exhibition is presented as part of a citywide partnership of arts and educational institutions organized to recognize the outsized role greater Boston has played in the history and development of technology.

As a vision of a larger America, the show is far from comprehensive; as a musing on the history of a particular New York institution over nearly a century, it is very fine, smartly detailed and superbly presented.

Outside the fair walls, Florence Derieux, director of FRAC Champagne - Ardenne, presents the 23 site - specific works of Parcours, installed throughout the city and within such institutions as the Museum of Culture, the Natural History Museum, and the Town Hall.

As institutions devoted to the history and continued development of contemporary art, the Modern Art Museum of Fort Worth and the Whitney Museum of American Art are honored to present this tribute to one of the great abstract painters of our time.»