Sentences with phrase «into contemporary language»

Just choosing the literal text is a process fraught with the full range of human behavior at its worst: sharp personal disagreement, vindictive attacks, ecclesiastical schism, and war — all this, before any attempt to translate the sacred writings into a contemporary language.

The RSV calls it partiality, and the NEB, putting it into contemporary language, calls it plainly snobbery.

We must note, however, that it has been Western scholarship which has unraveled the depths and subtleties of the Oriental mystical vision; or, at least, it has been Western thinkers who have succeeded in translating the exotic language of Eastern mysticism into the contemporary language of Western experience.

The acclaimed book is written by Eugene Peterson, and puts the original text of scripture into contemporary language and has sold more than 16 million copies.

Not exact matches

Here the language of the Fourth Gospel approximates to that of contemporary Hellenistic mysticism, which taught that by gnosis man might enter into union with God, and so become divine and immortal.

It is impossible to translate the Biblical mythology and its associated world view into the language of contemporary myth.

Shakespeare got ideas and suggestion from the histories of England and writings contemporary with him and transformed them into his plays, which are masterpieces of the English language.

Nevertheless, it is always the task of the dogmatic theologian and the preacher to translate the language of the New Testament into that of the contemporary world.

It is easy to reframe the popular contemporary language of the afterlife into the contemporary idiom of bereavement, where the real «survivors» of a death are those left behind to mourn.

John Updike has faced our contemporary spiritual malaise neither by fleeing to the East for spiritual sustenance nor by retreating artfully into the language game.

From the Jules Vernes to the Dorchester, from a private residence in Kuala Lumpar to the Campus In & Out in Boulogne Billancourt, Sanjit Manku integrates each project into a dimension in which the two creators» inspirations and ideas join forces to create a universal and contemporary language.

There are moments when the Shakespearean language falls silent and we're aware of other hands and other voices operating, but Fiennes and screenwriter John Logan show how little alteration is necessary to bring the concerns of the classic text into a contemporary space.

How does he shift the language and humor in the traditional tales into a register that a contemporary audiences can relate to?

Lauber's lively narrative draws readers into crucial contemporary research in archaeology, science, and language.

White is an artist, art director, cartoonist and illustrator whose integration of text into found lithographs speaks of the inseparability of language and landscape in contemporary culture.

Assembling in Marfa will be a faction of contemporary artists who are peeling the page one frame - at - a-time in an inquiry into the visual dimension of language, ranging from David Gatten's reflection on the role of documents and Michael Tracy's secret, worldly recitations to Julia Meltzer and David Thorne's digital archives where images become a fault - line between world views and hidden narratives.

The opportunity to develop additional programming as the result of the Tooker loan allows PAFA to pursue a symposium on a group of artists, including Peter Blume, George Tooker, Ivan Albright, and other Americans who used a realist method to invent their own worlds by transforming the symbolic language of Old Master painting into a contemporary idiom.

Whether in his paintings or his installations, his formal world has always transformed the condition of contemporary society, concentrating a chaotic and constantly shifting modern china into a dynamic artistic language.

This juxtaposition of historic and contemporary work brings into critical focus the tremendous role Schapiro's femmages played in the reframing of craft and decoration, while shining a light on the way artists today, both distinguished and emerging, continue to approach the decorative as a language of abstraction tied to the personal and the political.

These unexpected elements were collaged into the schema of «Black Artists» and in turn opened up new horizons with their unfixing of language and the inscribing of parallel constellations associated with contemporary Chinese performance art and Chinese filmmaking.

These lead to twelve contemporary projects — like objects as Found Fonts by Paul Elliman, language set into landscape by Shannon Ebner, or language as the human mark itself, carved into marble by Trisha Donnelly.

The artist's work synthesizes information into an entirely graphic language, starting with the formal concerns of surface, composition, color and tension, while introducing a range of subtle contemporary references and symbols.

Join 2018 PMA Biennial artist Elise Ansel to examine how she develops Old Master imagery and Renaissance painting techniques into a contemporary pictorial language.

It shows that the languages of abstraction have remained urgent, relevant and critical, revisited and reinvented by subsequent generations of artists over the last fifty years, and that they continue to provoke contemporary practitioners into dialogue.

In the obscure, neologic language of Stuart Cumberland's canvases, spontaneity translates into repeated imagery, referencing the contemporary tension between handmade and mechanical, printed elements.

Moving between and manipulating various styles — primitivism, cubism, expressionism, minimalism — Prata's encyclopedic use of symbols and patterns grows into a language rooted in the history of visual art; however, in borrowing across time and style, Prata's distortion of form — hieroglyphs in symbolic space — proposes a reflection on how representations are read within a contemporary context.

With its idea that humble «poor» everyday materials — both natural and man - made — can be transformed into powerful, evocative works of art, Arte Povera transformed the landscape and language of contemporary art in the late 1960s and 70s and has become one of the most influential art movements of the past half century, exerting a profound impact on art around the world, including conceptual art, minimalism and the YBAs.

This exhibition features a group of contemporary Latina American artists who incorporate the language of fiber arts into their practice.

With its idea that humble «poor» everyday materials — both natural and man - made — can be transformed into powerful, evocative works of art, Arte Povera transformed the landscape and language of contemporary art in the late 1960s and -LSB-...]

Harrison's works expand the languages of contemporary painting and sculpture, drawing into play parts of the culture which are forgotten, buried, discarded or disregarded.

It explores information transmission through a combination of Mesoamerican art and contemporary technical language in drawing and print, while another sculpture, «Modular Glyphic System» (2013)-- made in collaboration with Genghis Khan Fabrication Co. — resembles a PC computer case of thin metal that can be taken apart and recombined into other forms.

The duo, in collaboration with Foam Fotografiemuseum Amsterdam, Het Nieuwe Instituut, Witte de With Centre for Contemporary Art, De Balie and Cookies, plan further translations into all 24 official languages of the EU.

These works are very significant in terms of how one could reflect on and intervene into the multifaceted reality through the language of contemporary art.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

The first presentation of Badges at the OCT Contemporary Art Centre in Shanghai (2009) displayed Chinese characters and focused specifically on China's rapidly modernizing society, while this newest presentation of the work incorporates contemporary American language into the installatContemporary Art Centre in Shanghai (2009) displayed Chinese characters and focused specifically on China's rapidly modernizing society, while this newest presentation of the work incorporates contemporary American language into the installatcontemporary American language into the installation as well.

Inspired by 20th century European masters, Miles distills his respect for modern art history into his own spare contemporary language embodying meditation and tranquility.

In his works, Lan successfully transmits traditional Chinese calligraphy's freehand strokes into the structure and expression of modern painting, resulting in an abstract language that marries the traditional and contemporary, simultaneously capturing the Chinese mind but appealing to the Western thought as well.

Katja Novitskova and Timur Si - Qin Artists: Katja Novitskova and Timur Si - Qin Curated by Agatha Wara Adopting the language of global advertising and offering acute reflections on what it means to live under today's historical conditions, Katja Novitskova and Timur Si - Qin present images, objects, and texts that address our contemporary state of conflation: the value transitions between the biological and the cultural, from information into matter.

Influenced by the skate and surf culture of his native Virginia Beach, and educated in graphic design and art theory, Ryan McGinness has developed a diverse practice that translates the symbolic language of mass culture into the arena of contemporary art, proposing his universal iconography for our information age.

Valdez creates wonderful still - lifes with both oils and digital renderings, where Cheung plays off the classic figurative language of Matisse of Gauguin, and transforms it into a contemporary understanding.

In her work, Kilomba approaches «the colonial wound,» as she says, and intentionally creates a hybrid space between the academic and the artistic languages, to explore new formats to decolonise knowledge and narrative, «bringing a new, experimental, and compelling voice into contemporary art and discourse.»

Within this boundless sphere, they create alien works that are transcendent of the notion of contemporary, translating their identities into a new autonomous language.

The intention is to breathe new life into the exhibition process with which «When Attitudes Become Form» was staged, so as to go beyond the necessity for photographs and films of the past event, and to be able to experience and analyze it literally, just as it was, even though it has been transported from the past to the present.The project has entailed the understanding that the language with which an exhibition is mounted and the relations between the works set out by its curator have become a founding element of the history of modern and contemporary art.

Exhibitions explore The Great Game's rivalry over Central Asia and thrust the contested geographies of the 19th century into the language of contemporary art

In finding a contemporary approach, Xieda has brought calligraphy into three - dimensional space, continuing the impulse, intact from ancient times, to expand upon the expressive capability of language.

Having seemingly recovered from the harsh critical overtones after almost being eliminated from contemporary discourse, in which a retroactive and purely commercial tone took over, the ideas and strategies of the «reductive» and «essential» have slowly found their way back into artistic language and practice.

In addition to her curatorial role with Invisible Dust her other freelance projects include a series of public art commissions along the River Thames for the Thames Tideway Tunnel; archival work for the British artists Alison Wilding and Tess Jaray; a touring exhibition of work by Emma Hart and Jonathan Baldock; English language editing for the Contemporary Art Centre, Vilnius and research into boredom with curator Gareth Bell - Jones.

The exhibition will present the modern day Vanitas message expressed in the works of internationally acclaimed contemporary Dutch and Belgian artists, so brilliantly reinterpreting the Vanitas symbols and metaphors of their predecessors into their modern visual multimedia language.

The last years of Vandenberg's artistic output were marked by intense investigations into the intersections of language, text and color that produced multi-layered and rich drawings, paintings and book projects and are now part of a titillating exhibition curated by the director of the CCA Wattis Institute for Contemporary Art, Anthony Huberman.

Photographic and film mediums are an integral part of this show, exploring the translation of political propaganda into a contemporary visual language.