Sentences with phrase «into cultural narratives»

Some Christians have bought into the cultural narrative that you can't really thrive unless you're married and having lots and lots of sex.

And none of the skeptic narratives — inevitably not science at all — make any inroads into the cultural narrative of global warming.

Not exact matches

The dominant interpretation, derived from Franco - German scholarship of the nineteenth century, emphasized material aspects: political contest and domination in the Near East; the social structures of the Levantine crusader principalities viewed, especially by Francophone scholars, through the lens of modern colonialism; cultural confrontation and exchange through settlement and trade, a topos made familiar by eighteenth - century Enlightenment writers seeking to integrate the Crusades into a narrative of European progress; military adventurism that exposed the mentality of crusaders — heroic, passionate, devout, or misguided according to taste.

Instead of introspection, goes the theologian's cry, let us rake over historical artifacts, dive into ancient lexicons, reframe cultural narratives, negotiate our way around words, vague and obscure, like so many corporate hacks rewriting the law.

This means that many of the cultural assumptions that support and are built into the narratives are lost to us forever.

It takes knowing how to listen and to tell narratives as well as enter into another cultural vocabulary.

It takes knowing how to listen and to tell narratives as well as enter into another's cultural vocabulary.

I, Tonya is about collective cultural abuse and how media - spun narratives can instantly blossom into infamous legacies.

This is the heart of Weerasethakul's work; taking old forms that have been suppressed or forgotten (as in the animist folk tales of Thailand) and re-forming them into narratives that speak with renewed urgency to the contemporary cultural climate.

As she charts the dilemmas and gestures of an European trader Almayer (Stanislas Mehar) and his «mixed - blood» daughter, Nina (Aurora Marion), Akerman's decision to take Conrad's 19th - century, Malaysia - set story to modern - day Cambodia without acknowledging the changes comes to strike less as an eccentric gesture than as a purposeful extension of the narrative's inquiries into cultural identity and colonial uprooting.

How students use «critical thinking tools» (problem posing, multiperspectivity, reflective skepticism, systemic thinking and dialog) and «rhetorical tools» (positioning of self and others, invoking cultural narratives, justifications, challenges, resistance) provides insight into whether or not discussions deepen student's understanding of controversial issues and foster recognition across groups in conflict, she says.

The concepts covered are: * Camera techniques * Audio techniques * Editing techniques * Mise - en - scene codes * Narrative structure * Genre conventions * Representation * Ideologies * Cultural Spheres and Universes * Institutional Techniques * Audiences models and theories * A wide range of media theories broken into contextual areas into sociological and political This is vital tool in the lead up to the exam period, where it can be used as a revision guide for key concept development, and as a compliment to other units you are teaching.

It's a bizarre move by an institution whose awards I have routinely woven into travel articles as a sure sign that a site had particular cultural importance and could explain why thanks to their narrative.

Through opposite techniques and materials, both artists draw on subjectivity and personal history, cultural context and ecology to weave seemingly disparate narratives into their work.

All of my work collages bits and pieces of cultural detritus into new narratives.

Objects, already imbued with cultural and artistic metaphor, are combined into narrative sculptures that commemorate places, people, and events.

Working with appropriated images and texts, Gilsdorf creates sculptures and performances that delve into the relationship between historical narratives, the iconography of authority, and the ways in which representations influence our perception of cultural values.

Much of the meaning of Liu's painting comes from the way the washes and drips dissolve the documentary images, suggesting the passage of memory into history, while working to uncover the cultural and personal narratives fixed — but often concealed — in the photographic instant.

Her sculptures and performances delve into the relationship between historical narratives, the iconography of authority, and the ways in which representations influence our perception of cultural values.

While the exhibition's heart looks at the work of Chicanx artists in Los Angeles, it reveals extensive new research into the collaborative networks that connected these artists to one another and to artists from many different communities, cultural backgrounds, sexual orientations, and international urban centers, thus deepening and expanding narratives about the development of the Chicano Art Movement, performance art, and queer aesthetics and practices.

A combination of sculpture, painting, printmaking, video and installation bringing about various overlapping conversations and exploring the way we interpret cultural, religious and personal narrative in a way that gives the viewer a glimpse into something uncanny.

That groundbreaking moment has passed, as the aesthetics of minimalism have long since been integrated into the art - historical narrative of the 20th century and even into the cultural vernacular.

Drawing on diverse cultural sources including literature, history, art, music and religion, Khan has developed a unique narrative involving densely layered imagery that inhabits the space between abstraction and figuration and speaks to the themes of history, cumulative experience and the metaphysical collapse of time into single moments.

Dick Hebdige, recentMitchell Center Visiting Scholar, is a cultural critic who was invited to the campus for a series of three multimedia lecture performances, including the riveting X Syndrome: Vertigo and Autobiography, an intensely «personal» narrative about an ascent into and out ofmadness.

With our empathic cultural ethics now under greater threat than ever before, the show provides an opportunity, in featuring artists who take apart ideologies through the imagery, narrative, and placement of their work, to step into direct relations with the cultural imaginary of what it means to strive toward becoming American.

Drawing the viewer into a spellbound theatre of inner narratives and overlapping cultural memories, the images of Angelika Sher reveal a hypnotic yet profoundly dislocated interior universe.

Augmenting them with make - up, wigs, glass eyes, as well as interactive sensors and audio components to simulate bodily processes and reactions, Hershman Leeson, like Thek, also encased her modular body parts in materials like Plexiglas or recycled them into site - specific installations, plugging the figures into larger cultural narratives about power, technology and gender.

«Looking into the narrative of disappearing identities, I look away from my own cultural heritage, finding common ground with lesser - known realities»

Weems and Holzer use text to interrogate power through self - expression, creating new narratives for cultural and political resistance, while Katchadourian voices the frustrations of everyday life while inserting her artistic identity into the male - dominated history of portraiture.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

Bayjoo said, «Looking into the narrative of disappearing identities, I look away from my own cultural heritage, finding common ground with lesser - known realities.»

Together, their works introduce numerous critical, political, aesthetic, and material threads that run throughout the exhibition, in works such as Stan Douglas» compelling six - hour meander into an Afrobeat jam session in Luanda - Kinsasha (2013), the late Kwakwaka» wakw artist, activist and hereditary Chief Beau Dick's celebrated performative masks, Nick Cave's enchanting Sound Suit (2015), borne from the horrors of racialized violence, to Latifa Echakhch's sculptures and paintings that reconcile personal narratives against broader cultural or nationalistic norms and expectations.

Otero digs deep into the corporeal, cultural, and intellectual repositories that have shaped him as an artist; Otero's use of these repositories allows the artist to cast wide the vast net of art history in an effort to assert his own place along its tangled and complex narrative.

Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.

In High Voltage modernist paintings become conceptual ready - mades into which new cultural narratives are interwoven.

The main character was inspired by my research into the real - life narratives of true cultural interlopers and cinematic stars including: Helen (Helen Jairag Richardson Khan); Yoshiko (Shirley) Yamaguchi / Li Xianglan; Anna Leonowens; and Merle Oberon.

Villalongo's intricately layered figurative paintings meld cultural icons, mythology, and art historical references into wild, at times unsettling narratives.

The project realizes the artistic potential of deep cultural investigations into the narratives held by historical objects.