In the Christ event, «human structures, already impregnated with the seeds of Redemption through antecedent events, became articulate and responsive with a sensitivity and receptiveness that literally thrust upon the social community a new level of consciousness,
a new center of consciousness and concern» (RE 258).
Not exact matches
In Augustine a
new consciousness takes shape, one that finds the originating and firm
center of certainty in the self - awareness
of the self as existing, thinking and willing.
The Phenomenology
of Spirit is the work in which Hegel first fully realized his most fundamental and original thinking, one
centered in a radically
new philosophical method
of pure dialectical negation (Aufhebung), a negation which is negation, preservation, and transcendence simultaneously, and which is the deepest driving power not only
of consciousness and history but
of absolute Spirit itself.
Historically, this does not actually occur until the full birth
of the modern world, and then it subjectively or interiorly occurs in the realization that God is dead, a realization inaugurating a
new universal self -
consciousness, which is the very
center and ground
of an apocalyptic explosion and transformation
of the world.
In The Descent Into Hell, Altizer states: «Accordingly, visions
of a
new apocalyptic compassion must inevitably appear in the form
of madness or chaos to all those who can still find life or hope in an individual
center of consciousness.»
But a
new portrait
of love has begun to emerge, and at its
center lies a fascinating hormone called oxytocin that may well follow in the footsteps
of serotonin, which shot into the popular
consciousness a dozen years ago as Prozac was introduced.
«A lot
of the information that the gut sends to the brain affects well - being, and doesn't even come to
consciousness,» says Michael Gershon at Columbia - Presbyterian Medical
Center,
New York.
Other important exhibitions include Adventure
of the Black Square: Abstract Art and Society 1915 — 2015 (2015), Whitechapel Gallery, London; The Disappearance
of the Fireflies, Collection Lambert, Avignon, France, 2014; Love Story - Anne and Wolfgang Titze Collection, 21er Haus and Winter Palace, Vienna, Austria, 2014; Radical Presence: Black Performance in Contemporary Art, Walker Art
Center, Minneapolis, 2014; Joan Jonas & Adam Pendleton, Galeria Pedro Cera, Lisbon, 2014; We Love Video This Summer, Pace Gallery, Beijing, China, 2014; Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum, Houston (2013); Ecstatic Alphabets / Heaps
of Language, The Museum
of Modern Art,
New York (2012); Greater
New York, P.S. 1 Contemporary Art
Center, Long Island City,
New York (2010); The Generational: Younger Than Jesus,
New Museum,
New York (2010); Afro - Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy, High Museum
of Art, Atlanta (2008); Object, The Undeniable Success
of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum
of Contemporary Art, Chicago (2007); Performa 07,
New York (2007); Talk Show, Institute
of Contemporary Art, London (2007); Resistance Is, Whitney Museum
of American Art,
New York (2007); Frequency, Studio Museum
of Harlem,
New York (2005 - 06); and Double
Consciousness: Black Conceptual Art Since the 1970s, Contemporary Arts Museum, Houston (2005).
Art Salon fellows and associates will be interested in reading my
new book on art and Jewish
consciousness «Photograph God: Creating a Spiritual Blog
of Your Life» http://photographgod.com I'm former professor
of art and education, Columbia University and Bar - Ilan University, head
of the art department, Pratt Institute, and research fellow, MIT
Center for Advanced Visual Studies.
Group Exhibitions 2015 — «Plagiar o Futuro», (Plagiarizing the Future) Hangar, Lisboa, Portugal (curated by Bruno Leitão, Andrea Rodríguez Novoa)-- «Imagine Brazil» — Artist's Books, DHC / ART Founation, Montreal, Canada (curated by Jacopo Crivelli Visconti, Ana Luiza Fonseca)-- «Happeland», Radiator Arts /
New York, EUA (curated by Eva Davidova, Almudena Baeza)-- «Open Sessions», Drawing
Center,
New York, EUA — «Theorem», Mana Contemporary, Jersey City, USA (curated by Octavio Zaya)-- «Contramuro», (Counter-mure) Galería Instituto de Visión, Bogotá, Colombia (curated by Omayra Alvarado)-- «Ejercicios de Traslado», (Practices on transference) Centro de Arte de Alcobendas, Alcobendas, Spain (curated Osbel Suárez)-- «La angustia de casi saber y quedarse no sabiendo», (The angst
of almost knowing but remain ignorant) Galería Diablo Roso, Panama City, Panamá — «Instalations», Studio Sandra Recio / Geneva, Switzerland 2014 — «Cruce de Colecciones», (Collections Crossroads) Centro Atlántico de Arte Moderno, Las Palmas, Spain — «The Language
of Human
Consciousness», Athr Gallery, Jeddah, Saudi Arabia — «Cine Bogart, Imaginar un edificio», (Bogart Cinema, a building imagined) Centro Centro, Madrid, Spain (curated by Ines Caballero)-- «Objects in the mirror are closer than they appear», Lugar a Dudas, Cali, Colombia (curated by Daniel Silvo) 2013 — «La copia de la copia» (The copy
of the copy), Museum
of Contemporary Art, Guayaquil, Ecuador (curated by Hernan Pacurucu)-- «Cuando el mundo se hace plano» (When the world becomes flat), Centro de Cultura Contemporánea San Martin, Las Palmas de Gran Canaria, Spain - «Brutalidade Jardim», Galeria Marilia Razuk / São Paulo, Brazil (curated by Kiki Mazzucchelli)-- «Imagine Brazil» — Artist's Books, Astrup Fearnley Museet, Oslo, Norway (curated by Jacopo Crivelli Visconti, Ana Luiza)-- «On Painting», CEART — Centro Cultural Tomás y Valiente, Fuenlabrada, Spain (curated by Omar - Pascual Castillo)-- «Playtime», Museo Nacional de Arqueologia Subacuática, Cartagena, Spain — «Gracia Divina» (Divine Grace), Sala Gasco, Santiago, Chile (curated by Andrea Pacheco)-- «Hacer en lo cotidiano», Sala de Arte Joven de la Comunidad de Madrid, Madrid, Spain (curated by Beatriz Alonso)-- «En Obras» (In the Works), Galería Nuble, Santander, Spain (curated by Iciar Sagarminaga)-- «On Painting», Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain (curated by Omar - Pascual Castillo)-- «Objects in the mirror are closer than they appear», Galeria Isabel Hurley, Málaga, Spain (curated by Daniel Silvo) 2012 — «Expanded Drawing», Casal Solleric, Palma de Mallorca, Spain (curated by Pilar Ribal)-- «Carnaza para los Dioses» (Offering to the Gods), CAAM — Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain — 11th Havana Biennial, Havana, Cuba 2011 — 11th Cuenca Biennial, Cuenca, Ecuador — «Inside», Cidade da Cultura, Santiago de Compostela, Spain (curated by Rafael Doctor)-- «
New Brazilian Sculptur» e, Caixa Cultural, Rio de Janeiro, Brazil (curated by Alexandre Murucci)-- 8th Mercosul Biennial, Porto Alegre, Brazil — Bologna Art First, Pinacoteca di Bologna, Bologna, Italy (curated by Julia Draganovic) 2010 — 12th International Cairo Biennale, Cairo, Egypt — «Synergie's, Museum
of Contemporary Art, Union Fenosa (MACUF), La Coruña, Spain (curated by Carlos Jimenez)-- «Look Up», Alfandega, Porto, Portugal (curated by David Barro)-- «Kierkegaard's Walk», Galeria Marilia Razuk, Sao Paulo, Brazil (curated by Jacopo Crivelli Visconti)-- «Synergies», Museum
of IberoAmerican Contemporary Art in Extremadura (MEIAC), Badajoz, Spain (curated by Carlos Jimenez)-- «Postgraffiti, Geometry and Abstraction», Fundación Caixa Galicia, A Coruña, Spain (curated by Javier Abarca) 2009 — «Residency 09», Futura Project, Prague, Czech Republic — «Building, Dwelling, Thinking — Strategies for Contemporary Art and Architecture», IVAM, Valencia, Spain (curated by Fernando Castro Florez)
«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
Re-established in 2010, the
New York Open
Center Gallery exhibits both emerging and mid-career contemporary artists whose body
of work primarily focuses on world culture, spirituality, psychology and holistic
consciousness.
Art and Black Los Angeles 1960 - 1980 UCLA Hammer Museum, Los Angeles State
of Mind:
New California Art Circa 1970 Orange County Museum
of Art, Newport Beach (traveled to UC Berkeley Art Museum and Pacific Film Archive, Berkeley; Morris and Helen Belkin Art Gallery, Vancouver; SITE Santa Fe; The Bronx Museum,
New York) 2010 Summer Group Show Susanne Vielmetter Los Angeles Projects, Los Angeles The Artist's Museum: Los Angeles Artists 1980 - 2010 The Museum
of Contemporary Art, Los Angeles The Seventh House Project Row Houses, Houston Noir Complex Magazin 4, Bregenzer Kunstverein (traveled to Brandenburgischer Kunstverein, Potsdam) Project Row Houses, Houston Man Son, Vom Schrecken der Situation Galerien der Stadt Esslingen, Esslingen Am Necker 2009 Collection: MOCA's First Thirty Years, 1980 — Now The Geffen Contemporary at MOCA, Los Angeles Oz:
New Offerings from Angel City Regional Museum
of Guadalajara, Guadalajara Attempt to Raise Hell San Diego Museum
of Contemporary Art Downtown, San Diego Invitational Exhibition
of Visual Arts American Academy
of Arts and Letters,
New York 2008 Index: Conceptualism in California from the Permanent Collection The Geffen Contemporary at the Museum
of Contemporary Art (MOCA), Los Angeles Weighing and Wanting Museum
of Contemporary Art San Diego, La Jolla Entre Chien et Loup Kent Gallery,
New York Wild Signals — Artistic Postions between Symptom and Analysis Württembergischer Kunstverein Stuttgart, Stuttgart Idea, Text and Image, Schneider Museum
of Art, Southern Oregon University, Ashland 2007 Im Wort Kunsthalle Göppingen, Göppingen Read Me: Text in Art Armory
Center for the Arts, Pasadena From Close to Home: Recent Acquisitions
of Los Angeles Art Museum
of Contemporary Art, Los Angeles 2005 Double
Consciousness: Black Conceptual Art Since 1970 Contemporary Arts Museum, Houston Hommage to Friedrich Schiller Brigitte March Gallery, Stuttgart Kamm Gallery Anniversary Exhibition Galerie Kamm, Berlin 2004 Fade (1990 - Present): African American Artists in Los Angeles, a Survey Exhibition Luckman Gallery and the University Fine Arts Gallery, Los Angeles Craft and Folk Art Museum, Los Angeles Recherche - entdeckt!
Art and the Feminist Revolution, Museum
of Contemporary Art, Los Angeles (2007, traveling); Second Lives: Remixing the Ordinary, Museum
of Art and Design,
New York (2008); Double
Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum
of Art, Pittsburgh (2004); Out
of Actions: Between Performance and the Object, 1949 - 1979, Museum
of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum
of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art
Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery,
New York (1977); California Black Artists, The Studio Museum in Harlem,
New York (1977); and Sapphire Show, Gallery 32, Los Angeles (1970).
His work has also been the subject
of important group and solo shows throughout the span
of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum
of Art and Design,
New York (2013); superhuman, Central Utah Art
Center, Ephraim (2012); Reenactor, Williams
Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper,
New Museum,
New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem,
New York (2009); Corbu Pops, Carpenter
Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University
of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute
of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum
of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena
Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double
Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum
of Contemporary Art, North Adams (2004); The Big Nothing, Institute
of Contemporary Art, University
of Pennsylvania, Philadelphia (2004); Only Skin Deep, International
Center of Photography,
New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College
of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in
New York, and Mason Gross Art Galleries at Rutgers University in
New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute
of Contemporary Art at Maine College
of Art, Portland (2002); eRacism: White Room, Thread Waxing Space,
New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out
of Actions: Between Performance and the Object, 1949 — 1979, Museum
of Contemporary Art, Los Angeles (1998).
Call this the year
of institutional
consciousness - raising: three major art
centers, the Museum
of Contemporary Art in Los Angeles, the Museum
of Modern Art in
New York, and the Brooklyn Museum, have scheduled big events devoted to feminism's impact on art history — past, present, and future.
*... To refresh the raison d'être
of the EPA & UN...... To move environmentalism from the fringes to the
center of social concern...... To justify increased media coverage
of environmental issues...... To give enviro - groups a powerful fund - raising and
consciousness - raising tool...... and allow them access to the levers
of national and international power...... To give activist & green parties a vote - getting wedge issue...... and a case - study justification for their habitual «hammer» (increased regulation and taxation)...... To provide at - a-loss «engagé / enragé» types with a
new stick with which to bash the beastly bourgeoise...... To transfer wealth from the West to the South...... To fund alternative energy developers and researchers...
Starting today — April 22 — until July 13, the worldwide display hits
New York City, transforming 12,000
of the city's square - feet (including the South Street Seaport, World Financial
Center, and Smithsonian's National Museum
of the American Indian) into a virtual Brazilian Amazon jungle — and if Eugenio's master plan works out — it'll transform both the children's and the general public's distant and indifferent attitude towards the forest, into
consciousness and concern.