Sentences with phrase «objects of cultural interest»

The European Community is preparing to launch a digital «library, museum and archive,» Europeana, that will give visitors some access to two million European objects of cultural interest and value.

Not exact matches

I think some of the above is a complete review to guide you in finding objects or Place of Interest in Lombok Island ranging from natural attractions, culinary to cultural tourism.

Sietsema is not interested in trompe - l'oeil for the sake of showing off; at the end of the day, his paintings and works on paper are a highly considered critique of the production of cultural objects and the roles that they play as they circulate.

Nelson's artistic and cultural interests were even wider and more challenging than some of his famous New York colleagues; in his Philadelphia studio he explored avenues as innovative and diverse as welded sculpture, incorporating scrap or found objects, and printmaking, a medium that established him among the leading innovators of the day.

There is an interest in defining a period of our collective history and cultural understanding through objects of symbolic meaning used for ritual and cultural identity.

With a deep interest in cultural anthropology and communication, Ramírez seeks to uncover a new interpretation of space and objects.

She explains: «I am interested in generating a range of responses to existing cultural objects, which have been placed out of context.

The project pursues Beier and Lund's interest in cultural heritage, authorship, ownership and mediation: Calling... fills gaps in history with objects that can be understood as makeshift props or conservation models for an utopian archive of everything, or as artifacts in a growing museum of destruction, loss and entropy.

The artistic practice of Rosa Doornenbal shows an interest in formal, cultural and social aspects that influence the appreciation of objects in everyday life.

Gowda is interested in the power that objects and forms carry in capturing aspects of reality, with its social and cultural narratives, that are otherwise unseen by and unspeakable through other languages of representation and analysis.

In constructing traps and lures, Rantanen explicates his interest in duplicitous objects; the sculptures are, in this respect, self - reflexive, drawing skeptical attention to their own status as artworks — a designation which, while superficially arbitrary, enacts an intrinsic transformation upon the cultural and monetary value of its subjects.

Gates has held a longtime interest in the conservation, preservation, and archiving of cultural objects, artifacts, publications, films, and music.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Featuring more than 34 objects by 17 artists, Post-Op: «The Responsive Eye» Fifty Years After focuses primarily on the artists and their interests in visual perception and less on the cultural phenomenon of Op Art per se.

His interests are directed toward the effects of shifting cultural objects across different social and historical contexts, investigating the role that artists and other art specialists have in these processes of value - making.

The rug images are researched through auction catalogues and, while the press release does not say this, I would like to think that there is a commentary on the commodity of cultural objects, and the buying and selling of them without the research or interest in the object's cultural significance by privileged classes.

«Together these objects reveal Deller's artistic interest in the social connections around cultural icons and events, and his reinvestment in the histories and contexts of their creation,» says Locks.

Pruitt, whose interests in cultural excess went unappreciated in the era of political correctness, combined traditional objects like quilts with iconic styles of presentation, such as those employed by Felix Gonzalez - Torres.