Sentences with phrase «of cultural iconography»

Kristofferson San Pablo is a Los Angeles based artist whose work explores ideas about bootlegging and remixing of cultural iconography & media imagery through art as a way to distort and transform the conditions for which they were previously used.

Creating complex compositions exploring the multifaceted interpretations of cultural iconography, he always maintained his signature sense of humor.

Located in downstairs Blue Mark Gallery and featuring over twenty works from Hagan's prolific practice, «Better Than The Truth» spotlights his expansive and unrelenting exploration of cultural iconography though rigorous mark - making.

His filmmaking background and grasp of cultural iconography inspires his dynamic treatises on «our contemporary wasteland.»

Not exact matches

The west has dominated Christian iconography for so long, I think we have assumed that the western cultural version of Christ is the «true» version.

The first one was that Maori students identified that they wanted teachers who respected their cultural location as Maori and part of that [is] teachers who are culturally appropriate; so, who understand some of the features of Maori culture, and use in the curriculum and use in the classroom what I would call «Maori iconography» - so students could see themselves in the curriculum.

Following the press release provided by Amazon Publishing, tipped by TeleRead, Jay Parini said, «It seems appropriate to launch a series of short, thought - provoking biographies with a figure who has dominated our collective imagination and cultural iconography for over twenty centuries.»

The exhibition, presented by LA Plaza de Cultura y Artes and California Historical Society, will examine a group of murals produced in the greater L.A. area from the 1970s to the 2000s that were threatened or destroyed, and explore how their iconography, content, and artistic strategies challenged dominant cultural norms and historical narratives.

The reimagining and recycling of Hollywood iconography in contemporary art, and the way that movies live on in our personal and cultural memories, are explored in the exhibition Walkers: Hollywood Afterlives in Art and Artifact.

This exhibition seeks to correlate directly with How to Read El Pato Pascual: Disney's Latin America and Latin America's Disney at MAK Center for Art and Architecture at the Schindler House and The Luckman Fine Arts Complex at Cal State L.A., through the idea of creating identity and using iconography as political and cultural tools to represent the experiences of the people who have most suffered from corporate imperialism.

Ramos Rivera's fields of rich color and glyph - like mark making recall both the work of Joan Miro, Paul Klee and Cy Twombly and the iconography of the indigenous cultural heritage of his native Mexico.

His grand metal sculptures and large - scale narrative paintings are informed by popular iconography of political, social and historical realities, cultural myths and the Candi reliefs at Sukuh Temple.

Indonesian artist, Entang Wiharso's grand metal sculpture, Double Happiness # 2 (2013), is informed by popular iconography of political, social and historical realities, and cultural myths.

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.

The series journeys through history exploring iconography and idealism across a cultural spectrum, from model planes and boats inspired by Communist China's food coupons of the 1950s and 1960s to portraits of fallen dictators.

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.

Shaw mines his imagery from the cultural refuse of the twentieth century, using comic books, record covers, conspiracy magazines, and obscure religious iconography to produce a portrait of the nation's subconscious.

The artist's body of work draws from a multitude of sources, including the human figure, cultural iconography and the reexamination of locations once visited.

His work for Art Brussels pushes his oeuvre further in his use of iconography to cultural references including symbolism.

In a press release, CAA cited his «meticulous installations incorporating the memories, experiences and cultural and religious iconography of Latino communities and family dynamics.»

She defies the rectilinear, ornamental expectations of traditional quilts in favor of complicated narratives and varied cultural iconography — from African textiles to fabrics taken from her own wardrobe.

Throughout his career, Erizku has created a unique visual language and distinctive iconography that address issues of race, identity, politics and cultural history, while drawing from myriad references ranging from urban culture to advertising to the art historical canon.

The work of Tschabalala Self is inspired by the cultural iconography of Black female bodies, mapping the points where questions of race, gender, and sexuality intersect.

Paintings by Julian Schnabel, Thornton Dial, Rita Ackermann, Joe Bradley, and others largely abandon iconography for material in their reshaping of cultural clay (Laska does this too in her own work, hung in an earlier gallery).

The juxtaposition of pop - cultural iconography and artistic masterpieces subverts our sanctified views of art history's most noble subjects.

Rivera's paintings combine the palette and iconography of the indigenous cultural heritage of his native Mexico with classic techniques of Post war American abstraction.

Through the use of high and low cultural iconography and art historical references I create a working space between both cultural identities in which samples could be -LSB-...]

Exploiting the creative potential of free association and past experience, he created deeply personal, often autobiographical, images by drawing liberally from such disparate fields as urban street culture, music, poetry, Christian iconography, African and Aztec cultural histories and a broad range of art historical sources, a practice that is particularly evident in this work.

Lalla Essaydi, the Morrocan - born artist uses iconography from 19 - th century Orientalist paintings as an inspiration and a starting point for the exploration of her own cultural identity.

It has references to traditional iconography to do with drapery, veiling and the myth of Orpheus, who was an inspirational cultural figure for the artist.

Reclaiming artifacts and iconographies to critique the museum and speak about Black cultural history and identity, he bridges the gap between «high art» and «the street» to question connotations of race and class.

Rather than avoiding the commercial images, cultural iconography or personal snapshots that we interact with daily, the instant familiarity of photography is used as source material.

In these times of diversity and multicultural experience, the artist's image is both a cypher for the human condition as well as the foundation for complex iconography in which the cultural object stands to reflect the impact of societal norms on the individual.

The paintings meander through various systems of knowledge and representation such as Tantric iconography, a landscape in the isolated dictatorship of North Korea, illustrations of cellular generation and radical cultural histories seen through the lenses of fellow artists Emily Roysdon and Cameron Rowland.

They both use dramatic religious and mythological iconography to delve inside the psychological worlds of people who suffer from tragic events (the socio - political dimension of human experience in Jerome's Jewish inspired paintings) and physical abnormalities (the transgression of cultural constructions of perversity in Joel - Peter's Catholic inspired photographs).

Her work uproots political and religious iconography to dismantle cultural tropes; take, for example, the animation SpiNN, 2003, which abstracts the hairstyles of gopis (female devotees of Krishna) into a flock of small black silhouettes that swirl around the screen like a murmuration of starlings.

The nature of filtering cultural iconography through personal sensibilities and experiences makes the exhibition difficult to pin down.

Drawing from the legacies of the European Old Masters and Christian iconography, as well as mythology and cultural lore, the artist layers existing histories with new narratives suggested by contemporary world events to create a psychological terrain of pathos, tenderness and repulsion.

Accompanying object entries offer descriptions, explanations of iconography, information on the artist or cultural history, and information on provenance and techniques.

America has a cultural iconography tied to the idea of a sublime connection to an all - encompassing untamed wildness.

The resultant treatments suggest an array of alt - cultural specificities, including flourishes of Goth, body politics, mythical and religious iconography, fetish and drag.

His work juxtaposes symbolic elements borrowed from pre-Columbian mythology, religious iconography, and popular culture to highlight cultural and historic collisions between Western and non-Western cultures that includes borders and immigration issues based on the artist's concepts of reverse Modernism and reverse anthropology.

The Pop art movement was largely a British and American cultural phenomenon of the late 1950s and»60s and was named by the art critic Lawrence Alloway in reference to the prosaic iconography of its painting and sculpture.

Although there are notable influences from prior body art practice and both Eastern and Western cultural and artistic iconography — a large degree of indebtedness to Yoko Ono, Yves Klein and Carolee Schneemann, for example — Rong's appropriation and assimilation of both cultural narratives is what makes her work particularly interesting from a critical perspective but also as an illustration of the interconnected and mutating cultural psyche's of an internationalist «millennial» practitioner.

In the early 1970s, the poet and artist Cecilia Vicuña (b. 1948, Santiago de Chile) made a series of paintings «that critically explore the patriarchal iconography of international socialism and reinterpret Andean cultural symbols.»

Within this contamination of cultural sources and iconographies, the imaginary that brings together the practice of the two artists takes shape.

Her work attempts to «frame» women in order to create new arrangements of contemporary iconography and cultural representations.

Like Warhol, Lichtenstein and Johns, her commercial design background served to immerse her in the powerful American cultural themes of consumerism and pop iconography.

Exploiting the creative potential of free association and past experience, he created deeply personal, often autobiographical, images by drawing liberally from such disparate fields as urban street culture, music, poetry, Christian iconography, African - American and Aztec cultural histories and a broad range of art historical sources.