Sentences with phrase «on modern context»

«The New Buffettology» which was authored by both Mary Buffett (ex-Warren Buffett's Daughter - In - Law) and David Clark back in 2002 is so far the best selling Warren Buffett book based on modern context.

Not exact matches

He explained that an emphasis on text and historical context is flexible enough to be applied to modern phenomena like radio and the internet.

It is simply an add - on for modern times, a way of looking for a more complete picture of a company rather than one that separates the company from its context and only looks at its quantifiable assets and liabilities.

To put those deliveries in context, they mark the highest 18 - to - 49 turnout for an episode of an ABC comedy since the season four premiere of «Modern Family» scared up 14.4 overall million viewers and a 5.5 in the dollar demo on Sept. 26, 2012.

It's as if their role in this history is to carry on what Christians have been doing for the past two centuries, except in a modern rock context — Underground blaze the sound to Armageddon.

He attempted a detailed refutation of much of Shankara's thought and then went on to provide the final context for modern Indian theism.

Even more to the point, no two modern - day scholars seem able to draw up the same common list of errors, each finding on the other's worksheet difficulties which have, in their opinion, plausible modern - day alternate explanations often involving a reassessment of the author's intention and / or cultural context.

Therefore dialogue between Religion and Secular Humanism as well as between Religions began to take place within the national context on the meaning, values and goals of modern Indian nationhood.

In another context I might include a chapter on «What is Right with Modern Life» as I did some years ago in The Modern Rival of Christian Faith, and most of the things there mentioned are still here and still right.l But along with the good things and some advances over the past years, there is too much that is wrong.

Modern fundamentalists have already made up their minds about the entire Bible, and when you try to explain that some of their favorite Bible - thumping passages have been ripped out of the cultural and Scriptural context in which they were written, the Fundamentalist acts as if you are the stupidest person on the earth for trying to understand a text this way.

Not only does Robert Chisholm explain the biblical text in a way that makes sense and reveals the cultural, historical, and grammatical contexts of Judges and Ruth, he also deals with modern questions that the text address, such as the issues of female leadership, the consequences of spiritual compromise, and the often bewildering actions of God in relation to His people on earth.

The pope's encyclical, putting the issue of work in a modern context, states, «We are on the eve of new developments in technological, economic and political conditions... which will influence the world of work and production no less than the industrial revolution of the last century.»

I certainly get shocked looks from modern Christians when I suggest that homilies on «the Good Samaritan» should place it in modern context by renaming it «the Good al - Qaeda» or «the Good Taliban» or «the Good Hamas» — because, at the time Rabbi Jesus of Nazareth allegedly lived, the Jews regarded Samaritans the way we regard al - Qaeda or the Taliban or Hamas today.

In the context of this book it is a change from the dominant modern worldview to a postmodern worldview to use the terminology of my earlier book, On Purpose (Birch 1990).

The Vatican II document on the «Pastoral Constitution of the Church in the Modern World» has been of crucial significance in the ecumenical approach of a positive character to the redefinition of the forces and values of secular culture within the context of Christian faith and ethics, themselves renewed in the modern coModern World» has been of crucial significance in the ecumenical approach of a positive character to the redefinition of the forces and values of secular culture within the context of Christian faith and ethics, themselves renewed in the modern comodern context.

The form of argument in this presentation has emphasized several specific points: first, that the Asian values argument, as a challenge to the implementation of constitutional democracy, is exaggerated and fails to account for the richness of values discourse in the East Asian region - local values do not provide a justification for harsh authoritarian practices; second, that the cultural prerequisites arguments fail because they ignore the discursive processes for value development and they are tautological, excessively deterministic and ignore the importance of human agency it, therefore, makes little sense to take an entry test for constitutional democracy; third, the difficulties of importing Western communitarian ideas into an East Asian authoritarian environment without adequate liberal constitutional safeguards; fourth, the positive role of constitutionalism in constructing empowering conversations in modern democratic development and as a venue for values discourse; fifth, the importance, especially in a cross-cultural context, of indigenization of constitutionalism through local institutional embodiment; and sixth, the value of extending research focused on the positive engendering or enabling function of constitutionalism to the developmental context in general and East Asia in particular.

His The New Machiavelli: How to Wield Power in the Modern World (The Bodley Head, # 20.00) attempts to provide a political context by drawing on Machiavelli.

But in the modern context coming out in such a coherent and apparently organised way represents a powerful planned assault on the government.

The researchers note that the study provides historical context for what is happening today and what may happen in the future and demonstrates that there is need for further investigation into the effects of climate change on modern societies worldwide.

For context, they also analyzed the marks on the teeth of modern carnivores with known diets, including cougars, lions and hyenas.

Obviously monounsaturated fatty acids are not harmful in moderate amounts in the context of a traditional diet, but what about in the context of the modern diet, where the health - conscious community is relying on monounsaturated fats almost exclusively?

As 1980s is the hottest decade in the fashion world at the moment, I thought I'd add some styling tips on how to pull off the 1980s in a modern day context.

This is based on a 1938 children's book, and the mistake was placing it in a modern context as a vehicle for Jim Carrey.

It's more of a buddy comedy than a deep satirical look at modern day terrorism but it does carry a decent, well researched social commentary on extremism and Jihad in a British context.

It also raises the stakes on pop music drop - ins (having a character sing a modern - day pop song in an out - of - context time period) by having the guts to use a Radiohead song.

By understanding the habits and needs of the modern learner, L&D teams can focus their efforts on creating a learning platform that delivers context - rich digital resources to address what your employees are searching for online, but in a way that's relevant to your organization and «how things are done here».

In this context, the theoretical and empirical exploration on origin of the observer, which is common to all human beings, is an indispensable element for the development of modern society.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to

Associated with painters such as Frank Stella, minimalism in painting and sculpture, as opposed to other areas, is a late modernist movement and depending on the context can be construed as a precursor to the post modern movement.

Ingeniously, the Nasher uses Rediscoveries to educate museum - goers on the history of modern sculpture, to provide them with a context from which conceptual sculpture was born.

Edelheit has also done production design for smaller theaters in New York from 1971 to 1974, a number of own experimental art films in the 1970s, demonstrated in a number of contexts in the U.S. and Europe over the years, such as Hats, Bottles & Bones: A Portrait of Sari Dienes (1977)[7] an artist portrait on Sari Dienes, shown including the Museum of Modern Art and is included in collections at the Anthology Film Archives.

The aim is to offer fresh perspectives on Tibetan Buddhist images that have rarely been understood outside of their cultural and devotional contexts, and to forge new connections between different spheres of artistic practice, both traditional and modern.

Collection Irish Museum of Modern Art, Purchased 2007 The international dominance in the 1990s of interactive art practices that draw on human relations and their social context, termed «Relational Art», is not reflected in the Weltkunst Collection, although noted exponent Douglas Gordon does feature with the work Above all else, 1991.

Fulton presented Slowalk (In support of Ai Weiwei) at Tate Modern as a collective action created specifically in response to the iconic architecture of the Turbine Hall and in the context of the recent disappearance of Chinese artist Ai Weiwei, whose work Sunflower Seeds is currently on display in the east end of the Turbine Hall as the eleventh project in the series of Unilever Commissions.

Group exhibitions include: Languages and Experimentations, Mart, Rovereto (2010), Richard Prince and the Revolution (curated by Jonathan Monk), ProjecteSD, Barcelona, The Associates, Dundee Contemporary Arts, Dundee (both 2009), Contemporary Scottish Art: New Acquistitions & Loans, Scottish National Gallery of Modern Art, Edinburgh, On Interchange / Interludes of a Collection, Museum Kurhaus Kleve, Kleve (both 2008), Tate Triennial: New British Art, Tate Britain, London (2006), The Last Generation, Apex Art, New York, Solo Show Solo Soul, FRAC Haute - Normandie, Rouen, Herald Street & The Modern Institute present, GBE, New York, Theorema, Collection Lambert: Musèe d'art d'Avignon, Avignon (all 2005), Genesis Sculpture, Domaine Pommery, Reims (2004), Context, Form, Troy (Young Scene 03), Secession, Vienna (2003).

By analyzing the different color theories that took shape in the turbulent socio - political context that characterized the 20thcentury, the exhibition reflects on a perspective that considers light, its vibrations and the world of emotions, while challenging the standardization of the use of color in the modern age (synthetic colors) and the digital era (RGB colors offered by various online palettes), a leveling that considerably reduces our ability to distinguish colors in the real world.

Richly illustrated, Degenerate Art elucidates the historical and intellectual context of the notorious exhibition in Munich in 1937, which spurred the attack on modern art.

The contexts for six Picasso masterpieces offered in the Impressionist & Modern Art Evening Sale on 16 November in New York

Jed Morse, curator at the Nasher Sculpture Center, Dallas, will present a lecture entitled The Classical and the Primitive: Modern Sculptures of the Kimbell as part of the Museum's Art in Context series, on Wednesday, September 21, at 12:30 p.m., in the Kimbell Art Museum auditorium.

Gutai: Splendid Playground seeks both to examine Gutai's aesthetic strategies in the cultural, social, and political context of postwar Japan and to further establish the group in an expanded, transnational history and critical discourse on modern art.

Over the last decade, these features have produced engaging programming on 85 modern and contemporary artists, enabling visitors to learn about the contexts in which the artworks were created, see videos of the artists in their studios, hear first - person explanations of their creative processes, and view high - resolution digital images of the artworks.

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

SELECTED EXHIBITIONS 2018 In (di) visible, Station Museum of Contemporary Art, Houston, TX; Cameron Museum of Art, Wilmington, NC 2017 Translatio Imperii, Gutterbox Gallery, Raleigh, NC Digiscapes, Curated by Anthony Hamilton, Lump, Raleigh, NC Art on Paper, Curated by Emily Stamey, Weatherspoon Art Museum, Greensboro, NC Objectifying Myself: Works by Women Artists from the Pennsylvania Academy of Fine Arts, William Benton Museum of Art, Storrs, CT For Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA Shimmer, Light and Design Gallery, Chapel Hill, NC 2016 Seeping of a Ghost, Gallery Bastejs, Riga, Latvia (solo) Musings on an Origin, Spectre Arts, Durham, NC Typecast, Hillyer Art Space, Washington, DC 2015 Heterotopias as Other, Nha San Collective, Hanoi, Vietnam (solo) 2014 The Orient, The Occident, Galerie Quynh, Ho Chi Minh City, Vietnam (solo) Summer Shuffle: Contemporary Art @ PAFA Remixed, Pennsylvania Academy of Fine Arts The Mother Load, The Center for Creative Connections, Dallas Museum of Art, TX 2013 Contemporary Vietnamerican Art, Maier Museum of Art, Lynchburg, VAThe Linda Lee Alter Collection of Art by Women, Pennsylvania Academy of Fine Arts, PA 2012 Alter / Altar: Meditations on the Past, The Morris and Gwendolyn Cafritz Foundation Art Center Collisions of Clamor and Calm, Galerie Quynh, HCMC, Vietnam Art HK 12, Hong Kong International Art Fair, with Galerie Quynh 2011 Bite Sized Monsters, Modern Eden, San Francisco, CA 2010 Twombly House / Ephemeral Museum, Portland, OR Outwin Boochever Portrait Exhibition, National Portrait Gallery, Smithsonian Institution, Washington D.C 2009 Family Pictures, Root Division, San Francisco, CA 2008 In Transition Russia, Municipal Centre for Contemporary Art, Yekaterinburg National Centre for Contemporary Arts, Moscow, Russia 2007 House of Adoration, Galerie Quynh Contemporary Art, HCMC, Vietnam (solo) House of Adoration, Ryllega Experimental Art Gallery, Hanoi, Vietnam (solo) Small Works, Morris Graves Museum of Art, Eureka, CA 2006 Portrait of a Contemporary Family, First Street Gallery, Eureka, CA Portrait of a Family, Southern Exposure, San Francisco, CA National Juried Exhibition, Marin Art Center, Marin, CA Juror: Rene de Guzman Small Works Invitational, Gallery Dog, Eureka, CA Out of Context, Huntington Beach Art Center, Huntington Beach, CA Face Paint, Bucheon Gallery, San Francisco, CA 2004 Monster Drawing Rally, Southern Exposure, San Francisco, CA Supernatural, Southern Exposure, San Francisco, CA Go West!

«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

Lu's book on the work of Chinese artist Wang Yin (born 1964) situates his work within the historical context of twentieth - century Chinese painting, as well as broader shifts in modern Chinese culture.

Rather than emphasize continuity over time, the book emphasizes cross-generational connections, and much of the talk focuses on the historical context — direct and indirect — that informs the work of Mexico's vibrant contemporary artists, several of whom — such as Francis Alÿs, Melanie Smith, and Teresa Margolles — are included in the Modern's current exhibition, México Inside Out: Themes in Art Since 1990.

Delving into the personal and political activities of these forgotten figures across different contexts, Geyer has until now undertaken significant performance and exhibition commissions for institutions including the Whitney Museum of American Art in New York, where she focused on the organisation's visionary founders Gertrude Vanderbilt Whitney and Juliana Force (resulting in Geyer's performance Time Tenderness, the footage of which is featured in the exhibition at Hales London), and San Francisco Museum of Modern Art, where she explored the legacy of the museum's founding director Grace McCann Morley.

Just as Christie's has enjoyed success with sales that present the works of different time periods, Art Basel promises a special highlight this year with the ongoing strength of the Modern and historical works on view in the context of the contemporary offerings.

Viewed in this context, «Mountains and Sea,» in which the paint was soaked into the canvas (instead of lying on the surface), was a quintessentially modern painting - i.e., it was totally flat.