To me, the film is vital to
this particular cultural moment we are living through.
And, anchored by gorgeous production design and the pop naturalism of its performances, How to Make It in America dramatizes
this particular cultural moment with uncommon style and a little grace as well.
The reality of the matter is quite the opposite: Juan is not familiar to us at all today, and the reason our cultural imagination no longer has much room for him — and would certainly be incapable of producing another figure like him — is that he, far more than the buoyantly eternal Quixote, is a figure fixed in
a particular cultural moment.
Not exact matches
Waiving for the
moment the far from settled question of the extent that Gandhi's techniques of nonviolence were adapted to the
particular social and
cultural situation in which he found himself, we still must ask whether we can really see the vindication of hope for the higher values in a cumulative and secure achievement of orders of persuasion over brute force.
I disagree that this «rapturous» perspective is the dominant
cultural narrative around adoption at this
particular moment in time.
If the lessons of kindness, decency and acceptance taught effortlessly and charmingly in 2015's «Paddington» felt fresh and welcome then, those lessons feel downright necessary at this
particular moment, an especially unkind and indecent time in which xenophobia and intolerance of the differences and
cultural backgrounds of others are politically in fashion.
Featuring 28 works by 19 artists — both black and white — the exhibition explores how visual perspectives of blackness «have been influenced at
particular historical
moments by specific political,
cultural, and aesthetic interests, as well as the motives and beliefs of the artists.»
They can be read as three - dimensional snapshots of a
cultural moment or records of the daily rituals and aspirations of a
particular individual.
Perhaps Donovan's colleague Chuck Close explained Tara's fondness of eccentric techniques the best: At this
particular moment in the art world, invention and personal vision have been demoted in favor of appropriation, of raiding the
cultural icebox.
Through the visions of SunTek Chung, Larry Bamburg, Deborah Grant, Andrew Guenther, Hilary Harnischfeger, Adam Helms, Matthew Day Jackson, Karyn Olivier, Sigrid Sandstrom, Allison Smith, Ian Sullivan, Will Villalongo, Roger White, Raphael Zollinger, and an exhibition essay by Mary Robbins, this exhibition seeks to address a collective and individual response to a
particular moment in time: artists as social and
cultural cartographers.
«It will gradually become apparent that at
particular moments when there is within a society a crisis of belief... the sheer material factualness of the human body will be borrowed to lend that
cultural construct the aura of «realness» and «certainty.»
Each of these series investigates
particular regions or precise
moments in our recent history with an aim to answer the artist's social and
cultural questions and contemporary geopolitical scenario.
Instead, they are all participants in a
cultural moment, in which painting has come to reign supreme, defined by virtuosic newness, of course, but more and more by the basic stylistic sameness valued by the art market and the art fair in
particular.
Rail: At the same time the paintings don't try to represent a
particular cultural or public
moment.
[2] Fellow artist Chuck Close told a reporter that» «At this
particular moment in the art world, invention and personal vision have been demoted in favor of appropriation, of raiding the
cultural icebox.
Drawing
particular attention to the language of twentieth - century protest groups, Hayes invites viewers and participants to re-experience
moments of political and
cultural oppression by staging protests, delivering speeches, and re-performing demonstrations.
While the paintings are silent, the music brings a verbal and
cultural history that pertains more to what Sam was listening to in a
particular moment — when Lou Reed died, for example.
The exhibition is the first solo show dedicated to an African artist at IMMA and continues a strand of programming presenting artists from the periphery, whose socially engaged work documents a
moment in time in a
particular cultural milieu.
The idea is to maintain seeds not as a preserved snapshot of a
particular genetic
moment in time, but rather as a living, evolving resource that adapts to the conditions, climate and even
cultural circumstances (think organic growing methods versus conventional, for example) that they find themselves in.