Sentences with phrase «project of modernity»

The 1960s remain, for most, a romantic dream, a time when the radical left and grassroots collectives might force larger systems to make good on promises of inclusion and liberation — the completion of the project of modernity itself.

The «3 Parallel Artworlds» represent not only the dynamics of culture, but the alternative positions on China's «project of modernity».

He applauds the book's warnings about the biotechnological threats confronting us, but suggests that these developments are only the logical next thing in the project of modernity and liberalism, the two being pretty much the same thing.

For modern men and women, nothing else remains of the high moral project of modernity: these attacks are the only good thing left to do.

Put differently, the project of modernity was to produce people who believe they should have no story except the story they choose when they have no story.

Not exact matches

The Foucault by whom we are first moved to question modernity, the Foucault by whom we are first shown the absurdity of the modern project from its beginning, is not the Foucault of the epistemological Order of Things and Archaeology of Knowledge, but the Foucault of the historical Discipline and Punish, Madness and Civilization, and Birth of the Clinic.

1): The Irony of It All: 1893 - 1919 (University of Chicago Press, 385 pp., $ 24.95) In this first volume of a projected four - volume history of American religion in the 20th century (the legend has already arisen that the last volume will be completed on the day he retires), Marty looks at the impact of modernity on a breathtaking variety of American religious groups and individuals.

He is also right in suggesting that the story of modernity is not just a narrative of failure but also contains elements of «the divine project of love.»

As a serious sociological and philosophical analysis of modernity commissioned by the Bishop's Conference of England and Wales it is a significant project.

Nevertheless, some themes emerge which form part of the overall thrust of the study and its suggested responses to modernity with which Faith Magazine would not only wish to take issue but would also criticise as harmful to the project of the new evangelisation called for by Pope John Paul and addressed by Cardinal Ratzinger as a theologian and Pope Benedict XVI as the supreme Pastor.

Developing this project further, it will be important therefore to consider in greater detail the different parties» engagements with the language of progress and modernity and how this can be reconciled with conservatism.

Representatives of each of these disciplines gathered February 19 - 22 at a workshop, «Origins of Human Uniqueness and Behavioral Modernity,» staged by Arizona State University's Origins Project to discuss recent advances in their respective fields.

Speaking of the project, Kevin said: «Galamb Tailoring embraces the 100 years old tradition of bespoke tailoring with a delicate touch of modernity.

Tarek Abou El Fetouh (curator) John Akomfrah (artist and filmmaker) Rheim Alkadhi (artist) Noora Al Mualla (Curator of Modern Arab Art, Sharjah Art Foundation) Monira Al Qadiri (artist) Hoor Al Qasimi (Director, Sharjah Art Foundation) Saira Ansari (Researcher, Sharjah Art Foundation) Rasheed Araeen (artist) Marwa Arsanios (artist) Mohammad Ali Atassi (Director, Bidayyat) Sarnath Banerjee (artist, writer and graphic novelist) Daniel Blanga Gubbay (Researcher and Curator, Aleppo.eu) Yaminay Chaudhri (artist and Co-founder, Tentative Collective) Ali Cherri (artist) Manuel de Rivero (Co-founder, Supersudaca) Manthia Diawara (University Professor and Director, Institute of African American Affairs, New York University) Mona El Mousfy (Founder and Managing Director, SpaceContinuum) Shilpa Gupta (artist) Ayesha Hameed (artist and Lecturer, Visual Cultures, Goldsmiths College) Dale Harding (artist) Salah Hassan (Goldwin Smith Professor and Director, Institute for Comparative Modernities, Cornell University) Mohamed Ahmed Ibrahim (artist) Saba Innab (artist and architect) Eungie Joo (Curator of Contemporary Art, San Francisco Museum of Modern Art) Butheina Kazim (Co-founder, Cinema Akil) Maha Maamoun (artist) Ahmed Mater (artist) Almagul Menlibayeva (artist) Sally Mizrachi (Co-founder, lugar a dudas) Naeem Mohaiemen (artist) Paribartana Mohanty (artist) Aram Moshayedi (Curator, Hammer Museum) Hania Mroué (Founder and Director, Metropolis Art Cinema) Neo Muyanga (composer and musician) Zeynep Öz (curator) Claudia Pagès (artist) Sharmini Pereira (Founder and Director, Raking Leaves) Filipa Ramos (Co-curator, Vdrome) Uzma Rizvi (Associate Professor, Anthropology and Urban Studies, Pratt Institute) Abir Saksouk (Architect, Public Works) Larissa Sansour (artist) Mario Santanilla (artist) Zineb Sedira (artist) Wael Shawky (artist) Reem Shilleh (Co-founder, Subversive Film) Martine Syms (artist) Yoshiharu Tsukamoto (Co-founder, Atelier Bow - Wow) Alper Turan (Co-founder, DAS Art Project) Deepak Unnikrishnan (writer) Antonio Vega Macotela (artist) Hajra Waheed (artist) Ala Younis (artist and curator)

This year's diverse group includes Thomas Hirschhorn's socially interactive «Gramsci Monument» at the Bronx's Forest Houses Project; the revelatory scholarship demonstrated by the Crocker Art Museum's «An Opening of the Field: Jess, Robert Duncan, and Their Circle,» and provocative thematic exhibitions like The Los Angeles County Museum of Art's James Turrell retrospective and the Metropolitan Museum of Art's innovative juxtapositions of 19th century fashion and art in «Impressionism, Fashion and Modernity.»

This project positions and gives value to the heritage of Arab modernities within an international context.

Writer PANKAJ MISHRA explains why embarking on modernity was such a risky project and how we ended up in an «Age of Anger.»

From 2010 - 2015, she held a faculty position at the University of Oslo, Norway, where she continues to be part of a research project entitled «Edvard Munch, Modernism, and Modernity.»

Over the past 12 years he has curated and organised over 50 exhibitions and projects, including solo shows by Simon Starling, Alex Katz, Lily van der Stokker, Henri Gaudier Brzeska, Linder, Albert Oehlen, Carol Bove, Dexter Dalwood, Mark Titchner, Heimo Zobernig, Hans - Peter Feldmann, Barbara Hepworth, Adam Chodzko, Deimantas Narkevicius, Eileen Quinlan, Peter Lanyon and Lucy McKenzie, as well as a number of group exhibitions including: «The Hollows of Glamour»,» This storm is what we call progress», «Pale Carnage», «The Indiscipline of Painting», «The Dark Monarch: Magic and Modernity in British Art» and most recently «Aquatopia: The Imaginary of the Ocean Deep».

For this exhibition, Modernity 1929 — 1965, McElheny presents three interrelated projects about the history of twentieth - century modernism.

«The Arcades Project foreshadows our experience of modernity: we absorb an overwhelming mass of information and cultural activity, yet it comes to us in a fragmented form, often through social and digital media, without the orderly coherence that thinkers and artists once predicted for the future.

Platform Paradise, FAST, Village of Ayn Hawd, Israel (2008); Local Modernity / Global Expectations, Special project 10th International Istanbul Biennale (2007); Tomas Saraceno, Museo Aerosolar, Isola Art Center, Milan (2007).

As in her recent solo exhibition at the Fondation Cartier pour l'art contemporain, Paris, the works in this show continue her engagement with the fractured tropes and narratives of utopian modernity, in particular what she sees as the «melancholic traces of the collapse and disintegration of progressivist projects to reinvent the world.»

Working from the dual vantage points of South Africa and Europe, the project considers plants as both witnesses and actors in history, and as dynamic agents — linking nature and humans, rural and cosmopolitan medicine, tradition and modernity — across different geographies, histories and systems of knowledge, with a variety of curative, spiritual and economic powers.

Modernity is interpreted as an updated Tower of Babel project that currently exists as an archive of ruins.

Author of two books and numerous articles, her current project is Subterranean Blues: Black Women Sound Modernity (Harvard University Press, forthcoming).

Over the last 12 years Martin has curated numerous exhibitions and projects, including solo shows by Simon Starling, Albert Oehlen, Lily van der Stokker, Alex Katz, Hans - Peter Feldmann, Heimo Zobernig, Dexter Dalwood, Carol Bove, Bojan Sarcevic, Deimantas Narkevicius, Peter Fraser, Katy Moran, Mark Titchner, Brian Griffiths and Lucy McKenzie, as well as group exhibitions that include The Dark Monarch: Magic and Modernity in British Art, Tate St Ives, 2009; Pale Carnage, Arnolfini, 2007; and The Hollows of Glamour, Herbert Read Gallery, 2003.

Working from the dual vantage points of South Africa and Europe the project shows plants as witnesses and actors in history, as dynamic agents linking nature and humans, tradition and modernity — across various geographies, histories and knowledge systems.

«Abstraction in the visual arts has often been misunderstood through the lens of the historical avant - garde and high modernism, whose utopian ideals of universality and humanism were intertwined with the totalizing ambitions of the social and political projects of Western modernity,» said curator Acevedo - Yates.