Sentences with phrase «seen historical works»

By bringing together new art with rarely seen historical works from artists» studios and estates, In The Making suggests the social and intellectual interactions that fuel the production of art — interactions that take place behind the scenes and exert remarkable influence.

It is a treat to be able to see these historical works at Zona MACO.

Not exact matches

I would recommend looking at his archives to see the historical context of his work.

Churches who provide 3 meals a day, You see the beauty of an historical place like the Vatican, preserving history in its art work amd library but are unaware of the services it provides behind the scenes away from the eyes of the public.

The death of God tradition is beginning to see the work laid out before it: historical, exegetical, apologetic, ethical.

From what has been urged above we see that God's activity in the world is not confined to the historical person of Jesus Christ; incarnation is «the manner and the mode,» in Cardinal Bérulle's words, of all God's working in the world, which we find vividly disclosed in «the Galilean vision.

It was a historical day for the church, but a working day for me, as I had several people to see in connection with my project on social movements among the lower classes.

I would agree that the clarity with which I find myself seeing the world when I look at it through the lens of the Gospels counts more for the Gospels» «truth» than the available historical evidence does — though that mysterious power we can only call the work of the Holy Spirit may count most of all.

See also Wolff, «The Kerygma of the Deuteronomic Historical Work» in The Vitality of Old Testament Traditions.

In summary, the virtues of organized religions include but are by no means limited to the following: they give their adherents something solid against which to rebel; they allow one to see farther by standing on the shoulders of giants; they insist on the primacy of lived experience; they work against illusion and historical insularity; they point to the power of the collective and the merits of deep diversity; and they are capable of the kind of mobilization that can transform the world.

(See N. Perrin, Kingdom, pp. 37 - 57) The Jesus of the older liberal faith - image has to be transformed precisely because he was, in some fundamental respects, inconsistent with the historical Jesus revealed to us as a result of the work set in motion by konsequente Eschatologie.

«The aircraft currently requires a lot of work to be restored to a safe flying state and having seen first hand the dedication and passion of people at HARS, I have no doubt this beautiful and historical aircraft will be flying again,» Travolta said.

I am passionate about the QHHT work because I see its importance in healing others as well as a tool to gather lost historical knowledge.

Those film historians who've summed up Kemp's post-Z Cars TV appearances as «sporadic» evidently haven't seen his small - screen work in such miniseries as Winds of War and its sequel War and Remembrance (he played German general Armin Von Roon in both); he also played Cornwall in Sir Laurence Olivier's 1983 television adaptation of King Lear, and was featured in the internationally produced historical multiparters George Washington (1985) and Peter the Great (1986).

takes us back to many different genres of filmmaking from the 1940s, including historical epics, war films, musicals — tap dancing Frank Sinatra musicals and Esther Williams musicals with vibrant colors, rich black and whites — all the while allowing Deakins to do what he always does with any movie he's working on whether it's the shittiest film you've ever seen or the best — making it 100 % better just by having shot it.

A group of aliens have seen Nesmith's show and consider his work an «historical document».

The work of Radijojo should also be seen in the context of the personal motivations that lead to the engagement for peace: Radijojo's founder Thomas Röhlinger grew up just a few miles away from the historical place of concentration camp KZ Buchenwald.

One scholar was from the history department and the other was from a contemporary historical theoretical department, so you can see how different their work will be.

It has meant narrowing historical differences between people, cultures, races, civilizations, histories, technologies, politics and lifestyles in order to create bridges where people and organizations with a common good can see the need to work together and that hopeless people can also dream and work hard to leave their vulnerabilities which in many instances is not their making.

In this line of inquiry, we have studied the use of digital primary sources (e.g., see Swan, Hofer, & Locascio, 2008) as a way for students to work with the same historical sources as historians.

It is great to see a work that focuses more profoundly on how human life functions, and less on the political events that constitute the substance of most historical accounts.

Click below to see a screen shot of the Forex Tester 3 working with the Forex Smart Calculator to allow you to calculate accurate position sizing for your risk profile, even using historical pip values.

It's up to the investors to develop a model, test it with historical data, and implement it to see if it works.

I would like to see hundreds of personal finance blogs begin taking an independent look at what works in investing, to become a bit more skeptical of the claims of The Stock Selling Industry and to become open to the idea of looking at the historical stock - return data to see what has always worked in the past and what has never worked in the past.

Minimizing risk also works well in Model Portfolios because it's usually what advisors show prospects when they ask to see some historical track record.

It's interesting to see a historical action game putting the history aspect so far in the forefront, and I can honestly say at this point I want to play the game almost more to see their work and go inside the ship than to interact with the storyline itself.

The vitrines display sculptures with titles such as Historical Land Mind and Sandmandia, which are meant to be seen from above or in the round, while the niches present several works, including Elusive Combinations and Glorious Assemblage, whose branch - like forms and scroll - like bases evoke the art of bonsai.

Of particular focus is Giacometti's studio practice, which is examined through rarely seen plaster sculptures that highlight the artist's working process, in addition to historical photographs documenting his relationship with the Solomon R. Guggenheim Museum — which hosted the artist's first US museum exhibition, in 1955 — and with New York City.

Of course there are other examples, both historical and contemporary, who saw their work as part of a larger practice.

What she is passionate about is that art - historical wrangles should not get in the way of work that needs to be seen.

Yes, I know these galleries are in the business of selling art, but they also create a historical context for the contemporary work we see

The curators of The Third Dimension saw that it was important to «present the work as an entity independent of painting and subject to its own historical dialectic.»

Director Victoria Siddall echoes him when she argues that «the impact that Frieze Masters has made is providing historical context — people who visit both fairs can see the best contemporary work and everything that came before it».

The elaborate three years project could be seen as well as some sort of reenactment of the historical exhibition since it represents the reunification of the works from 1944.

Her work is easy to consider in art historical terms as we see direct parallels between the amorphous monochromes of the more atmospheric photograms and Helen Frankenthaler's color field paintings.

Last November, Georgia O'Keeffe's Jimson Weed / Flower No. 1 became the most expensive work by a female artist ever sold at auction, fetching $ 44.4 million (see Wall Flowers — women in historical art collections).

Work by important artists who documented early impressions of the area, historic photographs, oral histories and rarely - seen artifacts from private and public collections reveal a historical link to the area's past.

Meet the artist / curator: Ashley Jude Jonas By Eva Buttacavoli Photo: Ashley Jude Jonas, «Buffalo Husband» As artistic practices have expanded beyond the boundaries of the production of objects, often incorporating historical context, editing and interpretation — work typically associated with the curator — we are seeing a blurring of the boundaries between the artist and -LSB-...]

To encounter the work of these four artists for the first time today is to see how abstraction's indomitable individuality structured the historical narrative in circular, not linear, patterns.

From the Impressionists onwards, artists have been inspired by historical and contemporary colour theories - most markedly seen in the pointillist work of Georges Seurat and his associates, where colours other than those actually painted on the canvas are generated in the eye of the beholder.

Adjaye's holistic approach aims to marry geography with social and historical implications, and can be seen throughout all of his work, which spans across private residencies, civic buildings and public institutions.

The festival, on view until the 2 October, sees myriad Japanese artists, galleries, bookstores and publishers present a range of work both historical and contemporary.

Uniting different perspectives of seeing and subverting spatial conditions of representational forms in the 20th century this exhibition does not only present rarely seen work but also narrates different layers of art historical approaches leading to the long lasting meaning of representational object and space in art.

Allowing the viewer to see the works through visual cues and historical connections, looking at the image within the photograph as well as relationships between photographs, this exhibition seeks to engender new «ways of looking.»

I've lived long enough that the «60s work is now seen as an historical period.

Outside of the norms and conventions of an object - based art world, Willats has developed work which reacts against what he sees as the historical determinism within art.

We see the responsibility of the gallery as threefold: to work for the long - term development of each artist's career, acting as a liaison to international galleries and museums as well as placing works in collections; to create an historical archive for each artist; and to act as an accessible public space in which the exhibitions become an exemplary gesture of the power of subjectivity to the audience at large.

Attempts to bring a coolly evolutionary or art - historical order to her work, or to see it in the context of one art group of another, have proved more or less irrelevant.

Burgard's catalog essay traces the history of African enslavement, segregation and the battle for civil rights, which he sees as intellectual and emotional sources, pausing only at the end to decry the work's historical marginalization as ««folk,» «naive,» or «outsider.

This is an important and historical body of work not seen in over twenty years.