Sentences with phrase «social allegory»

(Moscow, Russia) In his artistic practice the artist uses performance, installation, photography, video and drawings; his aesthetics charged with eroticism, religious symbols, popular culture and social allegory.

-- Bob Turnbull [LIKED] Like many zombie films, The Cured is a film that can be viewed as a social allegory about fear of «the other.»

It's a relational melodrama, a social allegory, an outsider text presented with seriousness and formalism that distinguishes itself with its energy and a willingness to address taboo unadorned.

«Seven,» a grisly social allegory drawn in blood and spawned in despair, casts a lingering, malodorous spell.

But, below the surface, they are — like all great sci - fi — sharp social allegories and metaphors for human nature and real anxieties.

In contrast to Terada's romanticism, Demand and Casebere work, respectively, with politically charged events and evocative social allegories.

Not exact matches

Allegory or not, passages like Ezekiel 23 certainly present some challenges to our social comfort levels.

Even until this End of Timed Fortuitousness, the godly will ever more endure and be the ammassings» lighted sculptors of a New Dawning of embittered social fragrenced attritions» allegories!

What #Horror never quite figures out is if it's trying to be an allegory for the dangers of social media, an actual horror film, or a lesson on why pre teen girls are **** Those themes never mix with each other in a cohesive way and instead battle each other throughout the whole movie.

But as a comic allegory of what it's like to be an adolescent girl who comes into sexual and social power that she doesn't know what the heck to do with, it is a minor classic.

Still, what works in Happy Times is what has worked in this director's best work (Shanghai Triad, Raise the Red Lantern, Red Sorghum): mordant social critique so far removed from realism that its status as political allegory is as subtle as a neon sign and a crack to the noggin.

From a fairy tale mixing bestiality and social justice to a newspaper movie that idealizes power and class privilege to pseudo-folksy allegories about revenge and chaos, Hollywood has transformed once - entertaining genres into self - gratifying lectures.

Long gone are the origins of comic books which served as allegory to modern social situations, these films are only about violence, hero's repeatedly saving the day and leave the intelligent moviegoer with little substance.

Three years after Russia's preeminent contemporary auteur Andrey Zvyagintsev scored a nomination for his muscular political allegory «Leviathan,» he returns to the race with «Loveless,» a similarly sprawling, sobering study of social and familial dysfunction in his country.

There are some romantic moments as between Clint and Lucy to the chagrin of Lucy's regular b.f. but without a social message («Cooties» could have been an allegory of over-medicated children and parents strung out of prescription drugs) there is little other than mayhem and stereotypical dialogue in this derivative pic.

Additionally, the entire story can be taken as an allegory of social upheaval.

The X-Men comic has always been an allegory about social issues.

And the film itself is as great as you might imagine: a gripping, deeply moving examination of one person caught up in an unfair system and trying to quell demons exterior and interior to fix it, which works equally well as a humanist portrait, as social commentary and even as political allegory.

Unfamiliar with symbolism - laden allegory, and without knowing how allegories function as social critiques, most students manage only a surface - level comprehension of the text, missing the opportunity to explore the larger ideas of human capability and culpability.

He explores contemporary social and political issues through allegory, symbolism, and the human figure.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

Original artworks and commentary by Mark Tansey (b. 1949), whose large scale monochromatic allegories reference the art of photography, a pivotal technology in the reproduction and dissemination of popular images; John Currin (b. 1962), who has referenced the art of Norman Rockwell, and whose provocative figural paintings reflect upon domestic and social themes that were prevalent, though differently portrayed, in the mid-twentieth century; Vincent Desiderio (b. 1955), whose dark intellectual melodramas re-imagine scenes of crime and adventure from pulp fiction; Lucien Freud (1922 - 2011), the painter of deeply psychological works that examine the relationship of artist and model; and Jamie Wyeth (b. 1946), son of noted painter Andrew Wyeth and grandson of illustrator N.C. Wyeth, whose images convey stories real and imagined, among other artists, will be featured in the exhibition and its accompanying catalogue.

Her stunning narrative paintings of fantastic allegory and mythology explore themes surrounding women, sexuality, and complex social and political issues.

The film suggests how allegory and metaphor were once used to condition and control human social behavior and how this condition is extended in contemporary political rhetoric.

As Jeremy Lewison writes, «Neel fell outside the expected norms of leftist painters for whom works amounted to rather obvious allegories of the social situation... she rejected the post-cubist approach to the figure that Picasso and his followers adopted; and she avoided abstraction as a mode of painting because of its narrative limitations.»

Energies of the Absurd from Modernism till Today», Herford, Germany Motorenhalle, «Du Dialogue Social», Dresden, Germany Uqbar, «Manual CC», Berlin, Germany Roger Raveelmuseum, «Biennale van de Schilderkunst: He genot van het kijken», Machelen - Zulte, Belgium Kunstmuseum, «Blasted Allegories.

Today, alongside recent self - portraits exploring aging and allegory, her bold colors, deft brushstroke and evident politics reinforce the permanence of painting and its role in shaping social and cultural perceptions.

The unfolding action becomes an allegory of human behavior under social and psychological «pressure.»

Today, alongside recent self - portraits exploring aging and allegory, her bold colors, deft brushstroke and evident politics reinforce the permanence of painting and its role in shaping social and cultural perceptions.

Interview with Georganne Deen, Summer 2011 Fee, Georgia, Artslant, Interview w / Georganne Deen, Apr 22, 2008 Bors, Chris, Artinfo, Georganne Deen in New York, Apr 3, 2008 Reverend Jen, Artnet, Diary of an Art Star, Mar 31, 2008 Tanner, Matt, Beware the Wild Children, Grand Street News, Mar 2008 Powers, Kevin, Interview with Georganne Deen, Artes & Leiloes (Portugal), Nov, 2007 Behrens, Katja, Verspielter Exorzismus, TAZ nrw, March 20, 2007 Wertheim, Christine, Georganne Deen: Underground Woman, X-TRA, Winter 2006 Harvey, Doug, I Art the 80's, L.A. Weekly, March, 2006 Fahl, David, Text Hook, Houston Press, June 17, 2004 Klaasmeyer, Kelly, Deen's List, Houston Press, Jan. 2, 2003 Lowry, Mark, Artist's Work Hits Close to Home, Fort Worth Star Telegram, Mar. 13, 2002 Mitchell, Charles Dee, Self Examination Turns Disturbing, The Dallas Morning News, Feb. 28, 2002 Deen, Georganne, The Girlfriend and The Devil, Grand Street # 70 Halstrup, Anjee, Georganne Deen: The Secret Storm and the Vogue Book of the Dead, ZERO magazine, July, 2001 Rodriguez, Juan, Georganne Deen at Babilonia 1808, Artweek, June, 2001 McEwam, Ann, 15 Psychic Orgasms, Waitako Times, Mar. 8, 2000 Mutch, Nicola, Ads Undermine American Dream, Otago Daily Times, Oct. 26, 1999 Munro, Bruce, Artist Explores Dream World, The Star, Oct. 27, 1999 Madoff, Steven Henry, Pop Surrealism ARTFORUM, Oct., 1998 Gopnick, Blake, Old Wounds Healed Through Older Art Form, The Globe & Mail, Jul 29, 1998 Hume, Christopher, Allegories of Her Hateful Family Tree The Toronto Star, Jul 11, 1998 Schoenkopf, Rebecca, The Glamour of Ugly, Orange County Weekly, Sept 19, 1997 Curtis, Cathy, Light Images, Dark Truth, Los Angeles Times, Sept 9, 1997 Dambrot, Shana Nys, Georganne Deen, JUXTAPOZ, Fall 1997 Kim, Soo Jin, Georganne Deen, Art Issues, Summer 1997 Kandel, Susan, Fierce: Georganne Deen, Los Angeles Times, Feb 28, 1997 McKenna, Kristine, Los Angeles, Art & Antiques, Summer 1996 Zellen, Jody, The Mother Load, World Art, Summer 1995 Lueck, Brock, Co-Mix Art: Fine Tooning Pop, The New Art Examiner, Mar, 1995 McKenna, Kristine, Coming to Terms With Mom, L.A. Times, Dec 18, 1994 Desmarais, Charles, Georganne Deen, Grand Street # 49, 1994 Dubin, Zan, Experiences of a Girl as Seen by a Woman, L.A. Times, Oct 23, 1993 Rose, Cynthia, Pacific Meltdown, British Vogue, Jul, 1991 Carlin, John, Bad Influences, The Paper, Jun, 1988 Smith, Alton, Reinventing the WheelI, Village Voice, Nov 29, 1988 Tanney, Kathy, Paper Tigers, Plastic Toys, Art Week, Aug 22, 1987 Knight, Christopher, Bad Influences Knocks Popular Culture Wisdom, L.A. Herald Examiner, Aug 4, 1987 Leston, Kimberely, Georganne Deen, the Face, Dec, 1986 Pincus, Robt, Voyage on Sculpture May Make Some Viewers Ill, San Diego Union, Jul 10, 1986 Wilson, William, Social Distortion Exhibition, L.A. Times, Jul 10, 1986 Rugoff, Ralph, Exterminating Angel, Los Angeles Weekly, Oct 11, 1985 Drohojowska, Hunter, The Art World's Biggest Pests, Los Angeles Herald Examiner, Oct 20, 1985