Sentences with phrase «social fabric of the city»

The Giants are not going to mend the social fabric of a city in which the designations Protestant and Catholic have become shorthand for a centuries - old division that is as political and ideological as religious.

«And they feel a casino in Rochester would be inappropriate and destructive to the social fabric of the city.»

When what happened to them is revealed, the uproar that ensues tears apart families, reputations, and even the social fabric of the city, exposing dark secrets about some of the most powerful of its citizens, and putting fragile loves and lives at great risk.

Further locating the works within the social fabric of the city in which they exist, each sculpture will emit weather reports, cultural reportage, and music from different local radio stations transmitted through miniature radios projected from the sculpture.

By distributing stickers of commercial logos converted back into modernist geometries, Vidokle reinserts these once - utopian forms into the social fabric of the city.

27 May 2010 Carlos Garaicoa at the Irish Museum of Modern Art An exhibition by one of Cuba's leading contemporary artists Carlos Garaicoa, whose work explores the social fabric of our cities through the examination of its architecture, opens to the public at the Irish Museum of Modern Art on Thursday 10 June 2010.

We Love KB Blog About - Our lifestyle blog shines a light on exciting ventures and collaborations that contribute to the social fabric of our city, from exciting cultural events to shop local guides and bucket lists of must - see experiences in the Goldfields.

Not exact matches

Based at City University London, the ESS has become one of the largest and most reliable sources of data about Europe's evolving social, political and moral fabric.

The 504 Democratic Club is a New York City - based coalition of Democrats working towards inclusion of people with disabilities in the political and social fabric of society.

Mission: The 504 DEMOCRATIC CLUB is a New York City - based coalition of Democrats working towards inclusion of people with disabilities in the political and social fabric of society.

Steven Spielberg's film is an ode to an era when newspapers — with their crotchety reporters and editors, connected and well - heeled owners, democratic values, and broadsheet features — were a literal part of the social fabric, lining parlor couches and billowing through windy city streets.

It's become part of the social fabric in northeastern cities, and it's an engine of economic growth.

The Kresge Foundation's Detroit Program is a comprehensive community development effort to strengthen the long - term economic, social and cultural fabric of the city and surrounding region.

Group exhibitions include; «Soft Power, Arte Brasil», Kunsthal KAdE, Amersfoort, The Netherlands (2016); «All Heritage is Poetry», Fundação Eugénio de Almeida, Evora, Portugal (2016); «What Separates Us», HS Projects, The Embassy of Brazil, London, England (2016); «Drawing Biennial», Drawing Room, London, England (2015), «Warp and woof», The Hole, New York, USA (2014), «A Sense of Things», Zabludowicz Collection, London, England (2014); «Threaded Stories», Stephen Friedman Gallery, London, England (2013); «3 am: Wonder, Paranoia and the «Restless Night», The Bluecoat, Liverpool, UK; travelling to Chapter, Cardiff, Wales, UK; The Exchange, Penzance, Cornwall, UK; Ferens Art Gallery, Hull, UK; «Site: Place of Memories, Spaces with Potential,» Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2013); «Labour and Wait,» Santa Barbara Museum of Art, California, USA (2013); «Além da Vanguarda,» Bienal Naifs do Brasil, SESC Piracicaba, São Paulo, Brazil (2012); «Mythologies, Cité Internationale des Arts,» Paris (2011); «Undone: Making and Unmaking in Contemporary Sculpture,» Henry Moore Institute, Leeds (2010); «Epílogo,» Museo de Arte Zapopan, Guadalajara, Mexico (2010; «Going International,» The Flag Art Foundation, New York, USA (2010); «Textiles Art and the Social Fabric», MUHKA, Museum of Contemporary Art, Antwerp, Belgium (2009); «Blooming: Brazil - Japan Where you are,» Toyota Municipal Art Museum, Japan (2008); «The British Art Show 06,» Hayward Gallery touring exhibition, UK (2006).

Recent notable group exhibitions include; 3 am: Wonder, Paranoia and the Restless Night, The Bluecoat, Liverpool, UK; travelling to various UK destinations (2014 - 2013); Site: Place of Memories, Spaces with Potential, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2013); Labour and Wait, Santa Barbara Museum of Art, California, USA (2013); Além da Vanguarda, Bienal Naifs do Brasil, SESC Piracicaba, São Paulo (2012); Mythologies, Cité Internationale des Arts, Paris (2011) and Textiles Art and the Social Fabric, MUHKA, Museum of Contemporary Art, Antwerp (2009).

Kim Córdova looks at recent evolutions in Francis Alÿs's interventions in the social and urban fabrics of cities, as he moves from Mexico City to a more international context.

«Art Conversation with Filipa Ramos,» Palazzo Grassi, Venice, Italy, December 12, 2013 «Conversation in Urban Art: Theaster Gates and Steve Edwards,» The Women's Board, The University of Chicago, Chicago, IL, December 10, 2013 «To Dig Constantly, Mining Myself,» The Rapp Lecture in Contemporary Art, Art Gallery of Ontario, Toronto, Canada, November 20, 2013 «Theaster Gates: A Way of Working,» Sears Crosstown Arts Visiting Artist Series, Crosstown Arts, Memphis, TN, November 16, 2013 «Artist Talk: «12 Ballads for Huguenot House» with Theaster Gates,» Krannert Art Museum, University of Illinois at Urbana - Champaign, Champaign, IL November 11, 2013 «Du Bois: The Early Social Practitioner with Theaster Gates,» University of Massachusetts Amherst Architecture + Design Public Lecture Series, University of Massachusetts Amherst, Amherst, MA, November 4, 2013 «Walid Raad and Theaster Gates in Conversation with Mohsen Mostafavi, «On Art and Cities»,» Harvard University Graduate School of Design, Cambridge, MA, October 24, 2013 «A Way of Working,» Vera List Center Prize for Art and Politics Public Lecture, The New School, New York, NY, September 18 — 19, 2013 «Thought Leadership Speaker Series,» Kunstmuseum Basel, Basel, Switzerland, June 12, 2013 «Urban Think & Drink: Theaster Gates,» Metropolitan Planning Council, Chicago, IL, May 22, 2013 «Artist Talk: Theaster Gates with David Levin & Hamza Walker,» Museum of Contemporary Chicago, Chicago, IL, May 18, 2013 «To Make the Thing that Makes the Thing,» 16th Annual Benesse Public Lecture, Cincinnati Art Museum, Cincinnati, OH, April 3, 2013 «Current Perspectives Lecture Series: Theaster Gates,» Kansas City Art Institute, Kansas City, MO, March 28, 2013 «I Believe in Places,» Bemis Center for Contemporary Arts, Omaha, NE, March 27, 2013 «Architecture Lecture: Theaster Gates,» University of Detroit Mercy, Detroit, MI, March 20, 2013 «To Make the Thing That Makes the Thing,» The University of Pennsylvania School of Design, February 2013 «Leading Ideas Speaker Series: Theaster Gates,» in conjunction with Our Literal Speed, The Banff Center, Banff, Alberta, Canada, January 30, 2013 «Theaster Gates: Soul Manufacturing Corporation: To make the Thing that Makes the Things,» Fabric Workshop and Museum, Philadelphia, PA, January 21, 2013

While prior shows focused on emerging artists, according to press notes the 2015 edition plans to «examin [e] key points of connection and intersection between emerging and more established artists across New York, while also exploring aspects of earlier histories of the city itself, and its changing political, social, and architectural fabric.»

Mellors has been invited by the gallery to make a new film using the fabric and social history of the city and he proposes to use the architecturally monumental, Brutalist Preston Bus Station as its focus.

It's a great way for an artist to give back to the community, and typifies the liberality of this artist, who has had an enviable record of generosity not only in the artistic community, but also in the social and political fabric of The City he has called home throughout his life.

I leave the gallery and reflect how the history of kurimanzutto mirrors the changing social and economic fabric of Mexico City.

Yet there's one feature of Masdar that I have a hunch will define the unique social fabric of the clean city more than anything besides the work.