Sentences with phrase «social ideas of space»

Not exact matches

This gave it a distinctive social space a term Burgess uses often, though he does not cite the literature that developed this idea of the churches place in society generally or in East Germany specifically.

Nor is it too much to say — in fact, it is saying the same thing — that the configuration of these properties at any given time and place comprises an invisible environment around which we form our ideas about time and space, learning, knowledge, and social relations.

It's based around the idea of applying gaming concepts to political actions in social online spaces, basically rewarding people with points, prizes and recognition for taking action.

I think facial recognition has so many other uses outside of dating, for social and business applications, and I am looking forward to new entrepreneurial ideas in that space.

«Social media had a huge influence on us in figuring out that the idea of sharing actively would work in a space designed for meeting new people.»

Sundance Institute was founded on the notion that by awakening new ideas, pushing creative boundaries, and creating a space for independent artists to share their work, we could make social change a part of our everyday life.

Category: English, Global Partnership, NGO, Private Institution, South America, Universal Education, Your experiences, Your ideas · Tags: Brazil, Co-creating, Education, Federal University of Bahia, Giovanni Cerrone, global citizenship education, Guilliermo Cereceda, holistic approach, International Education, Julia Navarro, knowledge, love, Mikele Ferraro, Mindset Edu Space, Morro de Sao Paulo, OES Brazil, Social Business

«I've seen work done with high school students that can convey very complicated ideas or allows space to grapple with huge community or social problems through the arts that students aren't able to do in conventional models of education,» she says.

The digital world's spirit of collaboration and connection can be replicated in the physical classroom as bulletin boards become mock social media spaces to share ideas.

It will involve invention and reinvention, crazy ideas, a marriage of the old and the new, social media re-imagined in a way that we're not renting or borrowing space on the web from Facebook or Twitter, Amazon or Kobo, but inviting guests into our own homes — our websites.

A person's identity is a composite picture of one's ideas, beliefs, infinite longings, abstractions, glances in mirrors, personal relationships, size, height, weight and color; one's library card, driver's license, social security number, bank account, acquired names; one's occupying one space as opposed to another, one's wearing of certain clothes as opposed to others, one's taste in food, one's sex.

Critic Chris Cobb suggests that Bourriaud's «snapshot» of 1990s art is a confirmation of the term (and idea) of relational art, while illustrating «different forms of social interaction as art that deal fundamentally with issues regarding public and private space.»

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raIdea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raidea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

«We embrace the idea of the arena of art existing in the fourth dimension of a social imagination beyond space and time, contingency and possibility.»

Later, with her images of crowds and her Surfers (2003) and Icehouses (2001) series, she explored ideas about the natural landscape as social space, with people connected by a common interest.

Bob and Roberta Smith creates brightly coloured text - based paintings with powerful social messages; Yinka Shonibare clads figures in colourful batik to create politically loaded sculptural or photographic tableaux; Thomas Heatherwick is one of the world's leading designers, whose Olympic Cauldron fired the imagination of viewers in the opening ceremony in 2012; Rebecca Warren fuses everything from the ideas of conceptual artist Joseph Beuys to the cartoons of Robert Crumb, creating vitrines and lumpy sculptural figures; Conrad Shawcross brings engineering and sculpture into collisions of mechanics, sound, light and space; and Louisa Hutton, of architects Sauerbruch Hutton, designs buildings with a flair for colour and material richness.

And so we now have phase two, and the expanded field of art practice and engagement with people and ideas, in a social learning space, will have a larger environment in which to play.

Including sound, sculptural and text - based works that have existed as early prototypes or sketches but never produced on the architectural scale for which they were initially intended, Gillick's choreography of spaces, objects and ideas poetically addresses themes of time, as history and duration, and the visual and spatial codes of the social.

Shaped by its early years in which the gallery was one of the few spaces in which both black and white could coexist, Goodman's programme is still driven by ideas of social transformation.

These environments serve as spaces for individuals of different social, economic, and cultural backgrounds to exchange ideas and experiences, spurring the development of new artistic disciplines and approaches.In today's New York City, artists working in this social practice find themselves increasingly challenged in their search for logistical and financial backing.

By transforming the space at Tate Modern into a mosque, «Studio Jum» ah» challenges the idea of the artist's studio and gallery as exclusive sites of modernism, and reinvigorates their social function and purpose.

Santiago Muñoz's recent work has been concerned with the material and physical trace of abstract political ideas, particularly post-military spaces, and the relationship between new landscapes and social forms.

If Pop was breaking down the social parameters of art production and reception, Minimalism carved out a new space for art's theoretical, more highbrow ideas to thrive.

Gavin Turk: The main issue for me is the idea of the vagrant, or person with no fixed abode, being someone who defines social space or a societal edge.

His work addresses social, political and communications issues, the relationship between public and private space within social frameworks, and the investigation of channels of information and the ways in which they may be used to censor central information or promulgate ideas.

Their focus rests on artistic ideas that deal with urban space and its appropriation as well as a new understanding of social issues.

The pioneering exhibition program at artist - run space Randolph Street Gallery (founded 1979) allowed many of the artists we now consider Chicago's finest, such as Jeanne Dunning, Iñigo Manglano - Ovalle, Dan Peterman, and Tony Tasset, both to exchange ideas and to position their works in a broader social and cultural context.

Sarah Charlesworth's recontextualized newspapers, a comparison of The Family of Man by Edward Steichen and Steve McQueen, typologies by the Bechers, Karl Blossfeldt, Dan Graham, and others, the photographic archive as a tool of social control, series - based portraiture by artists August Sander, VALIE EXPORT, Claude Cahun, Bea Nettles, Annette Messager, and Sophie Calle, the passage of space and time in works by Ed Ruscha, Duane Michals, Minor White, William Christenberry, and Atta Kim, photographic documention of artistic process, observation and experimentation, the photobook as a traveling idea, the slide show as performed sequence, Eadweard Muybridge and the illusion of motion, sequential narrative in works by Jan Groover, Eleanor Antin, and Chris Marker, compressing time in video works by Andy Warhol and Paul Pfeiffer, and more...

«Out of the consideration of home really comes the debate about nationality, belonging, race, power, patriarchy and the ownership of space, and these bigger ideas inform the everyday social context,» says Essers.

The aim is to provide a place where the «social buzz of a neighbourhood» can happen, where ideas, dreams and ambitions are shared; and to encourage this, Zoku will have a co-working space, meeting rooms, a game room, a bar, and a «living kitchen.»

The large, light space hides nifty ideas like a hidden sink tucked away in a corner so that dirty dishes can be discreetly obscured from the social end of the kitchen.