Sentences with phrase «through social objects»

Instead of first focusing on traffic, think about how you can create value and get my attention through social objects.

Not exact matches

Advocates of the social gospel slide more quickly through the first phrases, then put great weight on the nouns describing the objects of concern: the poor, the captives, the blind, the oppressed.

It was passed through the parliament with only three no votes, which implies that the lead opposition the Social Democrats — PES — either don't object or don't care.

Players can reset the controller buttons for any object and change the rules to any level through an ability called Direct Control and new multiplayer abilities advance the types of games possible for a social / competitive experienceâ $» imagine racing games, flying games, shooters, puzzle games, sports, action / adventure, and more.

Similarly the environments chosen to present these objects tell a story — through a lucid observation of Brooklyn's subcultures - and link a thread throughout the geographical and social connotations of these works.

Through the novel displacement and arrangement of objects, Matheus reflects on the inherent value placed on them by their social and economic networks.

It's also essential to package and optimize our content as social objects in order for them to work for us in our absence, when individuals actively seek content through contextual searches.

When others link Hugh to social objects, readers who take time to click through will see the credit.

With attendance of more than 900,000 visitors throughout the year, 2017 saw such landmark presentations as No Place Like Home, which traced the artistic appropriation of domestic objects from the early 20th century through today; Ai Weiwei: Maybe, Maybe Not, examining notions of individuals» relationship to their social culture; as well as bodies of work by acclaimed Israeli photographers Ilit Azoulay and Micha Bar - Am.

«For me art and life are inextricably entwined,» Day says of her work addressing themes of intimacy, loss, and social justice, and appropriating materials from the real world of objects that pass through her hands on a daily basis.

Through the familiar threads of home and domestic objects, the exhibition reveals the shift in art over that period from the representational through to powerful social commentary photography as well as conceptual art and the appropriation of «ready - made» oThrough the familiar threads of home and domestic objects, the exhibition reveals the shift in art over that period from the representational through to powerful social commentary photography as well as conceptual art and the appropriation of «ready - made» othrough to powerful social commentary photography as well as conceptual art and the appropriation of «ready - made» objects.

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.»

Through a precise examination of this distinct form of artistic practice in works by artists ranging from John Cage to Sanford Biggers, this exhibition provides a unique perspective on the ways in which modern and contemporary artists have used language, objects, and images to forge social contracts with their publics.

By re-appropriating American culture through found objects, she questions social, political and cultural issues about sex, gender identity and marginalized groups.

His art is characterized by the dynamic artistic process and creative approach to mundane objects of our environment that once transformed through his paintings and installations capture a range of social atmospheres.

My work addresses the shifting status of subjectivity in a time of techno - scientific acceleration, environmental change and social - political instability through textual, performative, film and object - based artworks.

A long - awaited and in - depth monograph of the life and work of Robert Arneson, an artist who has infused the alchemy of clay with the funk aesthetic of everyday objects and self - portraiture, in ways that elevate their sustaining power through his insightful social and political observations.

In so doing, these objects directly enter a conversation in which individuality and originality is observed and understood against the mechanisms of late capitalism and neoliberalism — a system fundamentally concerned with redefining its own contradictions through the exploitation of accessible social relations in order to survive.

Dylan Gauthier (b. 1979, Santa Monica, CA) is a Brooklyn - based artist, curator, and writer who works through a deeply engaged artistic practice centered around ideas of ecology, architecture, image - objects, and the social.

Through the distortion of natural forms and movements in nature and in objects, she seek to create small, visual breaches in the social settings and norms that we as humans relate to.

Which of course, is THE WHOLE PURPOSE of art in the first place: Self - expression through third - party «Social Objects».

The result is a collage of individual experiences, based on the common social condition of living as a perceived foreigner in Germany combined with still - lifes where everyday life objects are exoticised through the way of staging.

Two things I'd add: i) I think it's oversimplifying marketing to say it always worked through the intermediary of a social object.

The beauty of the concept is the TEMPORARY & NON-EXCLUSIVE, which makes the consumer, user, fan, buyer move through a number of Totems and fine - grain his own social representation your through adopting a variety of Totems at the same time, thus perpetuating the purpose - idea, «personalized» by his own flavor, the mixture of his favorite social objects spirit.

His exploration of the communal role of art and everyday actions as art recalls Joseph Beuys's notion of social sculpture (art's potential to transform society through human activity with language, thought, action, and objects).

Gowda is interested in the power that objects and forms carry in capturing aspects of reality, with its social and cultural narratives, that are otherwise unseen by and unspeakable through other languages of representation and analysis.

His work deals with diverse topics such as the political / social constitution of the Puerto Rican nationality & the hegemonic colonial ideology, art making processes, and the diffusion of collective imagery, through photography, installation, sculpture, video, painting, and found objects.

The human body as subject matter became increasingly scandalous and provocative in the post-war climate, whether in Hans Bellmer's dark surrealist masterpiece Les Jeux de la Poupée, Allen Jones's typically fetishistic Waitress I, or for the body's new role as a medium of experience, object of analysis, and tool of social protest through performance, seen in the Aktionism of Gunther Brus (Patent Merde).

Having roots in the social sculpture of Joseph Beuys, Bajo uses actual human beings as her material such as found objects, sourced through friends of friends, as part of a «found human» organic process.

One of the starting points of her research is the study of «Support Structures»: through her practice, writings and theoretical reflections, Céline Condorelli investigates the complex apparatus made of objects, cultural and economic elements, social and professional relationships that constitute the net of relations we use to engage with the world.

His work helps to develop a viewer's awareness and understanding of social themes, through wordplay as well as juxtapositions of technology and other found objects.

Steinbach is interested in the shared social ritual of collecting, arranging and presenting everyday objects and materials, an experience that on a basic level extends to us all, whether it's through -LSB-...]

It is through their implied social relation that these objects reveal sincerity.

Through varied media and a cornucopia of objects Cornaro presents a precise analysis of the political and social threads imperceptibly woven into Western material culture.

Continuing his investigation into what he terms «social geometry» — the intersection of physical space with human thought and behavior — Lionni trains his eye on seemingly banal images, objects, and substances, filtering them through a variety of meticulous processes in order to focus our attention on their oft - overlooked

The exhibition's humour steadily gives way to a feeling of unease at the sheer quantity of existential contrivance surrounding us, the viewer — the creation of ideas and objects given meaning through entirely subjective invention; in an attempt to support meaning and therefore social order.

His sculptures are made of the wide range of mundane objects that are explored through their complex social and political implications.

Through the use of imagery, objects and practices taken from books on psychology, pedagogy, medicine, the social sciences and theater techniques such as the psychodrama, the artist has often worked with children and kids from both elementary and junior high schools, creating workshops of which the outcome is fully incorporated in her work.

Combining and reconfiguring familiar objects into new material forms, Wermers addresses the structures of ritualised social relations and the material objects through which these associations are communicated.

Every post or status update or video or article posted on Facebook is a social object — it's purpose is to start a conversation, or continue one (through comments, or «likes», or sharing, or timelines).

As attention spans continue to thin and as interesting content spins through attention dashboards at blinding speeds, brands must proactively connect relevant information to social beacons who can lend credibility and spark conversations and dialogue around the objects we introduce aligned by theme and context.

When we introduce social objects, our ability to create, connect, and define experiences around these information and idea catalysts defines whether we earn the attention we feel we deserve or we savor the collaboration we engendered through design.

Through five rooms, the Jamaica - born Ward creates fictional experiences for the viewer by skewing found material, photography, collage, video, social documentation, and sculpture into art objects.

At Social Object Factory we love helping businesses of all sizes articulate their purpose through images and animation.

Through seven short examples, he shows how social objects bring people together by giving them a reason to talk to each other.

Learn how to think of marketing as «social objects» that talk to and through people, shifting from a world of impressions to expressions.

Invest time and resources in the eloquence of describing and defining social objects through titles, descriptions, tags (keywords), links, and active content promotion.

Hugh's social objects are islands of aggregated passion around an interest that cuts through the noise of friendly social chatter and surfaces like safe harbors on this graph.

I'd never grasped that Labyrinths are a social object for Humanity itself and have been for thousands of years through time and space and place.

Its curatorial line is centred on artists questioning the medium and the object through their form, their architecture, their subject and always in the social or political sense.