Sentences with phrase «through twentieth»

The history of Black lawyers, judges and professors in America precedes the Civil War, but the Reconstruction Era (1865 - 1877) and a national legacy of racism severely hampered the progress of Black men and women in the law, particularly in the South, through the twentieth century Civil Rights Movement and beyond.

«[E] ven if there had been no industrial revolution and burning of fossil fuels, there would have still been warming through the twentieth century — to at least 1980, and of almost 1 °C.»

For five decades through the twentieth century solar activity rose steadily to rare heights.

From 2006 — 2013 she was The Robert Lehman Foundation Chief Curator of Drawings at The Museum of Modern Art, New York where she co-curated the first major Lygia Clark retrospective in the United States (2014) and «On Line: Drawing Through the Twentieth Century» (2010).

His canvases are populated with dramatic images lifted from sources as various as Salle's own black - and - white photographs, eighteenth - through twentieth - century French and American painting, 1950s print advertising and how - to - draw manuals.

Other important exhibitions include: On Line: Drawing Through the Twentieth Century at The Museum of Modern Art, New York, 2010; Afterimage: Drawing Through Process, at the Museum of Contemporary Art, Los Angeles, 1999, and the Contemporary Arts Museum, Houston; Ends of the Earth: Land Art to 1974 at the Museum of Contemporary Art, Los Angeles, and Haus der Kunst, Munich, Germany, 2012; Alice in Wonderland at Tate Liverpool, U.K., 2012, and documenta 6, Kassel, Germany, 1977.

Ashton notes «because Tàpies is a copious commentator, his sources are well known» ranging «over the whole of literature, including origin myths from East and West, philosophy from ancient to modern, art history from the caves through the twentieth century, poetry, magic manuals, and daily newspapers.»

Group exhibitions and biennials featuring her work include Documenta 14, Athens, Greece and Kassel, Germany (2017); Radical Women: Latin American Art 1960 - 1985, Hammer Museum, Los Angeles (2017); 18th Biennale of Sydney, Australia (2012); DANCE / DRAW, the Institute of Contemporary Art, Boston (2011); ONLINE, Drawing Through the Twentieth Century, Museum of Modern Art, New York (2010); WACK!

In January 2011, a re-imagined section of How Can You Stay was performed at the Museum of Modern Art in New York City in conjunction with On Line: Drawing Through the Twentieth Century.

Group exhibitions and biennials featuring her work include Documenta 14, Athens, Greece and Kassel, Germany (2017); Radical Women: Latin American Art 1960 - 1985, Hammer Museum, Los Angeles (2017); 18th Sydney Biennale, Australia (2012); DANCE / DRAW, the Institute of Contemporary Art, Boston (2011); ONLINE, Drawing Through the Twentieth Century, Museum of Modern Art, New York (2010); WACK!

Whether due to a rejection of the staggering certitude of Greenberg's formalism, the deep veins of racism / classism / sexism running through twentieth - century criticism and curation, or the closely guarded access to institutions of art, these historical narratives are undergoing an intensive curatorial corrective.

On Line: Drawing Through the Twentieth Century.

In January 2011, a re-imagined section of How Can You Stay was per - formed at the Museum of Modern Art in New York City in conjunction with On Line: Drawing Through the Twentieth Century.

in the exhibtion On Line: Drawing Through the Twentieth Century at MoMA through February 7, 2011.

Private Treasures provided the public the rare opportunity to view works from the sixteenth through the twentieth centuries drawn entirely from an esteemed private collection.

Additionally she co-organized the exhibitions Alina Szapocznikow: Sculpture Undone 1955 - 1972 (2011) and On Line: Drawing through the Twentieth Century at MoMA (2010), and co-curated the survey Greater New York (2010) at MoMA PS1.

The exhibition featured seventeenth - through twentieth - century paintings, prints, and illustrated books from The Field Museum's Boone Collection.

Important exhibitions include: On Line: Drawing Through the Twentieth Century at The Museum of Modern Art, New York (2010); Ends of the Earth: Land Art to 1974 at the Museum of Contemporary Art, Los Angeles and Haus der Kunst, Munich (2012); Alice in Wonderland at Tate Liverpool, UK (2012); and FORTY at MoMA P.S. 1 (2016).

Through paintings, sculptures, photography and decorative arts, Visions of US explores evolving ideas about American cultural identity from the eighteenth through the twentieth centuries to tell a rich and inclusive story about how we imagine and represent the United States.

: Catalogue of the Exhibition, provides a thorough representation of Russian art from the twelfth century to today — including pieces from the world - class collections amassed by Russian tsars and merchants from the eighteenth through the twentieth centuries.

She recently co-organized the exhibitions Alina Szapocznikow: Sculpture Undone 1955 - 1972, with the Hammer's Allegra Pesenti, and On Line: Drawing through the Twentieth Century at MoMA, and co-curated the survey Greater New York at MoMA PS1.

Can «drawing through the twentieth century» dispense with both drawing and paper?

Midway through the twentieth century, long - held convictions regarding the spiritual truth or scientific validity of particular colors gave way to an excitement about color as a mass - produced and standardized commercial product.

Lucas Knipscher uses African fabrics as the backdrop for playing cards, Ana Cardoso subjects cotton and art history to serious punishment, Wilder Alison gives tapestry as art the look of emoticons, and Mae Fatto (also the show's curator) runs riot right through the twentieth century.

Prior to joining the Hammer, she was chief curator of drawings at MoMA from 2006 — 2013, where she organized major exhibitions including On Line: Drawing Through the Twentieth Century and Greater New York at MoMA PS1.

Midway through the twentieth century, long - held convictions regarding the spiritual truth or scientific validity of particular colours gave way to an excitement about colour as a mass - produced and standardised commercial product.

This is an exhibition of figure painting through the twentieth century — a time of upheaval and pain — and the art made in response to all that is as tortured as you'd expect, and hugely influential.

Through the concept of the line in space the artist's works expand the boundaries of the medium of drawing and his installation Double O (2008) was recently exhibited in MoMA's show On Line: Drawing Through the Twentieth Century (2010).

Hefuna's work was recently featured in the exhibition On Line: Drawing Through the Twentieth Century at tartistshe Museum of Modern Art.

Whether due to a rejection of the staggering certitude of Greenberg's formalism, the deep veins of racism / classism / sexism running through twentieth - century criticism and curation, or the closely guarded access to institutions of art, these historical narratives are undergoing an intensive curatorial corrective.

A sumptuously illustrated history of the Eternal City — the capital of Italy and world art — as captured by painters from the Antiquity through the twentieth century.

REVIEW This exhibition explores the African - American quest for equality through nine chronological periods from the early national period through the twentieth century.

Although it was three quarters of the way through the Twentieth Century, the place was very «Old Country»... antiquated, dimly lit, scorchingly hot, and dangerous... and those were its good points.

Now, its successor, Sacred Causes, follows the theme through the twentieth century, from «the European dictators to al - Qaeda.»

Not exact matches

The explanation, argues South African theologian John de Gruchy in his book Reconciliation, lies in the growing conviction among Christian theologians in the twentieth century that God's reconciliation of the world to himself through Jesus Christ encompasses political orders, not merely relationships among persons or within families or church communities.

The term entered into twentieth - social science through the writings of Harvard sociologist Pitirim Sorokin in the 1940s.

The twenty - first - century Church owes a lot to twentieth - century German Catholicism: for its generosity to Catholics in the Third World; for the witness of martyrs like Alfred Delp, Bernhard Lichtenberg, and Edith Stein; for its contributions to Biblical studies, systematic and moral theology, liturgical renewal, and Catholic social doctrine, through which German Catholicism played a leading role in Vatican II's efforts to renew Catholic witness for the third millennium.

This process of downplaying continued through the nineteenth and twentieth centuries.

After studying a series of Western societies from ancient Greece and Iran through the history of Israel, the Middle Ages, the Renaissance, and on into the twentieth centuries, Polak concludes that the most important single factor involved in the generation of change is the image of the future held by a given group.

One could almost tell the story of American public theology during the latter half of the twentieth century through the prism of Williams's scholarship and activism.

It would not be too farfetched or inaccurate to say that Darwinism in its deeper and persistent effects, as these became manifest in science and industry of the nineteenth and twentieth centuries, and, through them, in other cultural disciplines and activities, contributed to, if in fact it did not create, a new ethos in Western society, dedicated to the task of dealing with the immediacies of existence in their practical aspect.

Divinings: Religion at Harvard From its Origins in New England Ecclesiastical History to the 175th Anniversary of The Harvard Divinity School, 1636 — 1992 tells the story of religious life at Harvard from its founding in 1636 through almost all of the twentieth century.

Yet it is one of the great losses of just war thinking — and of modern societies — that from the middle of the seventeenth century through the middle of the twentieth, creative religious efforts to think through the meaning and implications of this tradition have ranged from occasional to notably lacking.

What was lacking, at least until the beginning of the twentieth century, finally evolved through the cooperation of a group of outstanding scholars of different nationalities: categories with which to organize the vast material assembled.

Again as we shall see, 13 the twentieth - century Scottish theologian Donald Baillie compares the presence of God in Jesus Christ to the saint's closeness to the divine through grace.

Those early experiences sparked Gilbert to chronicle the central events of the twentieth century and to recover the stories of people who lived through it — especially those who had suffered most.

One might suggest that the cultural revolution declared at the beginning of the twentieth century was delayed by the distraction of crises — from World War I («the Great War») through the end of the Cold War in 1989.

This vigor of a church unhampered by the close even though friendly control by the state has parallels in the enormous spread of Christianity through the Church in the Roman Empire before Constantine, in the vitality of the Church in Western Europe during the Middle Ages, and in the phenomenal expansion of Christianity in the nineteenth and twentieth centuries from churches which were either independent of the state or were less trammeled by it than had been most of the churches of the sixteenth, seventeenth, and eighteenth centuries.

It had made vast gains through immigration in the latter part of the nineteenth and early twentieth centuries and had consolidated its gains with its outstanding organizational and administrative work.

A brief glance through Huntington's Guide to Gettysburg Battlefield Monuments reveals that the majority of Union monuments rose between 1885, the twentieth anniversary of the war's end, and 1893, the thirtieth anniversary of the battle, though Confederate representation at Gettysburg was virtually nonexistent until Virginia raised the first Confederate state monument, featuring Robert E. Lee, in 1917.