Sentences with phrase «use cultural objects»

As a whole, Haunted by Objects is the grandiose attempt by an artist to use cultural objects and the narratives and worldviews preserved in them to give voice to his own sense of fascination.

Not exact matches

Each chapter in the book is devoted to one of five objects and each builds on the cultural relevance of materials, exploring the connections between artists» materials and their everyday life; showing how materials could be used philosophically and playfully.

This test consists of 20 items (with an associated answer key for the teacher) that assess the vocabulary, grammar, and cultural concepts listed below: Vocabulary Themes: History; Countries and cities; Communities Grammar Themes: Prepositions: Preterite tense in regular - ar, - er, and - ir verbs; Direct object pronouns Culture Themes: The Mayas and The Incas; Independence Age; Latin American and US Writing in Spanish: Punctuation and accents An alternate version of the test is also provided to the teacher, in case a student needs to re-take the assessment or for use in large classrooms.

Participants will understand the value of using art and objects for increasing cultural competencies and critical thinking; experience pre - and post-museum trip activities that can be used to develop observation, deduction, and language skills, explore themes, and reinforce program learning objectives; and share their own ideas / resources for effective museum - based learning.

The entire episode is an object lesson in IP and copyright among writers who don't understand the tools and technologies they use — and whose sense of self - entitlement (or greed) runs roughshod over the social and cultural principles of their own medium: books.

Since moving to Mexico, Glassford has immersed himself in Latin American life, using found materials in his work and amassing a large collection of Mexican cultural objects that inform his art - making.

Organized around the concept that inanimate objects and inert cultural artifacts are conduits for narrative histories, the program considers how artists use moving images to extend the life of things and materials that would otherwise appear to be stable and resolute.

The artist uses a vocabulary of domestic objects and suburban architectural elements as a visual language, addressing our social, cultural and emotional existence.

Sadie Barnette uses drawing, photography, objects, book and print making, and site - specific interventions to construct a visual language out of cultural codes and west coast vernacular, economic formalism, text and abstractions.

Akunyili Crosby's works are multilayered both in their materials (she uses paint, charcoal, pencils, fabric, paper transfers, and collage) and in their meaning — she explores questions of cultural identity, relationships, and geography through portraiture, interior space, and objects.

After moving to New York in 1974, he began employing objects and found materials in his work, resulting in such creations as the «Dreadlocks» series of 1976, which used collected barbershop hair, a medium that he believed had spiritual associations in addition to cultural ones.

Using the Kentifrican method of «Looking Where it Ain't», Hinkle will develop new forms of storytelling and object - making that affirm cultural presence within Los Angeles communities.

Stockholder has long broken down the boundaries between painting, sculpture, and architecture to explore the body in social and cultural space — using found objects intertwined with profusions of vivid colors.

A native of Los Angeles, California, and current New York resident, Sanford Biggers uses the study of ethnological objects, popular icons, and the Dadaist tradition to explore cultural and creative syncretism, art history, and politics.

Yoram Wolberger uses childhood toys and everyday domestic items to create his large scale sculptures, foregrounding the latent symbolism and cultural paradigms of these objects that so subtly inform Western culture.

The works in the exhibition continue the artist's signature use of functional and found objects relating to his home country, drawing on both cultural and social shifts as well as considering these objects as vessels with personal and geological histories.

There is an interest in defining a period of our collective history and cultural understanding through objects of symbolic meaning used for ritual and cultural identity.

And that has a kind of African context too in that the African artists or the medicine men and others who were involved with creating things — cultural icons and other things — would determine the value of something and place it in a different context; such as the use of objects from nature.

She uses them to speak meaningfully about cultural heritage, gender, beauty standards, race, and identity while transforming hair accoutrements into sculptural objects.

Referencing a range of historical and contemporary codes and double meanings including floriography, the Victorian cultural phenomenon that used flowers as tokens to communicate hidden or forbidden pleasures, Fox developed the «Phantasieblume» body of work (2008 - 11), a series of intricately hand cut decorative objects resembling the preciousness of handcrafted Victorian lace sited within a series of cabinets.

People tend to think of anthropology as being a very distinct practice from art or art history, but they are extraordinarily close: artists, curators, and anthropologists are all looking at cultural phenomena and particularly at objects and their use, and what that says about society at large.

He depicts these notions through the use of found domestic and utilitarian objects and materials to form sculptures, drawings, and prints that generate visual puns and cultural overtones, while also aiming to highlight how these objects portray and mimic language, specifically Spanglish — the rhythmic convergence of two languages spoken in Latin - American homes.

Based in Berlin, Nevin Aladağ uses everyday objects and situations as a starting point for her artworks, in which she deals with cultural and political codes, as well as their origins and histories.

Danh Vo, 36, a Vietnamese - born conceptual artist who lives and works in Berlin, melds autobiography with larger cultural issues, often using appropriated objects and images.

Nicole Killian's work uses graphic design, publishing, video, objects and installation to investigate how the structures of the internet, mobile messaging, and shared online platforms affect contemporary interaction and shape cultural identity from a queer perspective.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Featuring paintings and sculpture characterized by his signature use of clothing, fabric, and objects to give his works cultural and socio - political context, the exhibition takes its name from an invented term that means «one who embodies elements of beauty and hardship, one who has been rejected, disjointed, disfigured, and discarded after being used for his labour.»

Taken from common and familiar materials the items are chosen so that anyone could understand the cultural design and use value of the object.

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.

Jessica Stockholder has long broken down the boundaries between painting, sculpture, and architecture to explore the body in social and cultural space - using found objects intertwined with profusions of vivid colours.

With over 100 objects, «From a diamond made from roadkill to a vending machine stocked with DNA, a golden crown for ecclesiastical use to traditional military tailoring, this exhibition addresses how luxury is made and understood in a physical, conceptual and cultural capacity.»

The works incorporate urban objects such as concrete slabs, taxi cab fragments, and garbage cans and are created using Greco - Roman techniques; this juxtaposition suggests parallels between the steady decay of contemporary cultural capitals like New York, with those now extinct, such as Rome.

Her work has been included in the publications By Hand: The Use of Craft in Contemporary Art (Princeton Architectural Press, 2010); The Object of Labor: Art, Cloth, and Cultural Production (MIT Press, 2007); and Contemporary Textiles (Black Dog Press).

Together, tactics of queerness such as humor, subversion, caricature, exaggeration, and others, can be used to disorient objects themselves: to see them anew, to give them new context, to understand how they perform as socio - cultural representations.

Billy examines the cultural use of natural resources by contra - intuitively working on objects or placing them next to each other.

Using the book as a symbol for knowledge, Benes conceals the information inherent to the object's purpose either as cheeky irreverence or as a commentary on American cultural values.

Lee is known for using everyday objects such as soda cans, light bulbs, socks and tambourines to evoke the familiar and explore affiliations between materials and their coded cultural and sexual meanings.

According to the gallery: «Cyril Le Van composes plastic art work by using photography to reproduce in actual size and three dimensions objects of daily life, symbols of belonging to a group, a social or cultural identity, or characteristics of our age.

Its use of non-art materials anticipated the use of «popular» mass - produced objects and cultural imagery of Pop - Art, and was an important influence on Arte Povera and contemporary Installation art.

Using Storyscope's workspace and tools, museum professionals and visitors can research, develop, and present stories that connect cultural objects across diverse museum collections.

This eco-concept project appealed to the Turner judges, who liked how «he transforms and reframes existing objects using a rigorous process of research» and admired his «unique ability to create poetic narratives which draw together a wide range of cultural, political and historical narratives».

Another great fit for Miami's flagship museum, Nari Ward: Sun Splashed follows issues of migration and cultural transplantation through the use of found objects and a variety of multimedia materials from Jamaican - born, New York native Ward in his largest mid-career survey to date.

Indigenous peoples have the right to manifest, practise, develop and teach their spiritual and religious traditions, customs and ceremonies; the right to maintain, protect, and have access in privacy to their religious and cultural sites; the right to the use and control of their ceremonial objects; and the right to the repatriation of their human remains.