Sentences with phrase «vernacular mass»

A postmodern critique of the Catholic Church would find less grist in current controversies than in modern elements already present in the Church: the substituted vernacular mass, or the presence of national flags on church daises.

Not exact matches

I liked the dialogue between the people and the priest, and I liked the mass in the vernacular so I could understand what was going on.

But in carrying out the mission, the Jesuits had followed the medieval pattern of the Western church, introducing the Roman Catholic liturgy of the mass, forbidding any of the Chinese vernaculars in worship, and enforcing the use of Latin.

Luther roundly criticized sloppy, profit - driven printers who marketed the Bible, but his quest for a vernacular version of the scriptures also inherently tied believers» spiritual thirst to the capitalistic energies of an expanding mass - communications business.

Palm Sunday, or in my vernacular, Cebuano, bindita sa lukay (blessing of the palms) has always been experienced with the usual Sunday mass in my native hometown of Talisay.

Walker Art Center, Minneapolis, MN January 29 - May 8, 2011 Contemporary Arts Museum Houston, Houston, TX July 23 - September 18, 2011 Montclair Art Museum, Montclair, NJ October 8, 2011 - January 1, 2012 Ackland Art Museum, Chapel Hill, NC January 14 - March 18, 2012 Inspired by artist Mike Kelley's observation that «the mass art of today is the folk art of tomorrow,» The Spectacular of Vernacular embraces the rustic, the folkloric, and the humbly homemade as well as the crass clash of street spectacle and commercial culture.

Often called «pop artists», they saw mass popular culture as the main vernacular culture, shared by all irrespective of education.

In his use of mass - produced goods and vernacular culture rendered in an anonymous style, Rosenquist's work recalls that of Andy Warhol, while his seemingly irrational, mysterious pictorial combinations owe a debt to Surrealism.

He pulled elements from this mass - media vernacular to create his famous «word» paintings, which combine typography with abstract, atmospheric backgrounds.

Inspired by Mike Kelley's observation that «the mass art of today is the folk art of tomorrow,» The Spectacular of Vernacular reflects an expanded view of the vernacular posited in Denise Scott Brown, Steven Izenour, and Robert Venturi's Learning from Las Vegas (1972), one that embraces the spectacle of the street and the stylistic cacophony of the strip — the totems, billboards, and neon signs of roadsidVernacular reflects an expanded view of the vernacular posited in Denise Scott Brown, Steven Izenour, and Robert Venturi's Learning from Las Vegas (1972), one that embraces the spectacle of the street and the stylistic cacophony of the strip — the totems, billboards, and neon signs of roadsidvernacular posited in Denise Scott Brown, Steven Izenour, and Robert Venturi's Learning from Las Vegas (1972), one that embraces the spectacle of the street and the stylistic cacophony of the strip — the totems, billboards, and neon signs of roadside America.

Inspired by Mike Kelley's observation that «the mass art of today is the folk art of tomorrow,» The Spectacular of Vernacular reflects an expanded view of the vernacular posited in Denise Scott Brown, Steven Izenour, and Robert Venturi's Learning from Las Vegas (1972), one that embraces the spectacle of the street and the stylistic cacophony of the strip - the totems, billboards, and neon signs of roadsidVernacular reflects an expanded view of the vernacular posited in Denise Scott Brown, Steven Izenour, and Robert Venturi's Learning from Las Vegas (1972), one that embraces the spectacle of the street and the stylistic cacophony of the strip - the totems, billboards, and neon signs of roadsidvernacular posited in Denise Scott Brown, Steven Izenour, and Robert Venturi's Learning from Las Vegas (1972), one that embraces the spectacle of the street and the stylistic cacophony of the strip - the totems, billboards, and neon signs of roadside America.

Together with Claes Oldenburg, Edward Ruscha and the late Andy Warhol, Lichtenstein ranked among the most important American artists to explore the vernacular culture of mass - produced consumer goods and popular urban life.

Early vernacular buildings developed using these universal principles, carefully orienting and shading buildings so that they gained heat in winter and were shady in summer, introducing thermal mass in dry climates, and in more humid ones using cross ventilation, porches, shutters, ceiling fans, solar chimneys and insulation.

In Vitruvius's 1st century BC encyclopedia of architecture, a seminal antecedent to Architectural Graphic Standards, these vernacular skills become the art of building and one finds entire chapters devoted to the profound significance of the sun's movement in relation to the location of rooms, the size of apertures, and thermal mass.