Sentences with phrase «violence wrought upon»

Not exact matches

through His death on the cross, then as we read Jesus back into the Old Testament, and as we seek to understand the violence of God in the Old Testament, we must keep the mission of Christ to destroy the devil's work first and foremost in our minds, and especially the critical aspect of Christ's work upon the cross.

They wrote: «We don't blame him for despising his very existence, since he is DIRECTLY and PERSONALLY responsible for thrusting terrible violence upon every other gender (all of them), race, sexual orientation, ethnicity, and religion... even though by all accounts he's a good guy who works hard, takes care of his family, tries his best to love his neighbor as himself, and all that other stuff that doesn't matter because we only regard him as part of a collective group to which we assign blame.»

CADA also believe that it is important to state from the outset that the intent is to impress upon EC and the country's Security Forces to work together to incorporate stringent security management for electoral processes into its existing core activities to steer 2016 Ghana general election from violence.

The graphic acts of violence won't shock anyone familiar with the work of Scorsese or Tarantino but by turning his camera upon the faces of complicit onlookers Cooper (Crazy Heart) ensures their weight is felt.

There are several close - up shots of Dredd's mug as he gazes upon the violence he has wrought and his scowl looks like it could have been chiseled out of stone.

It's incumbent upon all of us in the animal welfare and human social services sectors to work together to protect all victims of violence.

Last spring, the department hosted mixed - media artist Ebony Patterson, whose work pulls the viewer in and forces them to bear witness to the violence and social injustices imposed upon those deemed invisible.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

Dudek works with objects, installations, collage and performance, touching upon questions regarding control in society, the hierarchy of power, and mechanisms of violence and aggression as seen from sociological, historical, and psychological standpoints.

A violence upon the body is suggested in two further works by Clawson & Ward: their «branding iron» sculpture and a print work, «This ear says that the artist is not well schooled in anatomy... the ear screams and shouts against anatomy...», which shows an appropriated image of Joseph Stalin's ear.

Featuring: Amna Asghar, Dana Davenport, Umber Majeed, Tammy Nguyen, Ke Peng, Sahana Ramakrishnan, Sheida Soleimani Amna Asghar speaks on the construction and translation of disparate references, cultures, geographies, and generations from Pakistan and America; Dana Davenport addresses the complexity of interminority racism within her own community and institutions from her experiences as a Black Korean American; Umber Majeed's practice attempts to unpack the temporalities within South Asia as site, familial archival material, popular culture, and modern national state narratives; Tammy Nguyen interrogates natural sciences and non-human forms to explore racial intimacies and US military involvement in the Pacific Rim; Ke Peng documents the feeling of alienation and disorientation from urbanization and immigration by taking a journey into an imagined childhood in China, Hunan, where she was born and Shenzhen, a modern city where her family relocates to; Sahana Ramakrishan explores myths and religion from Buddhist and Hindu tales to speak upon the magic of childhood and the power dynamics of sexuality, race, and violence; Sheida Soleimani is an Iranian - American artist and a daughter of political refugees, making work to highlight her critical perspective on the historical and contemporary socio - political occurrences in Iran.

Works by 14 artists touch upon a host of issues surrounding access to and use of firearms, examining and representing the role that guns continue to play in our national mythologies and pathologies, suicide and homicide rates, domestic violence, and mass media.

Daniel Keller will explore ecological and technological developments at the stand of Kraupa - Tuskany Zeidler; Marcelle Alix will show a veiled installation of «Opaque» by Pauline Boudry and Renate Lorenz; while Villa Design Group's work at Mathew Gallery will question languages of design, violence, and subjectivity through an installation of 10 doorways that draw upon architectural details from the murder scene of Gianni Versace.

His work reflects upon numerous dichotomies — beauty versus violence, personal memories versus national histories, digital technology versus art historical reference.

He works with objects, installations, collage and performance, touching upon questions regarding control in society, the hierarchy of power, and mechanisms of violence and aggression.

First recognised for paintings and collages concerned with the myriad forms of violence and misrepresentation visited upon women, especially black women, in the contemporary world, Mutu's work has often featured writhing female forms.

Australia therapist Alan Jenkins introduces his talk on becoming resilient - and expands upon his novel practice understandings when working with the issues of violence, abuse and trauma.

Our team can work with the «whole of family approach» to respond to events that may have had an impact upon their lives like «Sorry Business» or trauma such as domestic and family violence.

She also supports the Implementation Guide for the Education Sector of the Multi-Sectoral Guidelines to Tackle Third - Party Violence and Harassment Related to Work agreed upon by the European social partners ETUCE and EFEE.

Upon moving to the Kansas City area in 2000, Lori was given the opportunity to work in her field of passion at SAFEHOME, serving victims of domestic violence.