Sentences with phrase «with queer culture»

Not exact matches

Though people may describe themselves by using terms like «gay» or «queer» which are commonly used in today's culture, as Christians who believe in man created in the image of God, we should ask if these cultural terms are, in fact, true ontological categories of the human person, in accord with the blueprint of human existence.

While our popular culture has not caught up — yet — the queer theorists increasingly calling the shots at the elite level already agree with Foucault on this point.

What's more, it exists at the nexus of Canada's queer and Punjabi - immigrant cultures, bringing with it not only a whole host of quirks, but the requisite nuances therein.

With assimilation into mainstream culture, queer cinema definitely lost its edge and brain - power if not its sex drive.

Indeed, the book outlines the full gamut of historical periods associated with different kinds of biopic subjects: the classical, celebratory form (melodrama); warts - and - all (melodrama / realism); transition from producer's genre to auteur's genre; critical investigation and atomisation of the subject; parody; culture based on consumerism and celebrity; minority appropriation (queer, feminist, African American, Third World, etc.); and neoclassical biopic, which integrates all of the above.

Equity in education, teacher education, content and / or disciplinary literacy, content and language integrated learning (CLIL), multi-lingualism and schooling, evaluation of learning, Systemic Functional Linguistics and educational linguistics, discourse analysis, queer theory, linguistic diversity among students with special needs, (auto) ethnography, and youth culture

It's about lesbians, werewolves, and lesbian werewolves (along with some other fun stuff like feminism, faerie culture, gender, class, shape - shifting, queer identities, and so on.)

We discuss his current project Playing with Pride, current opinions of queer gaming culture, and community for queer gamers.

Suspenseful and infused with a sense of longing, the works explore implications of love, desire and queer culture through a dreamlike romanticism and wistful nostalgia.

Drawing from the tradition of extreme craft — or the mixing of craft techniques like leather tooling, airbrushing, and stitching with art formats of sculpture, painting or drawing — Odom produces objects that aim to subvert gender roles and question how we stereotype queer culture.

In 2011, Frantz co-curated with Mia Locks the exhibition Cruising the Archive: Queer Art and Culture in Los Angeles, 1945 — 1980 as a part of the first Pacific Standard Time: Art in L.A., 1945 — 1980.

Aiming to widen the representation of the horse and its various contexts and cultures, the exhibition curator, Sophie Mörner, in collaboration with Fotografiska, has brought together some 100 works in order to highlight issues of the contemporary role of the horse, all in a multi-dimensional presentation in which photographers, queer theoreticians and horse nerds will all find something of interest.

Before joining MoMA PS1, Locks organized Cruising the Archive: Queer Art and Culture in Los Angeles, 1945 - 1980 (2012), with David Frantz, at ONE National Gay & Lesbian Archives as part of the Getty's Pacific Standard Time initiative.

Bas, along with other connoisseurs of the period, sees the «Bright Young Things» as harbingers of today's queer culture.

David appropriates elements from modernist design and contemporary culture in order to deal with issues of identity, queer politics, and complex emotional states.

He has shown recently at The Kinsey Institute (2013), Roots and Culture Contemporary Art Center (2014) and curated The Great Refusal, a citywide series of exhibitions and events dealing with queer identities in Chicago.

Similarly as Paul Thek (1933 - 1988), David Wojnarowicz (1954 - 1992) and Félix González - Torres (1957 - 1996), Blanchon sought relevance beyond the poetics of queer culture, and the vulnerability, pathos, and humor of his oeuvre will resonate with anyone who has felt the fragility of being human.

Work from 1861 to 1967 by artists with diverse sexualities and gender identities will be showcased, and will range from covert images of same - sex desire such as Simeon Solomon's Sappho and Erinna in a Garden at Mytilene 1864 through to the open appreciation of queer culture in David Hockney's Going to be a Queen for Tonight 1960.

Amir H. Fallah Anne Kraybill Anthony Huberman Apsara DiQuinzio Arnold J. Kemp Amy Beecher with Jennifer Sullivan The Center for Tactical Magic Christine Wang Claudia la Rocco Cuauhtemoc Medina CULTURE HOLE Dan Graham Daata Editions DAR+LUZ Collective Deborah Irmas Devon Bella Emma Acker Evan Reiser Geir Haraldseth INVASORIX Jeanne Gerrity John Houck Jodi Roberts Karleen Gardner Kathryn Reasoner Kimberly Drew Julie Chang Jeepneys Katja Zigerlig Laura Zuspan Laura Hyunjhee Kim Leah Levy Lee Maida Margrethe Aanestad Marte Danielsen Jølbo Mieke Marple Mildred Howard Pam Lins Renny Pritikin Rory Padeken Southern Exposure Sofia Cordova Susan Sutton The Stud, with VivvyAnne ForeverMore, Nicki Jizz, and the Spice Queers Tiffany Shlain Tom deCaigny Trevor Paglen Wayne Grim Wendi Norris Winoka Begay XUXA SANTAMARIA Yishai Jusidman Zachary Watkins

Prior to MoMA PS1, Locks organized Cruising the Archive: Queer Art and Culture in Los Angeles, 1945 — 1980 (2011), with David Frantz, at ONE National Gay & Lesbian Archives as part of the Getty's inaugural Pacific Standard Time initiative.

Obsessed with how America consumes black and gay culture Muse interrogates how she contributes to this further commodification of black and queer identities.

This program is co-presented with the Queer Cultural Center as part of the 2018 National Queer Arts Festival and the San Francisco Arts Commission Galleries as part of Culture Catalyst on view at the SFAC Main Gallery through June 9, 2018.

All of these artists are queer people of color, each dealing by degrees with the problems of identification and presentation of othered people via the dominant conventions of visual culture.

, Fear of a Queer Planet (University of Minnesota Press), pp.230 - 238 Paul Gilroy, «Climbing the Racial Mountain: a Conversation with Isaac Julien», in Small Acts: Thoughts on the Politics of Black Cultures (Serpent's Tail), pp. 166 - 172 Craig Houser, «I Abject», in Craig Houser, Leslie C. Jones, and Simon Taylor (eds.)

In group portraits, the power plays between the represented countries are illustrated through references to sexual scenarios from BDSM culture, with the dominant authority marked with a «D» and the submissive player marked with a «S.» The artist employs queer models of all shapes, sizes, and genders whose anonymous bodies, decidedly distinct from those of the men whose faces they are wearing, peek through holes in their masks and costumes in jarring ways.

The multilingual performance clashes high art against queer slang, playing with language, music and double entendres particular to Latino and black underground gay culture.

In Warholian fashion, Johnson often imbues his work with queer desire and dry melancholy as he mines lowbrow registers of American culture, resituating material drawn from such sources as People magazine, pulp fiction, celebrity auto - biographies, Hollywood histories, and advertisements.

The program is developed in collaboration with Cruising the Seventies: Unearthing Pre - HIV / AIDS Queer Sexual Cultures (CRUSEV).

He combines images of the natural world with symbols, designs, and imagery evoking hoodoo, queer culture, and Afro - Futurism.

ONE Archives participated in the Getty Foundation's first Pacific Standard Time initiative in 2011 with a three - part exhibition, Cruising the Archive: Queer Art and Culture in Los Angeles, 1945 - 1980, curated by Frantz and Mia Locks.

Carlos Motta is a New York — based artist whose work engages with histories of queer culture and activism.

«ICON is an amalgamation of several ideas I've been working with over the past decade: the design formula of heraldry, ornament, architecture, vogue fem performance, hip hop culture and the resilience of black queer folk,» said the artist.

Culture is a cloak, shield, glue and balm for Indigenous people identifying as lesbian, bisexual or queer and held the solutions to a «tight knot of grief», the CEO of the National Centre of Indigenous Excellence, Kirstie Parker, told conference delegates, inviting allies with «good hearts» to listen and raise their voices in support.