amelia jones in a sentence

• In 1881 he married Amelia Jones in Baschurch and together had two sons and three daughters.
• Amelia Jones, for example, places the work in the context of both art history and the evolution of feminist ideas to explain critical responses of the work.
• Amelia Jones curated the 1996 exhibition, " Sexual Politics : Judy Chicago's Dinner Party in Feminist Art History ", at the Hammer Museum.
• This is Amelia Jones speaking, " when they pick up their telephone, or is this what people used to do back in the'80s and earlier?
• Amelia Jones has authored post-feminist texts which emerged in the 1980s / 1990s and portrayed second-wave feminism as a monolithic entity and criticized it using generalizations.
• Amelia Jones points out that dolls for children, such as Barbies, add to this pressure, citing as an example a new, black Barbie with long hair.
• Amelia Jones has written that the postfeminist texts which emerged in the 1980s and 1990s portrayed second-wave feminism as a monolithic entity and were overly generalizing in their criticism.
• A survey of Chakravarthi's work can be found in " " Sexuality ( Whitechapel : Documents of Contemporary Art ) " " Edited by Amelia Jones, 2014.
• Additionally, Amelia Jones published writings on Cassils's solo practice in " Reading Contemporary Performance : Theatricality Across Genres ", co-edited with Gabrielle Cody ( 2015 ).
• In " Irrational Modernism : A Neurasthenic History of New York Dada ", Amelia Jones provides a revisionist history of New York Dada, expressed through the life and works of The Baroness.
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• In response to " The Dinner Party " being a collaborative work, Amelia Jones makes note that " Chicago never made exorbitant claims for the'collaborative'or nonhierarchical nature of the project.
• In 2013, this piece was exhibited in an exhibition called " Material Traces : Time and Gesture in Contemporary Art " curated by Amelia Jones and appeared at The Edgy Woman Festival in Montreal, Canada.
• Special educator Jean Lokerson and art educator Amelia Jones wrote that  the art room is a place where learning disabilities can turn into learning assets .  Special needs students often come out of their shells and get enthusiastic about creating.
• A solo exhibition, " Mira Schor : Paintings From the Nineties To Now, " was held at CB1 Gallery in Los Angeles, CA ( November 20, 2010  January 9, 2011 ) with a catalogue essay by art historian Amelia Jones.
• Amelia Jones proposes that this mode of viewing gender offered a way to move beyond the theories of the gaze and sexual fetishism, which had attained much prominence in academic feminism, but which by the 1980s Jones viewed as outdated methods of understanding women's societal status.
• It includes writing about his work by major artists including Guillermo G髆ez-Pe馻, Antony Hegarty ( Anohni ), Robert Wilson, Lydia Lunch and Bruce LaBruce, and essays by scholars such as Amelia Jones, Jennifer Doyle, Adrian Heathfield, Homi K . Bhabha and others.
• "Sexual Politics : Judy Chicago's The Dinner Party in Feminist Art History ", a 1996 exhibition and text curated and written by Amelia Jones, re-exhibited Judy Chicago's " The Dinner Party " for the first time since 1988.
• "The idea of high art being a reality separate from the popular, the social or the political never existed until modernism, " says Amelia Jones, an art history professor at the University of California at Riverside who built a 1996 exhibition of feminist art at UCLA's Armand Hammer Museum around " The Dinner Party ."
• "With the revival of an abstract notion of beauty, we return not only to Ruskin but also by implication to the imperialist and exclusionary logic of cultural value that gave Ruskin and his contemporaries their social authority as arbiters of taste, " one critic, Amelia Jones, wrote in a recent issue of X-tra, a Los Angeles-based art journal.
• Her work on this topic continues in her articles on artists such as Isaac Julien, Eleanor Antin, Connie Samaras, Natalie Talec, and Katja Aglert and in essays on Chinese and Japanese feminist contemporary art in anthologies such as " Feminism and Visual Culture ", edited by Amelia Jones and in the " Visual Culture Reader ", edited by Nicholas Mirzoeff.