«But when a long train of abuses and usurpations, pursuing invariably the same
Object evinces a design... ``
But when a long train of abuses and usurpations, pursuing invariably the same
Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.
Rather, it says: «But when a long train of abuses and usurpations, pursuing invariably the same
Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government and to provide new Guards for their future security.»
Not exact matches
Collection, as Walter Hopps observed, is probably the first of Rauschenberg's works to
evince all the characteristics of a Combine, that hybrid of painting and sculpture that the artist developed in the 1950s.1 Yet, despite the challenge to conventional categories posed by its collage and the addition of
objects that transgress the limits of frame and picture plane, Collection stands primarily as a reflection on the contemporary status of painting.
His works
evince overlapping dimensions, at once image and
object, illusion and representation, substance and skin, surface and depth.»
Situated in moments of slippage and interchange, his projects
evince the volatility of art
objects, which are on one level cash with which to trade and invest, and on another, art — the mysterious objectification of reflection, imagination, desire, and promise.
Radically different forms of Pop Art from both sides of the Atlantic:
evinced in the work of the American painter Allan D'Arcangelo, British filmmaker and collage artist Jeff Keen, and Spanish photographer and
object maker Dario Villalba
This style is indeed
evinced throughout Prouvost's work, as she continuously unhinges preconceptions about the functionality of language,
objects, and images, be it through a barrage of fast - paced moving pictures or a Duchampian peephole installation.
Less interested in the raucousness of «low» art than their figurative peers, however, these quietist formalists instead abstract from mundane artifacts that, while not intended as aesthetic
objects, nevertheless
evince a strange beauty.