Sentences with phrase «about objects of art»

Students are encouraged to use visual evidence to construct their own interpretations about objects of art and develop critical thinking and communication skills.

Not exact matches

This way of putting the connection would seem somewhat strange to those who promoted art as a substitute for religion at the turn of the century, however, for it exhibits a consciousness both about the art object and about the language of religion and art which had not yet informed criticism or religion.

The real subject of expressionist art is not the object itself but the artist's feeling about the object.

A new kind of political - economic - moral order was rising — under the hand of Providence, he thought — and perhaps the most striking thing about this new order was that in it «men have in our time carried to the highest perfection the art of pursuing in common the object of common desires, and have applied this new technique to the greatest number of purposes.»

Mass: No, that was actually in the days before the Internet, and so I knew that I wanted to combine science and art in some way, but it wasn't until I was finishing up my dissertation when I learned about the field of art conservation and that there were chemists who work in art museums, spending their careers studying objects of art.

It's only in the last 40 years or so that conservation has really become a professional discipline where people are scrupulous about keeping track of all of the restorations there being done to objects of art, whereas art has been restored basically for the entire period of time that art has been made, and so we find so many undocumented, unexpected materials on an object of art.

The writer finally arrived - a handsome middle - aged British man - and he begins to speak about his book, «Certified Copy», which is about reproductions of original pieces of art and his theory that all copies are just as authentic as the the original objects.

b) I had just finished An Object of Beauty and was on a novels - about - art kick and c) there's a big honkin» blurb from Emma Donoghue, one of my favorite authors, on the cover.The story is about the...

The industry reflex seems to be to credit The Goldfinch, but it certainly wasn't the first novel about art to make a splash — think Steve Martin's Object of Beauty, Elizabeth Kostova's The Swan Thieves, Susan Vreeland's The Forest Lover and, of course, Tracy Chevalier's Girl with a Pearl Earring, to name just a few.

b) I had just finished An Object of Beauty and was on a novels - about - art kick and c) there's a big honkin» blurb from Emma Donoghue, one of my favorite authors, on the cover.

New York, NY About Blog This blog is dedicated to exploring and cultivating contemporary aesthetic interpretations of the book as an art object, while preserving the traditional practices of the art of the book.

This Ubud Kintamani Tour will visit places of interest in Bali like watching traditional Barong and Keris Dance performance is balinese dance story about battle good and evil, then the tour continue to visit Celuk Village is traditional village for gold and silver handicraft, then tour will visit Batuan Village is a traditional balinese village with beautiful fine art, then tour continue to visit the Tirta Empul Temple or most known as a Holy Spring Temple, a myth described if this temple was build by God Indra for protect the village from the arrogant King Maya Denawa, then ubud and kintamani volcano tour will visit the Kintamani village to see the breathtaking view of mount batur volcano, is a mountain tourism object for see the view of mount batur and lake batur view, and you will having lunch in Kintamani, while having lunch you can admire the beauty of the mount batur volcano and the lake batur from the restaurant.

Museum of Arts & Design showcases objects that toy with our expectations about a utilitarian material Read More

With over 4,000 objects representing more than two dozen collectors, including contemporary artists making art conceived by collecting, Massimiliano Gioni, the museum's artistic director, and his team of curators have mounted a remarkable series of object lessons about what it means to «keep,» the relationship of possession to loss, the madness inherent in love, and the undeniable importance of the individual's voice in recording and interpreting history and its sweep.

Questioning the status of the art object in a manner reminiscent of Duchamp, Okudzeto's recent work references the marketplace of art and food, raising questions about the politics of necessity (food) versus the politics of luxury (the art object).

will ignite conversations about the multitude of differences between reproductions and their objects, an issue that has become particularly poignant as laptops and phones become increasingly ubiquitous viewing devices for the visual arts.

He managed to invent pop art, conceptual art and minimalism all in one go when he started to make an American flag out of waxy paint layered over newspaper collage in 1954 and has been meditating with the same serious irony about objects and their meanings ever since.

King of Lesser Lands traces the fugitive career of Eugene Von Bruenchenhein (1910 — 83), a prolific creator of a diverse range of distinctive images and sculptural objects, who produced his art in private over a period of about 50 years at his home in Milwaukee, Wisconsin.

The green woven mats on the floor and on the wall of Hamilton's display — «alternative plinths» in her words — force you to think about the space, but they also nod to the unique way that Ede's collection combines natural objects and works of art.

The eleven artists in Politicizing Space critique and subvert these purportedly aesthetic and artistic gestures by reinterpreting the symbolic mechanisms of control and asking the age - old question about the balance of power between art object and viewer.

Anthea Hamilton is telling me about her new installation at the Hepworth Wakefield, in which she has redisplayed objects from Kettle's Yard, the former Cambridge home of the late English art collector Jim Ede.

Nonetheless, the Lévy news release bruits about the improbable notion that Mr. Judd regarded Mr. Castellani as the «father of the style that came to be known as Minimalism» and as «essential for Judd's formulation of a specific art object that «need only be interesting.»»

In the May issue of Apollo, she spoke to Imelda Barnard about creative collaborations, her obsession with found objects, and making art out of gin

In How to Become a Non-Artist (2007), Ane Hjort Guttu (b. 1971, Norway) looks at small arrangements of everyday objects by her four year - old son and offers an in - depth commentary about these inadvertent works of art.

The real labor of Fornieles» exhibition appears to be less concerned about creating individual art objects, and rather more focused on the production of this concept - cum - technology - cum - product.

Zoë Salditch, director of artist relationship for Electric Objects, a hardware device specifically designed for displaying digital art: «When I think about the fine art world market, I can't point to a Pepe - centric artwork; however, Richard Prince's recent Instagram series comes to mind.

Although I was slowly beginning to think about making objects, I was mostly thrashing about while in art school, lost in the hugeness of painting.

According to Yu Honglei, art comes from life; his work as an artist is derived from the everyday objects collected from his life to bring about and create an array of discursive new possibilities.

On first glance, the discreet works of McKenzie, Pope, and Silver appear to engage with some common assumptions about paintings and objects in ways that have gained recent traction within the current art dialog.

Perhaps our fascination with what might remain after the big destruction, relates to our similarly morbid preoccupation within contemporary art, and specifically sculpture, which has become partially about making objects that can be left behind for the next generations to discover; constantly aware of imminent mortality.

Artists are a perceptive, eclectic group, and through their studios you get to see the various characteristics of different artists: some appear cluttered and homely, others clean and sterile; some have books strewn about, others bottles; in some, the sound of music drifts through the air... Art should be about more than just aesthetic images or objects.

The series is frequently positioned as among the earliest group of works in which Rauschenberg sought to let the world into his art, and it is put forth as an example of his ongoing involvement with indexical marking, the direct transfer or tracing of an object or body (or in this case, light and shadow) onto the surface of a work.21 Yet these assessments miss much of the subtlety of Cage's thinking about receptivity.

Our board is particularly interested in the learning aspects of art and this year felt especially gratifying as we did a slow walk and spent a great deal of time looking at specific objects and talking about them.

Says Jones: «I had wanted for a long time to stop thinking about making art as a way of displaying things, but to think about it as a way of arranging objects almost like ruins and to see how they lie and how the relationships that they set up in the world can create a kind of alchemy.»

Pairing two seemingly different artistic practices, CROSS / / ROADS aims to create a productive confusion that pushes the viewer towards a nuanced reading of both the art objects on display and the multi-layered set of ideas about abstraction, history, and artistic practice they represent.

Also, just as the lithograph was about one set of objects (namely man - made chimneys also acting as trees), the collaged ukulele would be a functional musical instrument also being an art object, so I felt that there existed interesting parallel sets of ideas to play with about one set of images that can suggest something entirely different or about an object that can be transformed into something else with different associations.»

Marian Goodman Gallery had queues of people lining up to see a performance art of when an anime girl questions and interacts with viewers about the real feelings of an art object in the age of technology and commodity.

In both Memesis and Intervallo, Paolini poses questions about interval - the space between objects as well as the historical space which separates art of the present and that of the past.

The classical definition of a still life — a work of art depicting inanimate, typically commonplace objects that are either natural (food, flowers or game) or man - made (glasses, books, vases and other collectibles)-- conveys little about the rich associations inherent to this genre.

Along with familiar works from the collection, the installation will include objects on loan from other institutions, such as historical Native American art, folk art, furniture, and art from other regions and time periods to encourage a more textured narrative about the first centuries of US art and history.

Founded in 2005 by Duncan MacKenzie, Richard Holland, and Amanda Browder, Bad at Sports (B @S) now features over 20 principal collaborators and is a weekly podcast, a series of objects, events, and a daily blog produced in Chicago, San Francisco, Detroit and New York City that features artists and art worlders talking about art and the community that makes, reviews and participates in it.

Your use of industrial materials, the serial nature of your objects, and their site - specific installation (I am speaking about the Camp Hero installation at the Parrish Art Museum) also point to your interest in Minimalism.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

Roberta Smith writing in The New York Times Friday about Sherrie Levine: «Mayhem», at New York's Whitney Museum through January 29, inquired whether the show, like an «art boutique full of fastidious, expensive - looking objects lightly dusted with irony» meant that a mistake had been made: «I'd like to think that Ms. Levine is a better artist than this, but I'm not sure.»

While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery.

These vignettes reveal the diverse perspectives, passions, and expertise of their curators while raising bigger questions about the interpretation of creative and cultural objects, the role of audiences, and the transmission of knowledge through art.

Finally, Jack Morgan gave about 1,300 objects to the Wadsworth Atheneum in Hartford, Connecticut, enough to give that museum one of the most important holdings of decorative arts in the United States.

And yet, looking ahead to the fall's most anticipated openings, there appears to be a preponderance of shows that feature gallerywide installations, immersive video art, and site - specific objects, most of which are about as living - room - wall - friendly as a grenade.

I think about the in - between place of objects, like textiles, that are categorized as artifacts rather than art works.

Last year marked three international solo exhibitions for the artist — Natalie Hegert sits down with Parreno to talk about his two recent exhibitions in 2018, at Martin - Gropius - Bau in Berlin and the Art Institute of Chicago, in the context of the inescapable impermanence of the «permanent» object.