Sentences with phrase «aesthetic language of»

Over the course of his career, Pettibone employed the aesthetic language of Pop art and its propensity for appropriation with an almost absurdist, Dada sensibility akin to that which underlies Duchamp's works.

Her city series first focused on the hidden aesthetic language of Los Angeles mini-malls and the architectural feats of freeway overpasses.

Collaborative artist duo Roxy Topia and Paddy Gould fashion lively ceramics and fabric works which employ a playful aesthetic language of the grotesque utilising bodily functions and visceral or disquieting physical experiences.

Influenced by some of the masters of figurative painting, such as Titian, Rembrandt, and Peter Paul Rubens, Auerbach has helped form a new aesthetic language of painting.

This large work on paper features vivid primary colors and a repeating oval motif, building on an aesthetic language of expression.

Josephine Meckseper's noted works meld the aesthetic language of modernism with the formal language of commercial display.

Meckseper melds the aesthetic language of modernism with the formal language of commercial display, combining them with images and artifacts of historical undercurrents and political protest movements.

Josephine Meckseper (b. 1964) has developed a practice which melds the aesthetic language of modernism with a profound critique of consumerism In her shop windows, vitrines, installations, photographs, films and magazine projects she draws a direct correlation to the way consumer culture defines and circumvents subjectivity and sublimates the key instruments of individual political agency.

By reclaiming the aesthetic languages of oppression, Monkman, with mischievous alacrity, questions the myths propagated by European colonialist ambition.

Not exact matches

Much later, as a graduate student at Northwestern University's School of Speech, I began to develop some tools for investigating intersections between language and action, angling toward such forms of aesthetic expression as oral reading, acting and directing in the theatre, and storytelling.

That is, as an aesthetic object which finds completeness in performance but which is brought into the liturgical frame in order to be broken by a different, but related «language of actions, a language of sounds».

The principle is that in regard to the presentation of subjective aims, God has to «speak» to each actual occasion in its own «language,» that is, at its own level, in a manner harmonious with the character of the sort of data which are in general operative in the aesthetic synthesis which is the concrescence of the actual occasion in question.

Such a miracle would involve the suspension of the laws of nature at the level of primitive actual occasions, but if we accept the principle that God «speaks» to a given actual occasion in its own «language,» and if the «language» of primitive actual occasions in nature is such that the character of the data available for aesthetic synthesis in the concrescence of such occasions admits only of absolutely miniscule contrasts with the givenness of the character of the past, then God has no leverage via subjective aims to introduce shifts in the social structures conditioning the possibilities available for aesthetic synthesis in the concrescences of such primitive actual occasions.

In our generation there is danger and hope — danger that these noncognitive accouterments will lose their aesthetic harmony and hypnotic power when integrated with the basic prehensions of science, and be reverted into impotent and empty symbols, jarring, ugly, and without force in final satisfactions: hope that the power of Jesus as lure will reassert itself in an aesthetic context devoid of supernaturalism, a context such that (the language now picks up echoes of van Buren) the vision of Jesus, the free man, free from authority, free from fear, «free to give himself to others, whoever they were «1 — such that this vision in its earthly, human purity will lure our aims to a harmonious concrescence, integrating scientific insight and moral vision and producing a modern, intensely fulfilling human satisfaction.

Both art and religion are rooted in the Logos, and the language of both is symbolic; for symbols, whether religious or aesthetic, open up levels of reality which are otherwise closed for us and unlock dimensions of our soul which correspond to that reality.

According to Roger Ames (NAT 117), an «aesthetic order» is a paradigm that: (1) proposes plurality as prior to unity and disjunction to conjunction, so that all particulars possess real and unique individuality; (2) focuses on the unique perspective of concrete particulars as the source of emergent harmony and unity in all interrelationships; (3) entails movement away from any universal characteristic to concrete particular detail; (4) apprehends movement and change in the natural order as a processive act of «disclosure» — and hence describable in qualitative language; (5) perceives that nothing is predetermined by preassigned principles, so that creativity is apprehended in the natural order, in contrast to being determined by God or chance; and (6) understands «rightness» to mean the degree to which a thing or event expresses, in its emergence toward novelty as this exists in tension with the unity of nature, an aesthetically pleasing order.

Ways of speaking reflect the aesthetic and communicative values of both a particular congregation's culture and tradition; our language for worship is designed to link the vernacular with the formal.

In Living, she uses the language of criticism to make the paths we choose to walk matters of individual aesthetic choice.

Both make excellent points and rightly focus on the aesthetic tastefulness of gay rights language: love, tolerance, acceptance, inclusiveness, safety, etc..

Since the language of a sermon has a constitutive or «dramatic» function, preaching can be understood as an example of «aesthetic communication.»

While Spitzer's regret or half regret for the destruction of the old belief in world harmony faded, as no illusion could long keep his allegiance, he surely preserved his aesthetic admiration for the old world - picture, his historical interest in understanding it and his feeling for its survivals in our time and in our languages.

Indeed, the director had set his sights on remaking Murnau's shuddery unauthorized Dracula adaptation, shooting both German and English language versions and applying his own unique cinematic aesthetic to the oft filmed tale of the bloodsucking undead.

Best - case scenario: You thoroughly enjoyed Sorrentino's previous English - language effort, This Must Be The Place, and will appreciate the opportunity to experience a similar tone and aesthetic without the distraction of Sean Penn playing (essentially) The Cure's Robert Smith.

And there is of course the aesthetic value of reading influential works in their original language!

evaluating Aesthetic and Artistic Development, under the heading Artistic Development and Awareness, using the learning outcomes of the fine arts curricula, although the Primary Program document also lists some language arts learning outcomes under this area of development

The all - new bodywork, in a newly conceived three - layer metallic red, marks a radical departure from the language aesthetic of the donor car.

The goal was to give a nod to the clean aesthetic and design language of the builds at the height of the Honda movement from the mid - to late 1990s yet invoke a feeling of luxury and sport that feels progressive and current.

New RS design language and extraordinary power: the Audi RS 5 Coupé The new Audi RS 5 Coupé — the Gran Turismo of the RS models — brings together an elegant aesthetic and a high degree of everyday usability.

The renders of the smartphone were released by OnLeaks, and it shows that the Xperia L2 will still be compliant with the manufacturer's OmniBalance design language, rather than the newer «Mirai» aesthetic.

Your visual language is the aesthetic experience of your brand.

The films she makes have a strong formal aesthetic and engage with the failures and power structures of language.

The gallery's stable of artists, selected for their unique aesthetic language and fascinating vision, are represented in major public and private collections including Kiasma, Museum of Contemporary Art, Helsinki; Victoria & Albert Museum, London; Danish Museum of Decorative Arts, Copenhagen; The Museum of Fine Arts, Boston, The Smithsonian American Art Museum, Washington DC; The Mint Museum, NC; The Museum of Arts and Design, NY; The Guggenheim Museum, NY; and the Metropolitan Museum of Art, NY.

The exhibition makes the most of Tate St Ives» expansive new display areas to show a number of Heron's large - scale paintings, and marks the evolution in his visual language, aesthetic sensibility and practice.

Through this layering of image, scent, and sound, Ulman's Stock Images of War generates an aesthetic language that blurs the distinction between the artist's personal experience and the objects of study.

Her aesthetic relies on the principles of balance and restraint - concepts that she finds crucial considering the breadth and complexity of the multi-faceted painterly language that developed as she moved from place to place.

It also references the artists» process of collecting and storing images and objects, their use of the image as object, as well as their process of taking and recombining contextual information and translating it into an aesthetic language.

His handling of form, color, and composition comprises a complex and experimental investigation of aesthetic concepts and of the semiotic possibilities of visual language.

Ronny Quevedo's artistic practice is an examination of the vernacular languages and aesthetic forms generated by displacement, migration, and resilience.

His flat, brightly colored aesthetic recalls the catchy visual language of advertisements, and his bold, iconic use of text bring to mind brand logos.

Highlighting Filomeno's technical and aesthetic skill in merging painting, embroidery, and craft, his unique visual language is presented through a variety of rich materials including silk, crystal, and metal.

His aesthetic has consistently embraced natural metaphors, reveled in the qualities of color and light, and explored meaning through language, particularly in Hodges» use of text and titling.

By rendering in visual language the temporality of music, DiCiurcio creates significant and poignantly energetic aesthetic compositions.

As a whole, Hancock's highly developed cast of characters act out a complex mythological battle, creating an elaborate cosmology that embodies his unique aesthetic ideals, musings on color, language, emotions and ultimately, good versus evil.

Donald Judd and Jorge Pardo's works adapt languages and (production) methodologies derived from architecture and design to create essentially «hybrid» objects, which, like those of Palermo, seek to conflate, and possibly confuse, the social and aesthetic possibilities of art.

Utilising drawing and craft with a strong formalist aesthetic sensibility, each work's attention to detail translates into a dense visually symbolic language that expresses the infinite possibilities of creation.

A pure fascination for artists, nature is a great setting onto which inner feelings and progressive ideas of the new aesthetic language and trends can be imprinted.

His work — which uses studies of architecture, city planning, the writing of history, and the tradition of aesthetic forms as a language — articulates a cultural criticism that debates the function of the artistic act and of intellectuals and artists as social agents in the public sphere.

The artists» renderings document the ways in which travelers encountered and experienced the region as well as the challenges they faced to describe an aesthetic reality for which the language of conventional Western art was inadequate.

The artist creates complex assemblages that appropriate familiar branded goods and imagery, reconfiguring them in an attempt to deconstruct the visual language of the consumerist aesthetic.

It has become so much a part of the language of architecture for art that now designers are emulating the stripped, industrial aesthetic of found space in new buildings.