Sentences with phrase «as imagined landscapes»

Aharon's arguably most famous project was the series titled as Imagined Landscapes.

Not exact matches

Hodgskiss strikes a middle ground as she imagines how human ancestors might have begun using the material: «You're walking through the landscape, and you see a beautiful red or yellow or purple stone, and you realize you can grind it and get a really nice powder from it.

As Curiosity begins to climb a mountain for some vertical geologizing, Science News imagined key entries from the rover's personal diary, logged as the 1 - ton machine made its way across the Martian landscapAs Curiosity begins to climb a mountain for some vertical geologizing, Science News imagined key entries from the rover's personal diary, logged as the 1 - ton machine made its way across the Martian landscapas the 1 - ton machine made its way across the Martian landscape.

Yet the surrounding radioactive landscape that Mycio describes is hardly as forbidding as aficionados of the book of Revelation might imagine.

Imagine how much the digital dating landscape will change in the next ten or twenty tears as smart tech continues to evolve and become integral to everyday life.

This vibrant urban sprawl, inspired by the colorful buildings of the real - life city of Guanajuato, is as marvelously imagined as the cerebral landscape of Inside Out or Monsters Inc.'s bustling Monstropolis, another densely packed world of wonders that's both familiar — there's a scene about skeleton bureaucracy that kills, I swear — and otherworldly.

Pixar's second release of the year imagines 1) Earth never hit by a big, bad asteroid, 2) dinosaurs that never went extinct as a result, and 3) a time when their human neighbors weren't yet paving and building on every available inch of the landscape.

There's also little doubt that Van Dormael does a superb job of balancing the various timelines and realities, with the switch from - for example - a drab suburban landscape to a futuristic and clinical space station subsequently not nearly as jarring as one might've imagined.

I see podcasting, blogging, wikis, and Moodle becoming better established as parts of many school landscapes, but this list is a collection of edgy folks» hopes and dreams, the great ideas of creative thinkers who imagine that the tool they have designed just might change the way folks work, play, communicate, and so on.

This phenomenon in child - led play design, initially known as «junk playgrounds», was first imagined in the 1930s by landscape architect, Carl Theodor Sorensen.

But I have to tell you that the market is changing so quickly, five years ago it was hard to imagine that the market and landscape in publishing would look as it does today.

As the hero in his alien landscape, he finds the strength to deal with his own life and to stand up to demons both real and imagined.

Beautiful landscapes, fascinating wildlife, modern cities pulsing with activity, and all kinds of fun attractions and activities make it about as well - rounded a destination as you could imagine.

Just imagine setting off and knowing that, for the next 53 days, you will be taken 23,000 miles round the entire globe on famous international rail networks, by air and by coach, not only visiting, but actually getting to know, a vast diversity of countries and being able to experience, as you pass through or stop to explore them, all the astounding differences in landscape and culture of each one.

The small settlements that dot the landscape can easily be imagined as being served to the platform from a «manage your wasteland settlement» social game.

The imagined landscape is greatly influenced by time spent in the woods of Maine and Vermont, as well as time spent daydreaming about those places while living and working in New York City.

«Each piece is part of a landscape I imagine as the earth gets swallowed by the sea,» he says.

From the lyric, dark grisaille of Gorky's inner landscapes it grew to epic stature: In 1952 art critic Harold Rosenberg observed that «at a certain moment the canvas began to appear to one American painter after another as an arena in which to act, rather than as a space in which to... «express» an object, actual or imagined.

The appearance of Albert Bierstadt's landscape Mountain Scene (1880 - 90) in both The Age of Innocence (1993) and The Hunger Games (2012) serves as the basis for Mathis Gasser's Grasshopper (Mountain Scene)(2015 - 16), in which he reproduces the original painting twice and hangs the pair beside a screen playing footage from the 2015 - 16 TV adaptation of Philip K. Dick's Man in the High Castle, a series that deals with the role of cultural artefacts in imagining counterfactual histories.

In «Ardent Nature,» prompted by the exhibition's title, we began to read these unstable images as landscape allusions, now imagining ourselves confronted by echoes of trees and distant, rolling fields, now by an ant's - eye view among blades of grasses and leaves.

They include issues concerning land and landscape (in Brooklyn and beyond); the body as nexus of cultural identity and depiction in imagined narratives; notions of history and memory; and abstraction.

He creates digital linear drawings on top of imagined landscapes, which serve as backgrounds for these works.

Working in parallel to Western pictorial traditions of landscape, Clare uses precise combination artist - made and collected sculptural objects, photographic images, event and documentation as vehicles to re-access, re-experience, re-stage, identify, imagine.

She uses the same flattened perspective and imagined locations typical of Chinese landscape painting as she references her Brazilian heritage with images of Baroque churches and the monasteries of Minas Gerais.

As artists respond to the possibility of global environmental chaos, Mark Rappolt examines Tomás Saraceno's Aerocene project, one of the artist's most ambitious imaginings yet The Truth about «Cultural Appropriation» With controversies over cultural appropriation regularly in the headlines, Kenan Malikargues that trying to control what culture artists can and can not use is bad news for political interaction and artistic imagination Power in Black and White In an America where the dividing line of race is now a cultural and artistic flashpoint, Jonathan T.D. Neil searches for a path beyond both pluralism and white privilege Carol Rhodes «Rhodes's landscapes are unlocatable because they are fantastical... They are «nowhere places».»

The urban landscape — imagined and real — emerged as a recurring theme for many artists seeking to reflect the ever - shifting world around them, while also paying homage to the cosmopolitan setting of the fair's host city.

American Views provides a fresh look at landscape, both real and imagined, though late 19th and early 20th century paintings such as Samuel Colman's and George Henry Smillie's detailed studies of farms, and varied depictions of the effects of light on water by Martin Johnson Heade, John Henry Twachtman, and Childe Hassam.

These enclosed tranches of landscape, culturally displaced and geopolitically charged, relate to Land Art exponent Robert Smithson's Non-Site series; while other homages to recent heroes of art history include Blow Up, which reveals itself as a playful destruction of the photographic work of German couple Bernd and Hilla Becher and the life - sized, white ceramic Pig (2012) which is both a scaled - up version of a piggy bank from Monk's childhood and an imagining of an unrealised sculpture by Jeff Koons.

Small scale paintings will dominate the show, and will address both the curvilinear shapeliness of waves, brightly imagined, and fastidiously executed, as well as the way articles (things) turn up in still life and landscape, with their own wavy, unpredictable grace.

Works will include never - before - exhibited early paintings and pastels based on imagined landscapes, portraits and interiors, as well as a notable two - sided canvas demonstrative of Saul's emerging response to Pop Art.

From famous locations such as Versailles to the simplest home vegetable garden, from worlds imagined by artists to food production recorded by journalists, the subjects in this exhibition broaden our understanding of photography and how it has been used to record the cultivated landscape.

Monkman reinstates these lost dandies into his landscapes, where they act as observers of reinterpreted classical Western allegories and imagined scenes from North American colonial history.

The lecture looks at the body as material, medium and technology for remembering, imagining, labouring, transforming and informing socio - economic landscapes.

The lecture looks at the body as material, medium and technology for remembering, imagining, laboring, transforming and informing socio - economic landscapes.

I kept imagining what it would have been like, for example, had The Louisiana Project's «witness» images been spread throughout the museum and allowed to interact with and comment anew upon the permanent collection, just as the figure moves in and around the landscape.

They are evocative of architectural structures, aerial views of vast landscapes, or as Esther Marie puts it, «where nature and imagined spaces can co exist»

Strange Landscapes approaches landscape as a topic, a historical legacy, a lens for exploring our relationship with nature, and a foundation for imagining alternative ways of being.

Originally presented at Pelican Bomb Gallery X in New Orleans, November 2017, Queer Tropics features artworks that examine the visual and cultural systems through which one imagines the landscape of the tropics as a site of leisure, sensuality, and play.

At the same time, the American scene was equally hostile to us because if, as we thought, to make an authentic gesture without any a priori idea of how it would turn out, was the real gambit, then everything — «hard - edge» abstraction with its ideology, Social Realism with its ideology, regionalism with its ideology, landscape painting with its sentimentality, portrait painting with its class background, anything you could imagine — was equally threatened by our premise.

This is a neat, domesticated landscape as far from Caspar David Friedrich as one could imagine: a rural idyll on an industrial scale — and yet the very contrast forces the comparison with what we know of the wilder, more romantic aspects of German culture.

Queer Tropics, on view at Transformer gallery in Washington, D.C., through April 21, «features artworks that examine the visual and cultural systems through which one imagines the landscape of the tropics as a site of leisure, sensuality, and play,» according to the gallery website.

Over time, the sculpture reveals itself as a detail from an imagined topographical map, seemingly a section cut out of a landscape, lakes and mountains changing with the weather.

Over the past two decades, Los Angeles - based artist Connie Samaras (born 1950) has used photography and video — as well as writing, teaching and political activism — to explore the aspirations and anxieties of the imagined future through depictions of built environments that she calls «speculative landscapes.»

Cynthia is at once imagined as a literary character, a measure of time, a form of experience and a landscape.

The topographical print, often intended to be framed and hung on a wall, remained a very popular medium into the 20th century, but was often classed as a lower form of art than an imagined landscape.

The work is an imagined landscape which uses four found photographs as its source materials and includes quotes from Goethe's Italian Journey.

The exhibition, Landscape: Natural Fit, Imagined Prospects examines traditional, abstract and mixed - media explorations of landscape as genre, place, and possibility.

Now, also at the Met, «Thomas Cole's Journey: Atlantic Crossings» positions Cole as a challenge to Trumpian greed, as well as to the American landscape as imagined by Secretary of the Interior Ryan Zinke and EPA chief Scott Pruitt.

In The Last of Its Kind, Coates imagines himself as the very last human, seeking to convince the landscape surrounding him of the significance of human progress.

Coates imagines himself as the very last human, seeking to convince the landscape surrounding him of the significance of human progress.