Sentences with phrase «as aesthetic object»

For her debut North American solo exhibition, in a sub-basement space at Y Gallery, Chilean artist Alejandra Prieto recasts coal as an aesthetic object.

As an aesthetic object, though, it simply can't measure up to what Battista «Pinin» Farina did at the peak of his powers sixty years ago.

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».

Displayed as aesthetic objects, they highlight the commercial underpinnings of the contemporary art world, but also theoretically allow a collector who purchases one as an artwork to transform it back into a financial instrument by depositing it into his or her own bank account.

The qualities that McBride, like others, woke up to in Eilshemius do not exist only in the eye and mind of the beholder but also inhere in the paintings as aesthetic objects.

Not one dealt with works of art as aesthetic objects; all indulged heavily in opaque «theoretical» jargon.

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.

Not exact matches

That the bragging happened a decade ago doesn't change the reality that a man who might be president sees half the country's population not just as objects for his own aesthetic gratification — we knew that thanks to the beauty pageants and the string of model wives — but objects for his physical gratification as well, regardless of how the women in question feel about it.

We all like to slum it, sometimes, but to get too enthusiastic about pop culture materials or, worse, to take them seriously as objects of aesthetic judgment — well, that was an abdication of the critic's responsibilities, not to mention a sign of vulgar taste.

This is primarily because it has proven to be a powerful aid in the effort to avoid dealing with works of art or literature as products of the human spirit: aesthetic objects that move us with their intricately wrought beauty, humor, and insight.

In so far as «C major» is highly valued in this particular aesthetic synthesis, it is included and with it every other eternal object with which it is internally related — including «D major.»

More generally, gender stereotypes are used to justify women's unlikelihood to speak up: the general perception of women as instruments whose function is primordially to be used, as passive sexual objects than as active subjects, as bodies and faces that should be looked at and evaluated on the basis of demanding aesthetic criteria, as sacrificial mothers or as empathetic persons mainly attuned to other's people needs, is not very compatible with an assertive form of communication.

The collaborators compiled and modified a list of 109 visual features that can be used to assess the aesthetic appeal of an image, such as the relative size, color, and distribution of discernable objects within the image, as well as texture and color intensity.

Occasionally, you come across a documentary that's conceived as a rarefied aesthetic object.

Because of her, and with her, I am able — by moments — to move out of my own natural larval state and experience movies not just as deliverers of entertainment, conveyors of meaning, or objects of aesthetic contemplation, but as pure fields of emotional and sensory intensity, almost like rooms to which one can return.»

It's hard for me to imagine how the dominant, non-formalist form of film studies, with its systemic handicap of abstaining from value judgment and not being able to treat the film as an independent aesthetic object capable of producing an infinite variety of affects, can be terribly instructive for the enterprise of film criticism, which necessarily calls for a hierarchy of values on the part of the practitioner and his / her acknowledgement being a sentient, unique subject capable of being transformed by the film.

It's tremendously insightful work from a director who has long appreciated actors» bodies as more than aesthetic objects.

Take a look at any number of aesthetic and well - engineered household objects, such as Crest Standup Squeeze Dispenser Toothpaste, Post-it ® Super Sticky Notes, the Thermos Nissan Intak Hydration Water Bottle with Meter, or Under Armour's Storm Swacket.

(You might think of this as embroidery's take on industrial - style furnishings, where objects previously considered to be strictly functional take on an aesthetic appeal.)

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.

Schneider undermined the idea of the artwork as a fixed aesthetic object, and also as a fungible commodity.

Following the exhibition publication which relies more heavily on text than image, Printed in Germany is an artist's book conceived as a stand - alone visual object that extends Williams's conceptual and aesthetic ideas into book form.

The philosophy of kintsukuroi treats cracks as fundamental parts of an object, noting that value lies in accepting change and underscoring the aesthetic qualities of imperfection and use rather than disguising flaws.

She is founding editor of the online pop cultural criticism journal, Gaga Stigmata, and her tumblr, Women as Objects, archives the teen girl tumblr aesthetic.

As a prolific artist who manifests beauty with his brush, his focus on detail often creates an aesthetic that surpasses the charm of the objects themselves.

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.

Often incorporating simple objects such as sausages, cakes or potatoes, alongside dizzying patterns and graphic portraits, Polke's work expanded aesthetic boundaries and defined an entire movement of visual provocation.

And while it has been popular of late to display actual handmade African - American quilts, such as the ones exhibited in upscale New York galleries, Huckaby's act of repainting quilts disarms them as fetishized aesthetic objects while folding their weighted cultural meaning into the history of painting.

An example of a purely aesthetic object is a decorative object, for decoration's primary function is «to add something to, so as to make more attractive; adorn; ornament,» 10 and this relates directly to taste.

In order to address the historic proliferation of the «Pseudo Georgian» aesthetic, two eighteenth century pattern books borrowed from the British Architectural Library are also displayed alongside objects from the artist's own collection — as well as a selection of critical articles culled from archival copies of Building magazine, one of the oldest publications to address the entire culture of Britain's construction industry.

Gonzales - Torres» works exist as fleeting interactions between the work and the viewer, and are an extension of the aesthetic of the 1960s, when happenings and conceptual art favoured the artistic idea rather than the aesthetic object.

These works function simultaneously as a record of the intuitive work process of the artist as well as objects of aesthetic appreciation.

As ever, her work explores an aesthetic reconsideration of objects we would rarely give any pause other than their immediate use and eventual discarding.

In the context of Midtown Manhattan, however, Elmgreen & Dragset render the pool devoid of function via its displacement, and in turn, prompt a simultaneously more cerebral, poetic, and aesthetic approach to the actual object as well as its setting.

Duchamp's Fountain, itself, is represented in Some Aesthetic Decisions as one of the miniature objects in his retrospective in a box — Boîte - en - Valise, (Box - in - a-Valise) 1941/1961.

Following the first publication, an exhibition catalogue that relied more heavily on text than image, Printed in Germany was conceived to exist as a stand - alone visual object and extend the artist's conceptual and aesthetic concerns into book form.

Determining those values involves evaluating Judd's own statements and writings, as well as considering the aesthetic and art historical significance of the objects he created.

In 1977, his deceptively simple act of re-photographing advertising images from The New York Times Magazine and presenting them as his own ushered in an entirely new, critical approach to making art — one that questioned notions of originality and the privileged status of the unique aesthetic object.

Within these simple arrangements, Andre compresses a wealth of complex aesthetic ideas, implicitly arguing with sculptural conventions and refuting such formerly common notions as elevating the work of art on a pedestal, the concept of three dimensionality, and the expectation that there must be craft and talent involved in shaping the object.

A true believer in technology's aesthetic potential, he is intent on reinventing traditional pictorial methods — specifically, painting and drawing — by using the computer's capabilities and limitations to turn ordinary, Pop - inspired objects (video games and their characters, computer cables, screens, Apple Quick - Take cameras, etc.) into motifs but also stylistic models, painting them as if seen on - screen.

The result is a work of art composed of multiple objects that were once singular and utilitarian and are now presented as one work that is imbued with entirely different aesthetic and conceptual qualities.

Larson's relationship to material and appropriation remains true to the found object aesthetic, following in the path of predecessors such as Ed Kienholz, Kurt Schwitters, and Robert Rauschenberg, while keeping in dialog with contemporary practitioners such as Mark Bradford and Richard Prince.

Wesselmann never liked his inclusion in American Pop Art, pointing out how he made an aesthetic use of everyday objects and not a reference to them as consumer objects: «I dislike labels in general and «Pop» in particular, especially because it overemphasizes the material used.

Jillian Mayer: Slumpies a body of sculptures that function as utilitarian objects, presented on PAMM's outdoor terrace as well as in the Vattikuti Learning Theater on the museum's first floor Routes of Influence juxtaposes artworks in a manner that maps how aesthetic concepts move fluidly across traditional, national or cultural lines, how «influence» in art is understood today as multi-directional, rather than linear in character.

The patterning that composes each image is sourced from both Eastern and Western aesthetic traditions: Paleolithic and Neo-Paleolithic fetish objects, West African ceremonial masks, Greek Icon painting, Italian and Northern Renaissance altarpieces, Jewish ceremonial textiles such as Tallit and Torah arks, Islamic prayer rugs, alchemical diagrams and geometric references to mathematical equations.

Larson's scavenging, gathering and re-appropriating process is true to the found object aesthetic, following in the path of historical predecessors such as Ed Kienholz, Kurt Schwitters, and Robert Rauschenberg.

She is founding editor of the online pop cultural criticism journal, Gaga Stigmata, and her tumblr project, Women as Objects, archives the teen girl tumblr aesthetic.

It's mark - making as collaboration, often with objects designed for other uses — indeed, seemingly resistant to their use as a brush or tool in an aesthetic process, but often surprisingly pliant, their resistance to control part of their enhancive effect.

By taking objects that are commonly used in the process of artisanal manufacture and presenting them as aesthetic, sculptural forms, Meppayil liberates the implements from their intended use, while also retaining vestiges of their individual histories.

[2][3][7] As extremes in a possible spectrum, [13] while some favour simply remarking on the immediate impressions caused by an artistic object, [2][3] others prefer a more systematic approach calling on technical knowledge, favoured aesthetic theory and the known sociocultural context the artist is immersed in to discern their intent.