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 one dealt with works of art
as aesthetic objects; all indulged heavily in opaque «theoretical» jargon.
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.
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.
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».
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.
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.
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.