Sentences with phrase «as an art form rather»

Strong personalities have left the dressing room completely, and he clearly sees football as an art form rather than a sport requiring skill AND physical ability.

A man who regarded football as an art form rather than a results business — a philosophy which made him great, yet ended up triggering his downfall.

It harked back to an earlier, postwar era of Italian film - making and demonstrated Swinton's passion for cinema as art form rather than box office.

Not exact matches

Although most of van Gogh's biographers view this transition as a rejection of religion, in fact art rather than preaching became van Gogh's chief form of religious expression.

To live creatively does not necessarily mean to be involved in a visual or otherwise technical art form as profession or in your leisure time, but rather to live creatively is to understand that you make each moment as you live it.

Yuna Yang views each piece of her work as a form of art to be shared, rather than simply sold.

Inundated with notable celebrities, it's too abstruse for a legion of starfuckers to fathom, much less righteously embrace its rather obvious critique of how completely commodifying an art form eventually results in the dehumanization of not only artists but audiences as well.

She writes literary fiction, which she equates to opera and she compares genre fiction to chart music as though it's just entertainment rather than an art form in itself.

Over the years I've read a lot of videogame related books, usually in the form of art books which also offer some insights into a game's development, and have to say that this is one of the better ones, sitting just below the rather excellent Aberstergo Entertainment Employee's Handbook, which was a wonderful meta work, written as though it was a genuine handbook from within the Assassin's Creed universe and thereby providing some stellar information and providing a great companion to Assassin's Creed: Unity.

«Because we believe it is necessary periodically to take the pulse of painting, we propose in this issue to use diverse forms of criticism to examine what one can see this month in New York City,» guest art editor Vincent Katz writes in his introduction, «We are using painting here not exclusively but rather inclusively, as symbolic of the creative act.»

While the tubes were sometimes arranged in geometric shapes such as grids or simple lines, the focus of the art was typically on the light emitted rather than the form of the tubes themselves.

As the pragmatist John Dewey might have it, Grotjahn makes art as a sentient «live creature,» with art, rather than nature, forming the basis of the common culturAs the pragmatist John Dewey might have it, Grotjahn makes art as a sentient «live creature,» with art, rather than nature, forming the basis of the common culturas a sentient «live creature,» with art, rather than nature, forming the basis of the common culture.

Using canonical and amateur parochial artworks as source material, Jason Brooks crops and reproduces existing paintings in order to develop a nonlinear art - historical tradition rooted in form and color, rather than chronology.

By failing to address that point, Artificial Hells still implicitly adheres to the idea of art as an image - based (rather than narration - based) form; the only difference being that it now deals with another medium: people.

Many of the featured works, such as Marion Griffon's Diane Dahome, do not capture precise facial features but rather promote and develop new compositional devices within the art form.

DOROTHY SECKLER: I think it's rather phenomenal the success and the critical attention paid the show in the middle of a season in which most offerings were either geometric abstraction, Op art, Minimal, Pop or sort of things in which the artist would be working much more conceptually as opposed to intuitively and in which the forms would be, in most cases, more geometric.

He is best known for a series of works (The Natural History series) in which dead animals are presented as memento mori in forms ironically appropriated from the museum of natural history rather than of art.

The forms of organization must advance alongside artistic practice, manifesting in as many iterations as art itself as a collaborator and co-conspirator rather than a passive container of inherited ideas.

NOTE: Some art critics believe that Performance art is best understood as a «performing art», like drama, dance or stand - up comedy, rather than a form of «visual art» - especially since the «artwork» in question is typically accorded a low priority by the performance artists themselves.

This idea ties together all the exhibitions, whether it's Stop.Look.Listen, which is asking you as a viewer to become an active, rather than a passive witness to temporal works of art; or Joanne Tod's painting installation which is a memorial witnessing of what's taking place in Afghanistan; or Robert Hengeveld's slowly forming salt pile, which you have to spend vast amount of time with in order to see it actually take place.

This exhibition does not seek to redefine what can be considered a painting, but rather examines how it endures as a vibrant art form, more than 100 years after it was proclaimed «dead» at the advent of photography.

To begin with, these Black Paintings were seen by other modern artists as an extreme and uncompromising form of avant - garde art, rather than a serious attempt at innovation.

The artist came to believe that what was essential in art — given the diversity of themes or motifs — were two universal requirements: that every work of art has an individual order or coherence, a quality of unity and necessity in its structure regardless of the kind of forms used; and, second, that the forms and colors chosen have a decided expressive physiognomy, that they speak to us as a feeling - charged whole, through the intrinsic power of colors and lines, rather than through the imaging of facial expressions, gestures and bodily movements, although these are not necessarily excluded — for they are also forms.

That does not mean, as some suppose, that the old art was inferior or incomplete, that it had been constrained by the requirements of representation, but rather that a new liberty had been introduced which had, as one of its consequences, a greater range in the appreciation and experience of forms.