Sentences with phrase «as objects of beauty»

«I transform books into art by sculpting them, dyeing them and then through the medium of photography presenting them anew as objects of beauty.

We also visit the other side of the coin, an artist who make bikes as objects of beauty.

The erotic works created from a male perspective on the female figure either as an object of beauty or with lust and desire are unusually set against Emin's figures from the female perspective reflecting her internal thoughts and emotions.

His contribution to the history of art was the portrayal of landscape not simply as an object of beauty but as a romantic (romantische Stimmungslandschaft) and spiritual, if not mystical, experience.

Strüwe's love for form informs his choice, each subject studied as an object of beauty unto itself.

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.

Ultimately, of course, beauty is a function of experience, but we commonly use the term to refer to objects so structured as to stimulate such experience.

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.

If I am thinking of this object as a piece of coal having certain characteristics, I might be either surprised or be amused by your commenting on its beauty or its being a part of the crust of the earth or a thousand other comments, each true but not relevant to my consideration.

As the American poet and essayist Mark Signorelli has written: «Once it became common to doubt or to deny that man had any essential inclination toward beauty or truth, the purpose of making objects intended to unite beauty and truth in various ways was no longer evident.»

It sees the truth of any sort of object (say an apple) not as that object itself, in its strange and lovely transience, passing through its various moments of existence (seed, tree, ripened fruit hanging on the bough, fruit eaten or moldering away) but as the unchanging form on which it is modeled (the apple that never shines forth in the beauty of its own color, that has no flavor or fragrance, that has never lived).

Even as an adult, I prefer the beauty of a wooden object versus a plastic one.

The beauty of the Standard Model is in its symmetry; mathematicians describe its symmetries with objects known as Lie groups.

Illustrated with the author's photographs, Infrastructure reveals a strange beauty in objects such as the egglike sludge digesters at a Boston sewage treatment plant, the tangled pipes of an oil refinery, and the wooden water towers perched atop the roofs of New York City.

Jack Black is the skin - deep everyman obsessed with female physical beauty hit with a fairy tale spell, and Gwyneth Paltrow is the object of his affection, an obese woman (she wears a fat suit) he sees as a sleek, model - slim blonde beauty.

Though Ozu was discovered relatively late in the Western world, his trademark rigorous style — static shots, often from the vantage point of someone sitting low on a tatami mat; patient pacing; moments of transcendence as represented by the isolated beauty of everyday objects — has been enormously influential among directors seeking a cinema of economy and poetry.

Naomie Harris, as Bond's sometime partner Eve, provides a welcome bit of sass and Bérénice Marlohe as the beauty caught in the mess stops short of sliding into sex - object territory.

There's a lot of unfortunate, understated horror in the curse put upon the household staff in Beauty and the Beast, dooming them to live out part of their lives not as humans, but everyday objects.

The Neon Demon is a film concerned with beauty, narcissism, and desire, with Fanning as the central object of all three.

Abide by the Objects of the Club: a) Promote the breeding of German Shepherd Dogs according to the AKC / GSD Standardof the Breed b) Educate novice GSD owners of the Standard of the Breed c) Produce GSDs that demonstrate their inherent ability to serve as companions, and multi faceted service dogs d) Participate in AKC / GSDCA performance events which showcase the inherent talents, beauty and intelligence of the Breed e) Encourage novice owners to participate in AKC / GSDCA Performance events f) Provide newcomers to the Breed with information regarding Breed Standard and history, and AKC / GSDCA performance events and regulations.

This Ubud Kintamani Tour will visit places of interest in Bali like watching traditional Barong and Keris Dance performance is balinese dance story about battle good and evil, then the tour continue to visit Celuk Village is traditional village for gold and silver handicraft, then tour will visit Batuan Village is a traditional balinese village with beautiful fine art, then tour continue to visit the Tirta Empul Temple or most known as a Holy Spring Temple, a myth described if this temple was build by God Indra for protect the village from the arrogant King Maya Denawa, then ubud and kintamani volcano tour will visit the Kintamani village to see the breathtaking view of mount batur volcano, is a mountain tourism object for see the view of mount batur and lake batur view, and you will having lunch in Kintamani, while having lunch you can admire the beauty of the mount batur volcano and the lake batur from the restaurant.

It's been half a century since Carolee Schneemann began the series of daring, erotic, transgressive works that played off her own image as a beauty, the role of the female nude in art history, and the scrappy objects her friends and colleagues were making to push at the boundaries of art and life.

Running counter to this first mainstream are the works of Duchamp, John Cage, and Picasso: expressing beauty transformed, ugliness, startling juxtaposition of images, primitive power, the subconscious of Freud, art as idea, art as found object, art as part of everyday life, non-art transmuted into art, and often an emphasis on social and political issues.

Thinking of the photographs in this series as observations of overlooked or forgotten details and remnants of daily existence, Letinsky ultimately transforms this refuse into a subject worthy of close study - objects of real beauty.

Visitors are encouraged to speak with Lerma while he uses the gallery as an artist studio and to return on June 13 to see the finished piece, which addresses issues concerning labor and comments upon the effects of transient economic models, the authenticity of simple objects, and the beauty of impermanence.

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.

I am interested also by other works from the same era: as well as the wonderful 1977 Rational Concepts portfolio of prints (7 English artists: Norman Dilworth, Anthony Hill, Malcolm Hughes, Peter Lowe, Kenneth Martin, Jeffrey Steele, Gillian Wise) there's a delightful pastel colour study by Jean Spencer and two of Peter Lowe «s reliefs from 1968 in perspex mounted on wood, both 23 x 23 cm: Permutation of 4 Groups of 2 and Permutation of 4 Groups of 3, in which rational order and faktura combine to produce objects of staggering beauty.

Embracing the linear, abstract and geometric, and the human desire to locate order and beauty in a world that often provides neither, Dahlgren's solo exhibition — his second here — features works (many site - specific or performative) that express how an artist can cultivate awe - inspiring impressions stemming from deliberation and recurring tasks, and from the alteration of domestic objects and common items such as weighing scales, coloured pencils and darts.

As a photographic image of a handmade object, it embodies the timeless beauty of craftsmanship and historical resonance.

Stewart Watson (Baltimore, MD) Stewart Watson creates site specific sculptural installations that are informed and inspired by genealogy and by furnishings that have been preserved by her family as important artifacts, regardless of those object's usefulness or beauty.

Even as recent years have seen a return to a focus on craft and the object and, sometimes, beauty, it seems that the ultimate triumph of Conceptualism has come in the form of younger generations who embrace the artist's role as that of universal creator.

And the films of Alejandro Almanza Pereda append these narratives of light, meaning and language in his films of underwater still lives, placed upside - down, that find elements of decay and beauty as his depicted objects either undulate, fall or drift away over time.

As much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvaAs much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvaas Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvas.

67 x 47 inches oil on canvas Photo Realist painter Joe Richards painted functional objects, such as locomotives, cranes and anchors, in which he found beauty because of their col...

73 x 36 x 1 inches oil on canvas photo realist painter Joe Richards painted functional objects, such as locomotives, cranes and anchors, in which he found beauty because of their...

His projects serve as metaphors that highlight the hybrid aspects of these transitional places, where he finds «poetry, beauty, ingenuity, and humor in the fringe areas that lie «in - between» - places where culture, nature, objects, and aesthetics collide, overlap, adapt, and sometimes co-exist.»

The Art Center first exhibited her work in 1987 as part of a three - person exhibition also organized by Richard Born who then described her tapestries as «simultaneously utilitarian objects and works of independent beauty intended both for use and appreciation at the same time.»

«My goal as a traditional representational painter is to portray the limitless beauty of color revealed in the light - filled interaction between objects, their highlights and shadows, and the surroundings in which they exist.»

Betye Saar is an artist who has worked as a visionary, a healer, a resistance fighter and a maker of objects and images that embody the power, spirituality and beauty she sees in the ethos of African - American culture.

Saskia, who during her ten year career has developed an impressive body of work that incorporates elements of photography and performance art as well as text and graphics, explores in «The accidental fold» the hidden beauty of found objects — things dropped or discarded, destined to decay and disappear.

Beyond their evident intelligence, it is the images» patrician beauty that makes them objects of desire — not surprisingly, the title of another series in the show — even as they question that desire.

Since it has no reference to objects that exist, or to ideal objects, such as circles and squares, his work must be considered from the point of view of expression through the integration of rhythm, color and design, which he feels beauty is composed of.

But she often coupled her criticality with a sly humor and an exacting, alluring beauty, as in the 1983 — 88 series «Objects of Desire,» for which she cut out items from magazines, ranging from dresses and bowls to bondage gear and classical statues, which she then rephotographed and printed on solid fields of color that matched their frames.

Using song as an object, Lina examines the issues of displacement, otherness and beauty, re-enactment supports her investigation into aesthetics, control and reality.

Not only is Monstein an object of sublime beauty, it also belongs to a group of works that became one of the cornerstones of Richter's career, as Elger concludes, «Richter's landscapes occupy an important position within his output and there is no other genre to which he has devoted himself with such intensity and endurance» (D. Elger, «Landscape as Model,» in Gerhard Richter: Landscapes, exh.

Ceramics Finds Its Place in the Art - World Mainstream Lilly Wei writes... From the first generation of modernists who worked in clay to contemporary practitioners, all have made breakthroughs: in scale, in single objects as well as expansive installations; in technical experimentation; in increasingly original formal resolutions from the abstract to the realistic; and in content, exploring issues about the body, identity, politics, history, feminism, domesticity, means of production, and beauty... more

In these experiences, Byars not only reworked his role as an artist but also the mise en scène, giving symbolic value to rigorous objects and stressing the inherent beauty of materials, including fabric, stone and especially gold.

He created gilded minimalist objects of compelling mystery and beauty, but a humorless grandiosity about his persona as spiritual hierophant arouses skepticism.

As she describes it, I have been collecting driftwood and assorted debris all my life, finding beauty and order in the disorder and disintegration of our treasured or discarded everyday objects.

This complexity is similarly evident in her use of the tree as an object representing both utility and idealized beauty.