Sentences with phrase «body as a subject»

The two artists encounter each other in their insistence on the body as both subject and field, and their consideration of time in the experience of looking.

While some take the body as subject matter, others explore the human body as material, with non-figurative pieces functioning as unconventional self - portraits.

Working in a wide range of media, Marina Abramović is best known for her provocative performance works, employing her own body as both subject and medium.

It explores the idea of pregnancy as an extreme form of selfhood, examining the tension between the expectant body as a subject and an object.

Artists in all genres have utilized the body as a subject matter since the beginning of art - making.

Using her own body as subject, she began depicting her nudeness on canvas, shifting the perspective from that of an observer to a personal point of view.

Performance and the Body Many artists active in the early 1970s turned to their own bodies as both subject and medium.

Referencing the «male gaze» — a term coined by feminist film critic Laura Mulvey to describe the way in which women become framed and understood from a male perspective — this exhibition reverses stereotypical gender roles to treat the male body as the subject of our collective viewing.

This exhibition reveals the parallels between Warhol's personal history — including his struggles with his own physical appearance, such as early signs of balding in 1950s and the gruesome scars following his shooting in 1968 — and the treatment of the body as a subject in his work.

Both exhibitions take experimental approaches to the body as their subject.

From his studies at St Martins, he rejected the traditionalist approach to sculpture and opted for a more radical approach to sculpture, using his own body as the subject of his pieces, and repositioning the plinth as his stage.

As an internationally acclaimed sculptor installation and public works artist, Gormley has expanded critical engagement surrounding the body as subject, instrument and material.

Why have so many artists chosen to use the body as both subject and medium?

A pioneer of performance as a visual art form, Abramović has used her body as both subject and medium of her performances to test her physical, mental, and emotional limits — often pushing beyond them and even risking her life — in a quest for heightened consciousness, transcendence, and self - transformation.

More recently, artists such as Cindy Sherman have used their bodies as subjects.

, born in Yugoslavia in 1946, uses her own body as subject, object, and medium.

Using her own body as subject and point of departure, Searle experiments with the surface of her skin, allowing it to be clad in layers of coloured and aromatic spices, leaving her bodily imprint on drifts of spices on the floor, or staining certain areas of her body with various substances, suggesting trauma, or damage.

Robert Adanto's film explores radical «4th wave» feminist performance through interviews with a new generation of artists who use their bodies as subject matter.

The human body as subject matter became increasingly scandalous and provocative in the post-war climate, whether in Hans Bellmer's dark surrealist masterpiece Les Jeux de la Poupée, Allen Jones's typically fetishistic Waitress I, or for the body's new role as a medium of experience, object of analysis, and tool of social protest through performance, seen in the Aktionism of Gunther Brus (Patent Merde).

She told us how people visiting her rarely notice them, but these are among her most treasured works: Woodman used her own body as subject, often blurred, awkward and contorted in banal domestic interiors.

With her body as both subject and medium, she tests the relationship between performer and audience, withstanding pain, exhaustion and danger in her quest for emotional, liberating and conscious altering transformation.

From Louise Bourgeois's massive, brown member, Fillette (Sweeter Version)(1968 — 99), a dangling sculpture that seems to rot in real time; to Lynda Benglis's photographic depictions of the ambiguous boundaries between gender / sexuality identification in Secret 3 (1974); to EJ Hauser's gestural shrine and Whitman's brilliance, Big Whitman (2012), each artist has adopted the male body as their subject, immortalizing them into objects married with sweeping sentiments.

Though works range in size and media, from serious to whimsical, and from realistic to abstract, each artist centers on the body as subject.

Almost all his work takes the human body as its subject, with his own body used in many works as the basis for metal casts.

A pioneer of performance as a visual art form, Marina Abramović has used her body as both subject and medium of her performances to test her physical, mental, and emotional limits — often pushing beyond them and even risking her life — in a quest for heightened consciousness, transcendence, and self - transformation.

Through painting, photography, installation art and performance, the artist uses her own body as the subject matter to examine and problematise notions of the idealised erotic female subject.

Since 1974, Semmel has focused on her body as subject, beginning with her «Self - Images» series, in which she radically shifted the perspective of her compositions to capture an enhanced sense of intimacy.

Turning the perspective of her compositions to her own body as subject, she began painting the nude female figure, shifting the point of view from outside of the canvas as the viewer, to a simultaneous observer and subject.

Lots of other artists were toying with photography in nondocumentary ways — Duane Michals and William Wegman, for example — and many were using their own bodies as subject matter in photographs, including Ana Mendieta and Bruce Nauman.

Not exact matches

Such withdrawals aren't subject to review by the compact's governing bodies, the Great Lakes St. Lawrence River Basin Water Resources Council and the Great Lakes St. Lawrence River Water Resources Regional Body, as long as the withdrawal consumes less than 5 million gallons daily.

None of the Reporting Persons nor any manager or executive officer of the Reporting Persons, has, during the past five years, (a) been convicted in a criminal proceeding (excluding traffic violations or similar misdemeanors), or (b) been a party to a civil proceeding of a judicial or administrative body of competent jurisdiction and as a result of such proceeding was or is subject to a judgment, decree or final order enjoining future violations of, or prohibiting, or mandating activities subject to, Federal or State securities laws or a finding of any violation with respect to such laws.

Much of the effect can likely be explained by researchers unconsciously giving hints or suggestions to their human or animal subjects, perhaps in something as subtle as body language or tone of voice.

As a consequence, marriages are viewed as (short - term) contracts subject to a cost / benefit analysis, children become consumer goods or accessories, family bonds are weakened and our bodies are treated like so many raw materials to be mined and exploited for manufacture and pleasurAs a consequence, marriages are viewed as (short - term) contracts subject to a cost / benefit analysis, children become consumer goods or accessories, family bonds are weakened and our bodies are treated like so many raw materials to be mined and exploited for manufacture and pleasuras (short - term) contracts subject to a cost / benefit analysis, children become consumer goods or accessories, family bonds are weakened and our bodies are treated like so many raw materials to be mined and exploited for manufacture and pleasure.

In any case, it will be evident by now that the relationship between God and the created order is much more like that between the human mind and the human body, as we commonly conceive it, than it is like that between an earthly ruler and his subjects.

Primary qualities are viewed as objective, i.e., independent of the knower's frame of reference, while secondary qualities are judged to be subjective, i.e., involving the complicity of the subject imposing his own peculiar sensory apparatus on the bodies perceived.

That several books or bodies of literature of crucial importance for theology appeared in close proximity to one another still impresses me as coincidental or providential rather than subject to a single sociological explanation.

In such acts «is the body's activity as much the constitutive subject of what one does asone's act of choice is»?

The self - integration damaged in this way is the unity of the acting person as conscious subject and sexually functioning body.

Illustrations presented male and female bodies as objects for study, not as subjects of religious experience.

Ephesians 5:22 - 24 The women to the / their men are being subject just as they are being to The Master; (recognizing) that the man is source / head of the woman just as Christ is the Head of the ekklesia and He is savior of the body; even as the ekklesia is being subject to The Christ, so the women are being subject to the / their men in all (things).

«We speak on this subject very cautiously and diffidently,» he writes, «rather by way of discussion than coming to definite conclusions... We suppose that the goodness of God will restore the whole creation to unity in the end... If anyone thinks that matter will be utterly destroyed, it passes my comprehension how all these substances can live and exist without material bodies, since to live without material substance is the privilege of God alone... Another perhaps may say that in the consummation all matter will be so purified that it may be thought of as a kind of ethereal substance... But only God knows.»

When such issues are treated only in the opening and closing sections of a course, students tend to look on them as addenda «tacked on» to the main body of subject matter.

In «the household rule» in Ephesians, wives are told to be subject to their husbands; husbands are told to love their wives as their own bodies.

Here too it is true that I not only have my body in a subject - object - relationship, but much more, that as subject I am my body, a body that for me is something more and quite other than just a peculiarly intimate bit of the surrounding world (PR 81) with which I am not identified.

My explanation of it is this: the subject works his emotions up to the breaking point, at the same time resisting their physical manifestations, such as quickened pulse, etc., and then suddenly lets them have their full sway over his body.

Bodies and their various organs are the necessary primary receptors of the multifarious influences conveyed by signs qua possibilities, for that is what signs come down to.13 And signs in general have the power to arouse concrete feelings in embodied subjects; such as, for instance, the «qualitative feels» in conscious experiences.14

Taken literally, Paul VI's words seem to rule out all possibility of finding any considerable body of truth outside the church and place in jeopardy the whole subject of the dialogue, seen as honest exchange.

Even in dreams, as Bergson has shown, once and for all so far as I am concerned, two further realities are involved: some aspects of the subject's own past experiences (memory) and (sensory awareness) of the subject's bodily state, in whatever sense it has a body, and with the last, to some extent, the state of the environment, as well.

The plurality of entities, the bodies which are the subject - matter of the science of physics, he conceived as derivative from the one res extensa or matter, constituted by the differential locomotion of parts of the one ultimate res extensa.

Every subject is a body, and as such is ambiguous; here ambiguity means that my body is both myself and the position from which I perceive others, and the body is also the objective «me» which others perceive.