Sentences with phrase «body fragments as»

Not exact matches

«As noted in our past reports, regulatory oversight is fragmented across multiple regulators at the federal level, and also involves regulatory bodies in the 50 states and other U.S. jurisdictions.»

Despite those critics who cite this fragment of Blake's vision as evidence of a Gnostic hatred of the body, we have only to recall his continual and ecstatic celebration of sexuality and the body to recognize these lines as containing a vision of the regeneration and reversal of a fallen sexuality.

Of course, where these differences remain, they often do so only as fragments of more full - bodied social and moral systems.

Navigating the fragmented and overlapping industry support bodies and accreditation schemes that exist at all three levels of government as well as for various industry segments is near impossible for most SMEs and is impractical for a small country like Australia.

These images are then compared, which helps to eliminate the background effect caused by the product itself and improves the detection of lower density foreign bodies such as fan bones in chicken, bone fragments in meat, or glass and stones in added value meat products.

Oxidants, generally referred to as free radicals, are biologically reactive molecular fragments that can damage cells of the body.

Passing bodies that rotate in the same direction as their path around the planet are more easily broken up, and their fragments more efficiently sucked into orbit.

At that size, 2008 TC3 was always likely to be destroyed in the atmosphere — although some fragments may have survived to fall as meteorites — but the collision may help to highlight the risks posed by larger bodies.

We experience the delay of the fantasy of the happy old couple in their country home in cinematic time as, for most of the film, the only body these lovers have is the spellbinding combination of visual fragments serving as apparitions to their voices.

The specification can not guarantee that the Distributable Object will pass validation in this state, however, as the entities that compose the Distributable Object might not constitute valid Content Documents on their own (e.g., shared SVG components, or fragments of HTML not valid as body markup).

In dogs, adult worms can live in the heart and lungs for more than 5 years, but in cats, the typical lifespan is less than 2 years.2 The release of new heartworm debris into the bloodstream initiates a second inflammatory response, also primarily localized in the lungs.4 Lesions in the second phase of infection are associated with dead worm fragments as the immune system removes them from the body.

Those little fragments of the heartworms can cause blood clots throughout the body, which can even be fatal, especially if they're in the lungs, [which is] a condition known as pulmonary thromboembolism.»

Her books include Realism (1971), Women, Art, and Power, and Other Essays (1988), The Politics of Vision (1991), The Body in Pieces: The Fragment as a Metaphor of Modernity (2001), and Bathers, Bodies, Beauty (2006).

Here, as in many paintings executed over the subsequent decade, the body is depicted as exposed, fragmented, and open, in a sexualised and wounded position.

Her collages are constructed using fragments from fashion and travel magazines, pornography, African art books, automotive schematics, and images drawn from science fiction as well as hand - drawn or painted elements which create a variety of new formations of the body.

His best known body of work, the Combines (1953 — 64), paired representational elements — such as magazine and newspaper clippings, fragments of clothing, and construction debris and other items gathered in the streets of New York — with compositional strategies explored by the Abstract Expressionists.

These paintings capture the softness of fabric that adorn a woman's body, presenting them as photorealistic fragments.

I enjoy the juxtaposition of small - scale found objects with the fragmented figure as a way to speak to the vulnerable states of life and the body.

In her 1994 book The Body in Pieces: The Fragment as a Metaphor of Modernity, the late art historian Linda Nochlin analogized representations of the disintegrated figure to tumultuous moments in the modern period's political and metaphysical flux.

Phillips's sculptures distribute and present bodies as fragments and her titles highlight the intangible presence of politics.

Through fragmenting her body by hiding behind furniture, using reflective surfaces such as mirrors to conceal herself, or by simply cropping the image, she dissects the human figure emphasising isolated body parts.

The exhibition brings together a great range of artistic practices and languages (photography, video, painting, sculpture, installation...), cultures, geographic origins, generations and experiences, to establish a tension between extremely different artistic approaches: melancholy of vanity, ironic play with identity, political biography and existential questioning, the body as sculpture, effigy or fragment of its symbolic substitute.

The three self - evidently incompatible activities are not juxtaposed as broken fragments, but synthesized into an expressive whole that is at once funny and tragic — though, in the end, more tragic than funny, especially since that pathetic little hand straining agonizingly over a massive head that's mostly submerged in the water barely looks like it could propel even the lightest body forward.11

Spanning the late «40s through the early «60s, these works examine Abstraction based upon oblique evocations of the fragmented body and the influence of the unconscious, with seriality and repetition emerging as essential idioms of a new sculptural language.

This figure, often fragmented, sometimes even completely abstracted, takes on various forms, from the human face, at once raw material and object of symbolic representation, as with Benglis's objectifying caresses, to the full body as place and tool of the trial and pleasure of repetition, as with Nauman's amateur choreography, bordering on the absurd, to the traces and physical prints left by the artist - creator (or the «art worker» in his service), as with the irregular random geometry of LeWitt, to the peers (Donald Judd) and tutelary figures in the history of art who inspire Flavin's evanescent structures... Now a disenchanted statement «Double Eye Poke» offers a challenge to the being of perception and thought.

As material fragments of everyday life they become signifiers for culture, class, identity, desire, gender, and the body.

Now, as then, The Uncanny brings together a wide range of figurative sculptures, mannequins, dummies and sex - dolls, animatronic puppets, body - casts and anatomical body fragments and models, religious statuary, stuffed animals, photographs, film stills and photographic archive material; as well as Kelley's own oddball collections of ephemera, which he calls his «harems», and which are now in the possession of another Los Angeles collector.

The horses, along with fragmented body parts (heads, eyes, and hands) are almost totemic, like primitive symbols, and serve as formal elements through which Rothenberg investigated the meaning, mechanics, and essence of painting.

While the works may suggest functionality through the medium of ceramics and their resemblance to the body or objects such as vases, the vulnerability of these joined ceramic fragments celebrate the idea of productive failure.

Other artists seminal in using the body as a metaphor for psychological conditions are Bruce Nauman, whose severed heads are forever frustrated in their inability to communicate with the rest of the body, and Louise Bourgeois, whose assemblages of cast body fragments and objects inside cubelike interiors, or «cells,» as she calls them, are the symbolic plasma of an individual.

The works feature fragments of the human body, such as heads and hands, along with imagery of dogs and ravens.

Central to this exhibition is the inspiration of Surrealism, a movement Sassen recognises as one of her earliest artistic influences, seen in the uncanny shadows, fragmented bodies and dreamlike landscapes of her work.

«Rodin's conception of the body as expressive of his subjects» psychic condition, and his embrace of the fragment as a motif in its own right, deeply influenced the trajectory of modern sculpture,» says Claudia Schmuckli, Curator - in - Charge, Contemporary Art and Programming, at the Fine Arts Museums of San Francisco.

The part - figure throws a shadow behind itself that masquerades as a traditional sculptural form - perhaps a classical Greek sculpture with its arms and head lost over time, or the fragmented body of Auguste Rodin's headless and armless «Striding Man».

The focus is on fragments, showing the mechanical moving «parts» of the body and isolating their function as tools.

Fragments of the human body, such as a hand or a breast, are juxtaposed with objects common to the bedroom — a light switch, flowers, the edges of pillows and curtains.

1990 Information, Terrain, San Francisco, California, US The 60s Revisited - New Concepts / New Materials, Leo Castelli Gallery, New York, US Various Small Fires in the Gutenberg Galaxy, Galerie Maier - Hahn, Dusseldorf, DE Time Span, Fundacio Caixa de Pensions, Barcelona, ES Aquarian Artists, University of Rhode Island, Kingston, Rhode Island, US Fragments, Parts, Wholes / The Body and Culture, White Columns, New York, US Che Fare: Concept Art / Minimal / Art Povera / Land Art, Kunsthalle Bielefeld, Bielefeld, DE Kunstenaarsboeken uit de verzameling A.S.P.C., Provinciaal Museum Hasselt, Hasselt, BE Group Show, Mai 36 Gallerie, Germany: Art Frankfurt, CH MeaMemphis Collezione» 89, Art to Use, Frankfurt A.M., DE Group Show, Galeria Marga Paz, Madrid, ES 5 Galerien zu Gast bei Breuninger, Brigitte March Galerie, Stuttgart, DE The Readymade Boomerang - 8th Biennale of Sydney, Art Gallery of New South Wales, Sydney, AU Saga 90, Eric Linard Editions, Grand - Palais, Paris, FR Concept Art, Deichtorhallen, Hamburg, DE Dreams of Artists, A Metamemphis Collection, 121 Art Gallery, Antwerpen, BE Two Decades of American Art: The 60s & 70s, Nassau County Museum of Art, Roslyn Harbor, US RE: Framing / Cartoons, Loughelton Gallery, New York, US; Wexner Center for the Arts, Ohio, US; Gallery A, The Ohio State University, Columbus, Ohio, US Robert Gober, Craigie Horsfield, Lawrence Weiner, Barbara Gladstone Gallery, New York, US Wir Nehmen an der Art, Mai 36 Galerie, Basel Art Fair, Basel, CH Word as Image: American Art 1960 - 1990, Milwaukee Art Museum, Milwaukee, Wisconsin, US; Oklahoma City Art Museum, Oklahoma, US; Contemporary Art Museum, Houston, Texas, US A Group Show, Marian Goodman Gallery, New York, US Selected Prints and Multiples, Mai 36 Gallery, Lucerne, CH Red, Galerie Christine and Isy Brachot, Brussels, BE Un Choix d'Art Minimal dans la Collection Panza, ARC, Paris, FR Children's Aids Project, Daniel Weinberg Gallery, Santa Monica, California, US Interventions / An Exhibition from the Collection of Delfryd Celf, Art Gallery of Ontario, Toronto, CA Savoire Faire / Savoire Vivre, Centre International d'Art Contemporain de Montreal, Montreal, CA Art Billboards in the Hague - Southwest, The Hague, NL The Readymade Boomerang Print Portfolio, Galerie Vorsetzen, Hamburg, DE Time Space Place, Galerie Ghislaine Hussenot, Paris, FR High Season I...

In a handful of the images, other bodies enter into the frame as fragments — a toe, ear, hand, or shoulder, and in one case, an ornamentally framed photograph of Liberace.

In an installation comprising fragments of body parts made of wood, clay, and stone scattered in foetal positions, Kiri Dalena's Monument for a Present Future (2013) recalls the ash - covered bodies in the wake of Mt. Vesuvius's eruption in A.D. 79, suggesting that the loss of lives will always count as the greatest tragedy in the aftermath of catastrophes or atrocities.

Barton's work also investigates the body as a fragment and the interaction of mechanical instruments for the purpose of bodily change.

The body is fragmented and viewed from behind, while the back of the model's head is sensed as being in a state of guardedness towards possible hostility she can anticipate as a result of the combination of her sex and the color of her skin.

But her most celebrated essay is only one of her many contributions to art history: her books include Realism (1971), Woman as Sex Object: Studies in Erotic Art, 1730 — 1970 (1972); Women, Art, and Power, and Other Essays (1988), The Politics of Vision (1989), The Body in Pieces: The Fragment as a Metaphor of Modernity (1994), and Bathers, Bodies, Beauty (2006); Misère, her book about the representation of misery in the second half of the 19th century in France and England is due out next year.

As a cohort, the works in Sing the Body propose a multiplicity of silent and pronounced ways in which our shared desire to create cohesion from experiential fragments underscores a tacit understanding of our own precarity.

While the majority of Grossman's works concern the physicality of the body, many of her collages and assemblages are dense, abstract compositions, such as Tough Life Diary (1973), created from words and fragments cut from the artist's diaries, and Light is Faster than Sound (1987 — 88), which combines dyed paper with an image of Lyndon Johnson and found scraps and fliers.

And I think I'm interested in seeing the world in a kinder and softer light rather than as an assemblage of clearly separated fragments that come with specific names and classifications, and want to believe that this way of working with disparate bodies can offer a new way of looking at and unifying the divided world we live in.

Their art explores the human body as a tormented expression of the self and the world, and a fragmented, deconstructed entity that is a metaphor for social and psychological conflicts, as well as the theatrical, performative element — its propensity for slipping into different roles in way that is ironic, sometimes even tragic.

As all four artists became immersed in dance and performance, the body itself entered Johns» work, at first as fragments, but more recently the whole body appeared as a shadow or silhouette flitting through his lithographs and etchingAs all four artists became immersed in dance and performance, the body itself entered Johns» work, at first as fragments, but more recently the whole body appeared as a shadow or silhouette flitting through his lithographs and etchingas fragments, but more recently the whole body appeared as a shadow or silhouette flitting through his lithographs and etchingas a shadow or silhouette flitting through his lithographs and etchings.

Kepes utilised a wide spectrum of imagery and techniques in his work, including but not limited to: geometric studies of prisms and cones; the refractive properties of mirrors and lenses; mechanical forms including propellers and gears; domestic objects such as fabric, sieves and string and items drawn from the natural world, which ranged from feathers and bone to close - up fragments of the human body.

Through a wide variety of artistic practices and artists (from Claude Cahun to LaToya Ruby Frazier, from Gilbert & George to Cindy Sherman, and from Alighiero Boetti to Maurizio Cattelan) coming from different cultures and backgrounds, generations and experiences, it reflects on the contrast between different approaches: melancholy and vanity, ironic games played with identity and political autobiography, existential rumination and the body as sculpture, effigy or fragment, and its symbolical representation.

With their striking materiality and their folds — which seem to shape sexual organs, nipples, navels and skin marks — the objects reveal themselves as nude body fragments, confronting the spectator.