Sentences with phrase «by ibid»

A show produced by Ibid Gallery, London / Los Angeles and HS Projects, London

Not exact matches

We can not meaningfully affirm that Christ is the incarnation or revelation of God unless we can explain what we mean by God, (Ibid., p. 2.)

(Ibid., p. 239) Theology does not consist of the describing of beliefs held about God by a designated group of persons but of the affirming about God and creatures in their relation to God of that which it has been given to the church to know.

Now, in the teaching of Jesus, this term has no secure place, (N. Perrin, Kingdom, p. 164, n. I) but the same function is served by «Kingdom of God», which is clearly used by Jesus to denote the blessings secured to men by God's intervention; (Ibid., pp. 178 - 85.

In two respects, however, the Thomas version may be more original than the Matthaean, for, as Jeremias points out, the fact that the merchant is a general merchant and not a dealer in pearls, preserves the element of surprise, and that the merchant sold his merchandise is more likely to be original than that he sold all that he had (Ibid., p. 199) Both changes are easy to account for in the tradition; the first under the influence of the fact that the merchant found a pearl, and the second under the influence of v. 44 when the two parables were brought together by Matthew.

Thus «Hua - yen must be understood as having posited a theory of cocausation or «simultaneous - mutual - establishment» wherein each dharma is causally supported or causally conditioned by every other dharma in the universe, not only by its predecessors, but by its contemporaries and successors as well» (ibid.).

«The evil produced by the Aristotelian primary substance is exactly this habit of metaphysical emphasis upon the «subject - predicate» form of proposition» (ibid.).

Also Abstract of «Second Thoughts on the Nature of God» by Joseph Donceel, ibid., 171.

It is Calvin who writes in May that year: «My very dear Brothers: the king has peremptorily refused all the requests made by Messieurs of Berne... All earthly hope is gone; they will be executed:»... let enemies do their utmost, they never shall be able to bury out of sight that light which God has made to shine in you...» (Ibid., p. 148, 150).

However, this «new kind of reality,» who is Jesus, is an emergent manifestation of God in human life emanating from within creation: «a unique manifestation of apossibility always inherently there for human beings by virtue of their potential nature being created by God... a new mode of human existence emerged through Jesus» openness to God making him a God informed human being» (ibid).

[18] By G. R. Beasley - Murray, Ibid., pp. 62 - 70.

That declaration — published simultaneously by the Frankfurter Allgemeine Zeitung and the local Schwäbischen Tagblatt — was a dramatic reversal of an earlier public stand taken on December 8, when the full professors of the faculty unanimously expressed their support of Küng and pointed out the dangers for freedom of theological research and teaching intrinsic in the German bishops» position (ibid., pp. 100 - 101).

(Ibid., p. 155) Thus the Swedish Lutheran Archbishop Nathan Soderblom, who declared on his deathbed: «God lives, I can prove it by the history of religions.»

He designates this process concrescence,» in explicit contrast to «transition»: «The creativity in virtue of which any relative complete actual world is, by the nature of things, the datum for a new concrescence is termed «transition»» (ibid).

(Ibid., p. 141, n.) Or as Martin Buber put it: «A God about whom one can talk is not a God to whom one can pray» (As quoted by Heinrich Ott and reported by Dietrich Ritschl, Memory and Hope [New York: Macmillan, 1967], p. 158, n.)

As we argued earlier, (Ibid., p. 192) the use of this extraordinary mode of address to God symbolizes the change wrought by the fact that the Kingdom had, in a real sense, «come», so far as these people were concerned.

The death of his mother when he was six and of his father when he was 16 pushed Merton into an intense experience of the vulnerability felt by so many between the wars, and led to a cosmic sense of loss and nearly to a breakdown, both physical and mental — a vulnerability he described as «living on the doorsill of the Apocalypse» (ibid.).

E. Farber, «Chemical Discoveries by Means of Analogies», Isis, vol.41, 1950, p. 20; M. B. Hesse, «Models in Physics», British 7ournal for the Philosophy of Science, vol.4, 1953, p. 198; E. H. Hutten, «The Role of Models in Physics», ibid., vol.4, 1953, p. 284.

Her sayings were mingled with naive words, but at the same time with sublime meanings like, «I was sent by God, from whom I came...» Her words, «You tell me you are my judge; ponder with great care over what you mean to do, for in very truth I was sent of God, and you are putting yourself in great jeopardy,» (Ibid., p. 76.)

Jay Melosh, as quoted by Daniel Clery, Ibid.

Alexander Dessler, as quoted by Richard A. Kerr, Ibid., p. 1361.

Since 1991, Somalia has had no credible functioning centralised governing authority and in its absence, the protracted conflict has evolved into «violations of the laws of wars, including unlawful killings, rape and torture» that have been orchestrated by «all parties to the conflict» thereby «causing massive civilian suffering» (Ibid).

62 — percent of vouchers provided in 2013 - 2014 under proposal by House Speaker Paul Stam that would go to students currently enrolled in private or religious schools (Ibid)

by the full reference; since ebooks use popup endnotes, «Ibid.»

Ibid Gallery presents a solo exhibition by Rodrigo Matheus, a Brazil - born Paris - based artist working in the realm of sculpture, installation, and assemblage.

Sous la Lune at Institute of Contemporary Arts Singapore, Lasalle College of the Arts, by Adeline Chia Vandy Rattana at Sa Sa Bassac, Phnom Penh, by Vera Mey aaajiao at Gallery Yang, Beijing, by Edward Sanderson Peepshow at Long March Space, Beijing, by Li Bowen Yeh Wei - Li at Hanart TZ Gallery, Hong Kong, by Stephanie Bailey Thinking Tantra at Jhaveri Contemporary, Mumbai, by Niru Ratnam Discordant Harmony at Hiroshima City Museum of Contemporary Art, by Dean Kissick Ken Kagami at Misako & Rosen, Tokyo, by Dean Kissick Seoul Babel at Seoul Museum of Art, by Tiffany Chae Heri Dono at Mizuma Gallery, Singapore, by Sherman Sam A Fact Has No Appearance: Art Beyond the Object at National Gallery Singapore, by Mark Rappolt Ni Youyu at Museum of Contemporary Art, Taipei, by Aimee Lin White Cube... Literally at Gallery Isabelle van den Eynde, Dubai, by Kevin Jones Corruption: Everybody Knows... at e-flux, New York, by Ming Lin Tadanori Yokoo at Albertz Benda, New York, by Joshua Mack Song Yige at Marlborough Fine Art, London, by Matthew McLean Maria Taniguchi at Ibid, London, by Ming Lin

, Bloomberg Space, London, UK, in 2013; Kabuki, The Tanks, Tate Modern, London, UK (performance), Sorry I'm Late, Firstsite, Colchester, UK, Daisy (with Julie Verhoeven), Peles Empire, London, UK, Frieze Projects East: LOVE, (with Nicholas Byrne), Poplar Baths, London, UK, Les Modules, Foundation Pierre Bergé — Yves Saint Laurent, Palais de Tokyo, Paris, FR, in 2012; Venice, Frieze Film, commissioned by Frieze Foundation, UK, Open Set (series of performances and events with invited guests), IBID Projects, London, UK, in 2011.

Manifesto neoconcreto by Ferreira Gullar, 1959, quoted in ibid, page 6.

Ronsard's «tale of loss followed by Arcadian redemption» (Ibid., p. 97) could aptly serve as a metaphor for the career trials that Mitchell experienced during this period of her life, and certainly masterpieces, like the present lot, testify to such redemption with ineluctable force.

Formally, the layered abstracted satellite map «reanimates the ripped - and - torn décollage methodology trademarked by Jacques Villeglé and Raymond Hains in the 1950s» (ibid., n.p.).

Deeply invested in the technical and physical act of painting, Wool says that he ``... often [wants] a painting to feel like it is the result of a certain process, a process that was not simply the painting / picturing process of putting together a formally successful painting» (C. Wool, quoted by A. Goldstein, «How to Paint,» ibid, p. 171).

The sculptures «take on a form dictated by gravity, temperature and the essential nature of the material» (ibid., 274).

Selected solo and group exhibitions include among others: «Sensual Abstraction a la belle etoile», ReMap4 (Athens, 2013); «Innate memories», Art Athina, State of Concept (Athens, 2013); «Parnassos», Literary Society Parnassos (Athens, 2012); «The Forgotten Bar», Galerie Utopia, ReMap3 (Athens, 2011); «The Non-Existent Hand», ReMap3, Hotel Galini (Athens, 2011); «Cabinets of miracles», Zone D, Zoumboulaki Gallery (Athens, 2010); «Locus Solus», Benaki Museum (Athens, 2010); «Celebration / 10 year anniversary of Hydra School Projects», Alex Mylonas Museum (Athens, 2010); «The Lobby», IBID projects (London, 2008); «Blue eyes on route to the best brothel of paradise», Art Athina, commissioned by the National Theatre of Greece (Athens, 2008); «Satellites (i - cabin baggage)», Tanya Bonakdar Gallery (New York, 2006);» New Contemporaries 2004», Liverpool & The Barbican (London, 2004); etc..

Ibid Gallery is pleased to present focus (3 - 6), a show of fortnightly rotating works by modern and contemporary artists in intimate dialogue.

His recent solo and group exhibitions include: Galerie Rüdiger Schöttle, Munich, DE (2016); Sleep, curated by Paolo Colombo, IBID, Los Angeles, US (2016); Prix Jean - Francois Prat (winner), exhibition held at the Palais de Tokyo, Paris, FR (2016); Since the Foundation, IBID, London, UK (2015); There Are No White Spaces, Galerie Vera Munro, Hamburg, DE (2013); Only here, The Federal Republic of Germany's Contemporary Art Collection, Boon, DE (2013); Tartu Museum, EE (2012), IBID Projects, London, UK (2012); IBID PROJECTS at Remap2, Athens, GR (2009); Your Gold Teeth II, Marianne Boesky Gallery, New York, US (2009); Super Normal, IBID PROJECTS, London, UK (2007).

He also said that the artist had wanted to set the pieces of Fallen Images on a reflective aluminium surface but the cost proved prohibitive and a wooden one was made by him (ibid.).

(Los Angeles, US) Ibid Gallery presents the debut Los Angeles solo exhibition by Rodrigo Matheus.

-- «Doze Ensaios Volantes» — Bolsa Pampulha, Museum of Art of Pampulha, 2004 — «Georgina Bringas, Rodrigo Matheus & Ricardo Rendón: Science So Fair», Diaz Contemporary — Canadian Art, 2008 — Rodrigo Matheus — Daily Serving, International Publication for Contemporary Art, 2010 — Rodrigo Matheus Interviewed by Sergio B. Martins, 2012 — John Jones Guide to Frieze, 2012 — «PINTA London Announces its Strongest - Yet Lineup for 2013 Fair» — Blouin Artinfo, 2013 — Rodrigo Matheus in «Imagine Brazil» Exhibition Catalogue — Astrup Fearnley Museet & Museé d'art Contemporain de Lyon, 2013 — Interview with Rodrigo Matheus — PIN - UP, Magazine for Architectural Entertainment, 2013 — «Rodrigo Matheus» Socially Oriented Art soon at Fortes Vilaça and Ibid Projects» — Conceptual Fine Arts, 2013 — «Imagine Brazil» — Artforum Review, 2015 — Rodrigo Matheus @ Galeria Fortes Vilaça — Art Viatic's Cultural Magazine, 2015

These delicately - balanced compositions seem lit from within by an unknown light source, prompting one curator to describe them as «wet with light» (J. Harithas, ibid., p. 63).

Including: «A Pictorial Encyclopedia of The Oriental Arts» 2 vols in slipcase, edited by Shoten, publ by Crown; «Oriental Cloisonne and Other Enamels» by Chu; «Japanese and Oriental Ceramics» by Gorham; «Half the World», edited by Toynbee; «Chinese Jade of Five Centuries» by Hartman; «Chinese Export Porcelain» by Lunsingh - Scheurler; «Treasures of Chinese Glass Work Shops» by Asiantiques; «A History of Far Eastern Art» by Lee; «The Art of Japan» by Kidder; «Japan: A History in Art» by Smith; «China: A History in Art» by Smith & Weng; «Jade of the East» by Wills; «Wolf Kahn, Paintings & Pastels», 2 vols in slipcase, Ameringer - Yohe Fine Art; «Near Eastern Mythology» by Hamlyn; «Vasarely» by Diehl; «The Drawings of Milton Avery» by Taplinger; «Milton Avery» by Haskell; «Wolf Kahn, Landscape Painter» by Sawin; «Wolf Kahn, The City as Landscape» by Ameringer / McEnery / Yohe; «Hans Hofmann», ibid; «Picasso at Work at Home» by Schiff; «Wondrous Strange, The Wyeth Tradition»; «Fletcher Martin» by Cooke; PLUS (14 vols set) Cooper - Hewitt Museum Art & Antique Guidebooks; PLUS several gallery exhibition catalogs.Read more

This was exemplified by such qualities as «the play on notions of nature and the natural, the opening up of spaces between solid forms, the deconstruction of stability» (ibid.

That show, together with the Oct. 11 opening of Ibid's new gallery in the Fitzrovia district with more conceptual works by Michael Van den Abeele, Flora Hauser and Maria Taniguchi, will be one of the dozens of events jostling for the attention of visiting collectors and curators during Frieze Week.

On display in the Ibid Gallery courtyard this summer are two showers by James Herman and Rallou Panagiotou.

«Our more conceptual artists tend to be supported by institutions and foundations,» said Chelsea Zaharczuk, the assistant director of Ibid's London gallery.

Just around the corner from Ibid Gallery, the artist - run space is organized by Thomas Linder, Timo Fahler, and Adam Beris.

ISBN 978 - 0262521802 [24] As quoted by Daniel Birnbaum in «Pictures Eating Pictures: Notes for Wade Guyton» from Parkett, vol 83, 2008, in reference to the essay by Scott Rothkopf «Modern Pictures» in Wade Guyton, Color, Power and Style, Exhibition Catalogue - Cologne: Walter Koenig, 2007 [25] Christy Wampole, «How to Live Without Irony», The New York Times, November 11, 2012 (first published on the «Opinionator Blog» then reprinted in «The Sunday Review» [26] ibid.

Ibid Gallery is pleased to present the debut Los Angeles solo exhibition by Maria Taniguchi.

Ibid Gallery is pleased to present a solo exhibition by Los Angeles based artist Austyn Weiner.

In Laudato Si», I call for a courageous and responsible effort to «redirect our steps» (ibid., 61), and to avert the most serious effects of the environmental deterioration caused by human activity.

Ibid, page 10: «Compared with global emission levels in 1990, 2000 and 2010, global aggregate emission levels resulting from the INDCs are expected to be higher by: 40 (33 - 47) per cent in 2025 and 44 (34 - 53) per cent in 2030 in relation to the global emission level in 1990; 35 (28 - 41) per cent in 2025 and 38 (29 - 47) per cent in 2030 in relation to the global emission level in 2000; and 13 (7 - 19) per cent in 2025 and 16 (8 - 23) per cent in 2030 in relation to the global emission level in 2010.»