Sentences with phrase «described as art objects»
«Our jewelers create one - of - a-kind pieces that can only be described as art objects,» says Clara Holiday, Sales Manager at form & concept.
http://www.formandconcept.center/ Not exact matches
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.
The previously three came and went in a manner one can only describe as akin to the season change of nature itself, with the votes on art style, objects and clothing welcomed with open arms like the coming of Spring.
In terms of content, much of the work this year seems to be revisiting the crisis of the «post-medium condition» (e.g. the liberation of a painting from having to just be a painting), as famously described by critic Rosalind Krauss, albeit from a retrospective — perhaps even nostalgic — point of view, imagining possible futures for art - making in the wake of both rapid progressions in technology and the dematerialization of the art object.
While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery.
THE sculptor Richard Serra, a stickler about the differences between art and architecture, once described most public sculpture in urban architectural settings as «displaced, homeless, overblown objects that say, «We represent modern art.
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.»
When Bontecou's sculpture emerged in a public way in 2003, the inevitably reductive ways of art history tended to describe the welded steel frames covered with recycled canvas (such as conveyor belts or mail sacks) and other found objects as sprung from the head of Zeus.
Matisse described this composition as «a composition of objects that do not touch but nonetheless participated in the same intimacy», a statement that can be applied more generally to the way he portrayed his objects in his art.»
Social practice, sometimes described as social sculpture or relational aesthetics, is much less concerned with art objects and much more with the space of human relationship, challenging conventional notions of artmaking and display.
In Art as Experience, John Dewey describes form in art as, «the operation of forces that carry the experience of an event, object, scene and situation to its own integral fulfillment.&raqArt as Experience, John Dewey describes form in art as, «the operation of forces that carry the experience of an event, object, scene and situation to its own integral fulfillment.&raqart as, «the operation of forces that carry the experience of an event, object, scene and situation to its own integral fulfillment.»
is a combination of performative art, dance, and machinery working together in perfect harmony to execute a captivating dance of what the artist describes as «ordinary objects.»
«Seven Billion Light Years» encompasses a broad range of mediums: there's the brochure - favored, gently babbling This is not a fountain (h / t Magritte), painted bronze mangoes and potatoes, video art, found objects, paintings, mixed media, a floor installation made with real Indian dirt («30,000 pounds of soil,» a gallery attendant whispered to an enraptured visitor, who murmured, «Wild, wild») and what could best be described as a trio of giant steel / copper / plastic pom - poms.
Berlin - based artist and tinkerer Nils Völker's latest installation Bits and Pieces is a combination of performative art, dance, and machinery working together in perfect harmony to execute a captivating dance of what the artist describes as «ordinary objects.»
Art Papers describes Aspen Mays» work as standing «in deft opposition to the technology we have come to rely on for answers, putting faith not in complex databases and rapidly evolving technology, but rather in the ability of everyday objects and materials to spark our imagination.»
The show is described as an examination of «recent African art according to two fluid and often intertwined aesthetic and conceptual frameworks: the impact of the environment on contemporary African life, and the use of found objects and appropriated materials as a recurring presence in current African art.
His work is often described as Neo-Dadaist, as opposed to pop art, even though his subject matter often includes images and objects from popular culture.
In a 2000 Art in America review of «New Steel Paintings» at Stefan Stux Gallery, Tom McDonough described Allain's work as «hybrid art works in the tradition of Donald Judd's «specific objecArt in America review of «New Steel Paintings» at Stefan Stux Gallery, Tom McDonough described Allain's work as «hybrid art works in the tradition of Donald Judd's «specific objecart works in the tradition of Donald Judd's «specific objects.
In modern art, the term «found object» (a translation of the French phrase «objet trouvé») is used to describe an object, found by an artist, which - with minimal modification - is then presented as a work of art.
The curator of the exhibition described the exhibition as «assemblages as being made up of preformed natural or manufactured materials, objects, or fragments not intended as art materials».
In an attempt to address this, Martin Craig, Kate V Robertson and Michelle Emery - Barker are presenting «Sculpture Showroom», which they describe as «an adoption service for sculptural objects, seeking to match works of art with new guardians».
«We move on the axis of photo, sculpture, and architecture, and these two artists are amazing examples of how today, an image can end up as an object,» said gallery co-founder Barak Bar - Am, describing his program and the work by Greek artist Hadjidjanos and Swedish artist Strömberg at his Art Brussels booth.
Dallas Morning News art critic Rick Brettell has described Huyghe as creating «artistic «situations» that include living organisms of various forms, objects, liquids, gases, films and more arcane media in dizzying combinations.
His work could be described as modern day Pop - Mannerism, a combination of Pop Art and Mannerist art, and brings to mind that of Italian painter Giuseppe Arcimboldo, who painted imaginative faces made of fruits and other objecArt and Mannerist art, and brings to mind that of Italian painter Giuseppe Arcimboldo, who painted imaginative faces made of fruits and other objecart, and brings to mind that of Italian painter Giuseppe Arcimboldo, who painted imaginative faces made of fruits and other objects.
What do you say to a guy who's most frequently described as the artist who «radically redefined the status of the object in art»?
Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»
Interior designer Suzanne Rheinstein is known for her signature style, which is often described as elegant civility — «fewer things but better things» — encompassing a mixture of beautiful objects, furniture styles, personal art, painted surfaces and great attention to comfort, textures, details and light.