The space, shapes, and lines from the artist's original drawings are lost and the indeterminate blur that he produces becomes the paintings»
dominant aesthetic form.
Not exact matches
Yet films that reach even the barest
form of mass audience are often most vulnerable to accusations that they're somehow capitulating to
dominant political, narrative, or
aesthetic modes — most significant in the U.S., perhaps, have been Brokeback Mountain (2005) and Milk (2008), which respectively take on, rather than truly subvert, the Western and the Great Man Biopic.
It's hard for me to imagine how the
dominant, non-formalist
form of film studies, with its systemic handicap of abstaining from value judgment and not being able to treat the film as an independent
aesthetic object capable of producing an infinite variety of affects, can be terribly instructive for the enterprise of film criticism, which necessarily calls for a hierarchy of values on the part of the practitioner and his / her acknowledgement being a sentient, unique subject capable of being transformed by the film.
Though the intervening decades have seen returns to representation in different movements, virtually all of the
dominant art
forms of the latter half of the 20th century — including Abstract Expressionism, Neo-Dada, Pop Art, Minimalism, and Conceptual Art — have embraced the power and
aesthetic of formal abstraction in lieu of literal representation.