Sentences with phrase «early image of the world»

There seems to be no doubt that Whitehead's organismic conception of reality stands closer to the child's early image of the world than to the later phase of thing - ification.

Not exact matches

MacLeish began working with J.B.'s central visual image — the circus - tent world and the infinite sky — in an early poem, «The End of the World.&rworld and the infinite sky — in an early poem, «The End of the World.&rWorld.»

Ultimately, his work alludes to mankind's inherent ability to reflect its Creator, reflected in the earliest moments of the world: «So God created mankind in his own image, in the image of God he created them; male and female he created them.»

Among Graham's most important group of works is a series of photographs of upside - down trees, which both summon up the origins of photography itself, conjuring up the inverted and reversed images created by the early camera obscuras, as well as draw attention to the process of rationalisation whereby we frame and define our vision of the world.

Being able to isolate, manipulate and image single & multiple cells in their natural environments is vital to researchers in many fields, notably those involved in drug discovery, early stage diagnosis and cellular force interactions making the addition of FluidFM ® to the world of AFM imaging and force spectroscopy an ideal pairing.

Don Jensen, a DSL reader who first started drag racing in California in 1950, interviewed Jack Hagemann (1916 - 2009) in 2007 about the early years of drag Search the world's information, including webpages, images, videos and more.

Image caption Dr Xand van Tulleken: «Writing a profile is the hardest and most unpleasant part of online dating» Around the world... subconsciously match earlier initials with academic and professional success.

The early images show a style very similar to both the console and handheld versions of previous New Super Mario games, with polygonal figures in a 2D world.

In the earlier films, particularly in Days of Heaven, the constant flow of images has very little spatial continuity, thereby making each image a discrete world existing on its own (or an emerging - abiding sway, one would say) rather than a small bit of perceptual information.

She's one of the early adopters of Google Earth, a mapping program that pastes together satellite images from around the world to provide a complete, searchable — no, visitable — aerial view of the planet.

Consider, for example, starting a unit by showing students an image of two people or groups of people whose differences and known disagreements are likely to trigger historical or cultural assumptions (such as Native Americans and early Great Plains settlers, British and German soldiers from World War I, or police officers near a picket line of striking workers).

Before its world premiere which will happen at the Paris Motor Show early next month, Mercedes - Benz today revealed images and details of the

Before its world premiere which will happen at the Paris Motor Show early next month, Mercedes - Benz today revealed images and details of the 2015 Mercedes B Class (facelift).

The Mobile World Congress is still a few days away, though early images of Huawei's MediaPad 10 have already made it online.

These heroic German Shepherds did much to establish the early image of the German Shepherd in the United States as brave, intelligent, loyal dogs and the breed's popularity has not wavered much since those early days, with only a slight dip following World War II.

Best Friends magazine broke the mold of existing animal advocacy publications in the early 1990s with a principled policy of never using graphic images of suffering animals to make our readers feel pity and guilt, and now we've created the following TV spot with the hope that we can disrupt the sad - sack world of animal video appeals with something new, something positive and something entirely Best Friends.

The use of images of the modern world, copied from magazines in the photomontage - style paintings produced by Harue Koga in the late 1920s and early 1930s, foreshadowed elements of pop art.

The photographer — who rose to fame in the early 1990s with a modern style characterised by the merging of digital manipulation and darkroom techniques — has since started «composing» his images by integrating an interest in the natural world with concepts typically associated with painting and cinema.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

«For me, early on, art was painting landscapes... then a guy showed me images of a Pollock painting [in a book] and it shocked me; it felt very liberating that the world accepted that as art.»

Curated by Maria Lind, Philippe Parreno at CCS Bard explores the artist's work with moving images, focusing on two later pieces, June 8, 1968 (2009) and Zidane: A XXIst Century Portrait (2006), and an early work, Anywhere Out of the World (2000).

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

De Kooning moved to a more lyrical form of painting, (such as Villa Borghese, 1961), that lacks the urgent, anxious connection to the world of his earlier Women paintings (no bad thing, depending on your view of these violent images, often described as misogynist).

I don't start out with an image in mind, nor a set of objects, nor a narrative line... but I do begin early on to imagine a time of day which determines the length or absence of shadows and the light in this world.

... this exhibition features some of her earliest muted paintings, works that take their subjects from pictures torn from magazines, images from television, and photographs from books about World War II.»

, introduces the notion of the «stereoscopic» from early photography: that is, the pairing of two separate images, which, in her words, «unleashes an ambivalence between the observer and the world».

Her text, Double Lives, introduces the notion of the «stereoscopic» from early photography: that is, the pairing of two separate images, which, in her words, «unleashes an ambivalence between the observer and the world».

Cragg has widened the boundaries of sculpture with a dynamic and investigative approach to materials, to images, and objects in the physical world, and an early use of found industrial objects and fragments.

Making the top twelve list of top art world events taking place in early February, the exhibition, «deftly organized by art critic and curator Gregory Volk,» is higlighted as an opportunity to view the artist's lesser - known photography - based works, including «her recent still lifes, which poetically combine distinctive objects and images culled from her vast archive.»

In the 1930s and»40s he continued to capture images of middle - class leisure that, like his earlier images, display a charm and joy that is detached from the traumas of world war.

Romantic painters of the early nineteenth century produced images of steep cliffs, vast forests, and horizon lines untouched by remnants of an industrialized modern world.

From early works such as Dziga Vertov's silent documentary Man with a Movie Camera (1929) through to later practitioners including Chris Marker, Harun Farocki and Chantal Akerman, there exists in the form of the essay film a continuum of attempts to understand the self - consciousness of images, and their relationship to the world in which they are made.

It is as if he were synthesising abstraction with his earliest experiences of the natural world, and orchestrating them into a rhythmic equation, in which space and matter, time and process are all suspended in a single dynamic image.

Through large acrylic paintings featuring emblematic, life - sized images of horses, largely monochromatic, she established her reputation in the New York art world in the early 1970's.

When Jackson Pollock (1912 - 56), Hans Hofmann (1880 - 1966), Arshile Gorky (1905 - 48) and a number of their contemporaries sought in the early years of World War II to emancipate themselves both from the closed world of geometric concrete art (including styles like De Stijl and Neo-Plasticism) and from the image - suggestion of both representationalism and Surrealism, they suddenly found themselves in an unfamiliar territory, bereft of conventional signposts or prescribed procedWorld War II to emancipate themselves both from the closed world of geometric concrete art (including styles like De Stijl and Neo-Plasticism) and from the image - suggestion of both representationalism and Surrealism, they suddenly found themselves in an unfamiliar territory, bereft of conventional signposts or prescribed procedworld of geometric concrete art (including styles like De Stijl and Neo-Plasticism) and from the image - suggestion of both representationalism and Surrealism, they suddenly found themselves in an unfamiliar territory, bereft of conventional signposts or prescribed procedures.

For the Anagram, Arcadian Retreat and Anagram (A Pun) series, Rauschenberg drew upon the achievements of his early screen print and image transfer works of the 1950s and 1960s while reinvigorating the ideas, imagery and techniques to respond to a dramatically different world.

Image credit:: Tumbling Green Popcorn, Flickr, a2thegeezus By George Grattan Earlier this week I joined a number of Earthwatch colleagues and other interested filmgoers at a screening of the documentary Flow, an emotionally powerful (but narratively flawed) examination and indictment of the privatization of fresh water supplies throughout the world.

As a person with a restraining order in effect, who has wanted to live a private life and keep pictures offline since my early teens, it is unfortunate that being open to the world, in terms of private traceable details and personal images, has become necessary as a means of employment.