Sentences with phrase «early object of interest»

That's why Mars was an early object of interest and why Saturn's moon Enceladus joined the list of possible life holders in 2006 when the Cassini orbiter spotted geysers at its south pole.

Not exact matches

Hands on learning: Waldorf system helps children's development, Kids Naturally An article written by Halton Waldorf School As early as infancy, as children suck on fingers and grasp objects of interest, their hands transmit important sensory information to boost brain development.

At the time, early advocates objected to courts presuming that maternal custody was in the best interests of the child.

The game features a mark - target system that allows players to mark enemies and objects of interest within the game environment, but these marks can often be confusing, for example: in an early mission, Snake is tasked with rescuing a friend from a Soviet held village in Afghanistan.

While Cameron - Weir's new sculptures are informed by her study of historical objects made to protect, punish, or stand in for bodies — medieval armor or torture devices, and early - Renaissance orthopedics — they also reflect her interests in aspects of evolutionary design, such as corporal symmetry and the possibility of biological systems that harbor intelligence and self - awareness.

Because, growing up in the early «90s, my generation was mostly involved in a big questioning of the object, questioning painting, but I finally felt through Richter that, you know, maybe it would be interesting to do a kind of cartography of painting.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

During the late 1960s and early 1970s, Downey (b. Chile, 1940, d. New York, 1993), like many of his peers, became interested in the expanded field of art and architecture, including the dematerialization of the object and the turn towards investigations of invisible energies.

It's also where she collects her antique and found objects — a wide selection of which were displayed at Gavin Brown's enterprise last year — and her work draws frequently on Cape Breton's mythology, part of her wider interest in Celtic folklore (Joyce was a very early point of reference).

Along with well - selected illustrations of works in different media, the catalogue traces Sillman's early exploration of cartoon imagery and the associative use of colors, her struggle for the unity of the physical legitimacy of the objects and the human body, her equally shared interest in figuration and abstraction, her attempts to reduce images that evoke the ambiguity of singular gestures in flux that are emphatically stable, and her «zines» and recent forays into drawings made with an iPhone.

Her early object paintings and interest in scientific imagery led to her drawings and prints of seas, night skies and deserts, with their extraordinary surfaces and physical presence.

Especially interesting is Wendy and Emory Reves» collection of over 1,400 objects (jewelry, furniture and paintings by impressionist, post-impressionist, and early modernist masters), on display in a 15,000 - square - foot replica of their villa on the French Riviera.

As demonstrated by works like those currently on view at the Nasher, Gates often uses salvaged materials (an interest piqued early on by his friendship with Chicago - based artist Dan Peterman, known for his work with recycled objects) that carry the weighty realities of black life in America.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Beginning in the early nineties, McCollum expanded his interests in quantity production to include explorations into the ways regional communities give meaning to local landmarks and geological oddities in establishing community identity, and collaborated with a number of small towns and small historical museums in Europe and throughout the United States, bringing attention to the way local narratives develop around objects peculiar to geographic regions, and drawing comparisons to the way artworks develop meaning in a parallel manner.

She later went on to pursue her earlier interest in sculpture and engaging further her passion for Up - cycling (the concept of repurposing discarded objects), an interest stimulated by the constant environmental problems she encountered around her community particularly from non-biodegradable plastic bags and bottles which were in abundance.

While several early images derive from the artist's own interest in common objects from the studio, such as a television set or a lamp, this exhibition also concentrates on images of war — and televised images of conflict.

Holohan was interested in connecting and utilizing patterns of everyday urban movements through performance which simultaneously reference early object making.

While several early images came from her own interest in painting common objects from the studio, such as the television itself or a lamp, this exhibition concentrates on images of war and the power (or lack thereof) of mediated representations.