Sentences with phrase «historical distance»

For example, to think of a giant like Clement Greenberg, his early championing of Jackson Pollock may have launched his career, but his legacy was made not on the basis of these often cursory reviews, but rather on his synthesis and contextualization of Pollock's significance in later essays such as ««American - Type» Painting» and «After Abstract Expressionism» that rely on a certain degree of historical distance from their subjects, however slight.

Wellhausen, who is rightly credited with recognizing in the Yahwist a budding historical ingenue, spoke of the Priestly writer as a deceiver, as one who sought to disguise his true historical distance from the matters he was reporting in order to trick his leaders into thinking they had before them accurate historical records.

Rauch seems unafraid to go there simply because historical distance may have made it palatable again for his own generation, for whom the style most likely became, ironically, more of a pop idiom.

While Whitten will be remembered as a giant of American painting and a singular figure in the creative history of black diaspora, he kept his eye fixed on the deeper currents that connect people across broad cultural divides and vast historical distances.

In her catalog essay, the Whitney Museum of American Art's film curator, Chrissie Iles, distinguishes Ms. Collier from the Pictures Generation artists: «Collier's relationship with her subject matter takes place at one remove, and at a greater historical distance, within a social culture transformed by the Internet, in which the linear trajectory of history has collapsed into a flat matrix of information, influence and temporal fluidity.»

With historical distance we may begin to discern a common thread running through French postwar abstract painting, across many disparate practices and over multiple generations: a recurring pattern of lightness of tone, of silence, absence and withdrawal.

With the aid of historical distance and curated juxtapositions this exhibition re-contextualizes and clarifies the interdisciplinary nature of Rivers» work.

But, it's also hardly a core issue and is complex primarily because of our historical distance from the context.

[T] he historical distance between between the present interpreter and the text is not primarily an obstacle to understanding to be overcome by a self - translation of the interpreter into the world of the author but an advantage for understanding in that the tradition which is operative in the interpreter helps him or her to draw from the text a richer meaning than was available to the original audience.

I don't mean its historical distance or its cultural distinctiveness only, but its theological edge — what Barth meant when he once referred to the «strange world» of the Bible.

The first is an acknowledgement of historical distance, cultural difference, and, most significantly when it comes to the Old Testament, an era of God's work that applies to us only indirectly because of the advent of Christ.»

An interactive, non-glare touchscreen allows the rider to choose speed, review current and historical distance, control lighting and sound and more.

It's located within walking distance of pubs, shops and a historical

Bringing the aid of historical distance and curated juxtapositions into play, the exhibition re-contextualizes and clarifies the creative diversity of Larry Rivers» oeuvre.

It mimics the 1966 exhibition's graphic identity so that we attend to its historical distance from the exhibition on view.

An ancient Chinese bronze may be «about» the same thing as a contemporary American painting; there may be correspondences regardless of historical distance.

Richter explores his own state of mind through a visual metaphor that he can examine from an art - historical distance» (D. Elger, Gerhard Richter: My Life in Painting, Chicago, 2002, p. 269).

The innocent notice holds within it — at this historical distance — the wry understanding of not one, but two men who would go on to be presidents of the US with incalculable geopolitical consequences.

Together the various methods both preserve and dismantle the genre, speaking to the continuing importance of nature for artists across geographic and historical distances.

This publication is devoted to that huge work, looking at it from a historical distance, and examining the artist's central modi operandi as prototypes.

It's as though, despite the enormous cultural and historical distance that separates Mexico half a century ago from contemporary Brazil, any woman painter from anywhere south of Texas must have emerged from the same current.