Sentences with phrase «idea than the object»

Not exact matches

The idea is absent that sexual conduct can do harm to the health of one «sspirit, of one's humanity; that it can overthrow a person's human balance, turning him or her obsessively in on self, seeing in others no more than sex - objects, incapable of any deep or lasting love or of the respect that is the very hallmark of love.

The idea of an object that is not a subject is the idea of an object for some subject other than itself.

If we now place under a concept a representation of the imagination belonging to its presentation, but which occasions in itself more thought than can ever be comprehended in a definite concept and which consequently aesthetically enlarges the concept itself in an unbounded fashion, the imagination is here creative, and it brings the faculty of intellectual ideas (the reason) into movement; i.e., by a representation more thought (which indeed belongs to the concept of the object) is occasioned than can in it be grasped or made clear.21

He did not want Absolute pragmatism to lapse into the usual caricature of idealism, which made ideas into nothing more than objects of idle contemplation; ideas always contain, at their core, an intention to act.

Thus: «Hence the idea of the sun will be the sun itself existing in the mind, not indeed formally, as it exists in the sky, but objectively, i.e., in the way in which objects are wont to exist in the mind; and this mode of being is truly much less perfect than that in which things exist outside the mind, but it is not on that account mere nothing, as I have already said.»

These purposes define the idea or form of the esthetic object or act in a somewhat more restricted fashion than is the case where the artist is free to follow his own imagination without limit.

In other words, it is the way one engages with an object or idea that makes an idol and idol rather than some kind of property within it.»

The idea is that an elongated screen with stretch along the nose of the car, protecting the driver from oncoming object whilst also preserving the open - cockpit nature of the cars in a less hideous way than the Halo did.

If it's only on the odd occasion your child is not happy to share, it's a good idea to remove the object that is causing this behavior, rather than putting your child through a lecture.

He is known to correct a stranger's pronunciation of his or her own last name (which doesn't always go over well) and is more than happy to give names to objects or ideas that do not have one yet.

The idea is that is if enough heat built up inside the burning house, objects stored higher up will show different types of damage than those closer to the floor.

Unfortunately the idea of training with odd objects, in a warehouse free from grandmas and pencil necked posers that use the only squat rack for bicep curls was nothing more than a dream for most men.

Among its many valuable lessons is that objects have no worth save for the feelings we invest in them, and that no individual is greater than a noble idea.

Though I love the rearview camera idea, objects in the display were definitely closer than they appeared to be.

Now that the pleasantries are out of the way, let's get on to the issue at hand, and that's that I posit the idea that the 3D Classics are simply a shiny object meant to take our attention away from the fact that SEGA has been just a tad more active in the West than Hudson, Atari or Acclaim, all mashed together into a giant amalgamation of lost hope and glory.

OK, it might be a bit big to display in a cube - you need a lot of wall space for this one - but the idea is the same - Conversations that happen around the object are more interesting than the actual object itself.

«It is more about ideas rather than objects.»

The idea is that your features are nothing more than the actions people take on accepted, agreed - upon social objects.

Following the exhibition publication which relies more heavily on text than image, Printed in Germany is an artist's book conceived as a stand - alone visual object that extends Williams's conceptual and aesthetic ideas into book form.

Existing as an idea rather than a physical object, Weiner invites visitors to experience his work in tandem with the rich heritage of the Palace, using the building's historic collections as a support structure for his artistic vision.

Gonzales - Torres» works exist as fleeting interactions between the work and the viewer, and are an extension of the aesthetic of the 1960s, when happenings and conceptual art favoured the artistic idea rather than the aesthetic object.

To witness this, through an understanding of man - made objects, and as in this exhibition with a religious undertone, helps raise the idea of sameness, rather than difference.

This comprehensive exhibition includes more than 270 objects — furniture, drawings, household objects, textiles, baskets and kitchen implements — and will provide insight into this intriguing religious group that valued many ideas that resonate today such as equality, pacifism, community, sustainability, responsible land stewardship, innovation, simplicity, and quality in work.

Thanks to developments in conceptual art in the 1970s, wherein artists, in the lineage of Joseph Kosuth, attempted to distill the artwork into the presentation of words and ideas rather than crafted objects — not to mention the recent vogue for archival ephemera as exhibition material — artists, curators, and museumgoers are well - acclimated to seeing pieces of text on display in museum galleries.

A great number of group exhibitions include strong individual works but lack compelling ideas that would make them into something more than random selections of objects.

Smith's ideogrammatic, two - dimensional representations of carton - like structures shared the sensibilities, rather than replicated, the presentation of objects in modern life, an idea that sustained endless renewal in his paintings.

Although most of Tuttle's prolific artistic output since the beginning of his career in the 1960s has taken the form of three - dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea - based nature of his practice.

In this setting, works by art stars like de Kooning (with whom Vicente shared a studio floor on East 10th Street in Manhattan in the early»50s), Lee Krasner, Motherwell and Pollock feel like part of a larger network of ideas and approaches rather than objects crafted by lone - wolf geniuses.

I wondered whether it would be possible to construct a show as I did a sculpture: intuitively adding and subtracting, allowing meaning to be generated by the objects rather than using them in service of an argument or idea.

I was compelled to tie this commodity concept in with Benson's work which is a remark on the purchase of an idea rather than a lasting object.

The idea is that one might experience art more as an event than as a static object, as in two of Creed's most renowned works, The Lights Going On and Off (1996) and Half the Air in a Given Space (1997).

These hundreds of objects that looked like framed, matted, fields of painted blackness, worked as neutral, «generic signs» that might inspire the viewer to think about the social expectations that constructed the «idea» of a painting,» more than the actual painting itself.

The ideas contained in the everyday objects around us made them far more interesting than marble or oil paint.

I liked the idea of drawing on everyday objects, rather than in protected and more cultural mediums.

They are much more interested in developing ideas and concepts - frequently employing mixed - media formats - than in handcrafting precious objects.

The paintings were particularly discouraging, since they were scale-less and utterly mechanical; clearly we were meant to recognize them as indicators of ideas rather than consider them as objects with intrinsic expressive properties.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

«Instead of trying to expand the canon, we should dispose of it altogether, through epistemology as well as what can be termed a conceptual history of art and curating, drawing upon diverse ideas such as those of Michel Foucault and Reinhart Koselleck, in which history is seen through ideas and concepts in terms of periodization, rather than events, individuals, and, in our case, specific objects.»

They emphasized ideas and concepts rather than precious objects and the skills needed to make them.

The clearest relevance of reification for painting stems from its use in Gestalt psychology from the Berlin school of the 19th century to describe an object having more spatial information than is actually present, an idea that translates in today's terminology to: «the sum is greater than its parts.»

In his foreword to The Art of Medicine: Over 2,000 Years of Images and Imagination, Antony Gormley reminds the reader of the «pre-enlightenment idea of a Wunderkammer, or cabinet of curiosities... a collage of objects and images put together less to tell you what to think and what things were, than to incite your wonder and curiosity.»

In looking at those abstracted forms, the viewer is confronted by the idea that the mysterious shapes are more real than the identifiable objects.

And even though it is exclusively composed of inexpensively fabricated editioned objects, posters, photographs and prints, it more than adequately represents Beuys» ideas and artistic production.

A more recent precedent for this kind of dialogue at Pomona occurred in 1969, when gallery director Hal Glicksman proposed the then radical idea to work with artists directly, commissioning installations and artists» projects, rather than solely exhibiting discrete art objects.

Many paintings hovered close to sculpture, drawing attention to the idea of a painting as an object rather than an illusionistic scene.

Other recent shows include a 2011 solo presentation entitled Seeing Green, in conjunction with the exhibition All of This and Nothing: 6th Hammer Invitational; The Uncertainty of Objects and Ideas: Contemporary Sculpture, at the Hirshhorn Museum and Sculpture Garden, Washington, DC (group 2006); 100 Pounds of Clay, Orange County Museum of Art, Newport Beach, CA (solo 2006); Gone Formalism, Institute of Contemporary Art, Philadelphia, (group 2006); and More Like a Dream Than a Scheme, David Winton Bell Gallery, Brown University, Providence, RI, traveled to SITE Santa Fe (solo 2005).

Kelly went on to praise the idea that artworks are «more important than the artist's personality», perhaps suggesting a concern that any emphasis on the painter's own involvement might detract from viewers» attention to the objects themselves (Kelly 1980, p. 32).

By 1959 Kaprow was exploring a direction in art where idea and process were considered more important than the object.

The pseudoscience folks refer to these as «Legacy Civilizations,» usually from the idea that the Pyramids are much, much older than they really are and various other objects are really «legacy artifacts» from vanished civilizations — Atlantis, Mu, etc..

Motivated reasoning is much worse among scientists than among the general public, as the former group is made of people who invariably think very high of themselves and very low of anybody else, especially after they achieve tenure or one of its various non-US equivalents, and their pet ideas become an object of personal cult.