Sentences with phrase «immaterial images»

«Feminist repurpose video #gamergate subversion shit» says the press release, as one considers the video raining Emojii and immaterial images of torn out fragments of words in «untitled (the sea)».

In an interview with Hans Ulrich Obrist, Novitskova explains that she uses this source material in order to demonstrate the transplanting of web - based immaterial images into the real.

Recently, Lim has expanded her practice to include filmmaking, combining various avenues of interest — in material objects and immaterial images, in cinema and literature — to a singular point of convergence.

This beacon can represent the cities revenues morphing from commodity to culture, and in a way, echoing the project of Sunscreen; morphing physical artwork to an immaterial image.

This permitted the whole painting as object to lend itself to the propensity in perception to see the total configuration of an object as an immaterial image of form, while precisely locating colour in an unfluctuating relationship within the overall structure of the form.

Not exact matches

King and Son of Man, - because as the Angels were made in the sheer likeness of God's immaterial being, so man's kind was, from the beginning, made to the Image not of God in general, but of God to be Incarnate, in Christ.

This is partly because, as Castoriadis emphasizes, immaterial «things» like conscious images are not «in the mind.»

Amorphous shapes, sharp - edged logos, scything blocks of colour and silky veils of tinted varnish intrude into Stubbs» picture planes, fragmenting the surface; it is as though the physicality of the works are coming up against the pixilation of the flattened, immaterial space of the digital image.

Part homage, part ironic reinvention, Thomas's 1990s abstractions can be seen as following the 1980s work of Peter Halley, Phillip Taaffe, Sherrie Levine, but their deft shuffling of the material and the immaterial, of the object and its image, orient them toward the future (i.e., now) rather than the past.

Furthermore, Immaterial will investigate an artist's use of material, color, and form to produce an image or object which can create both physical and psychological spaces.

Atkins's Even Pricks (2013) comprises a series of hyperpolished digitally rendered vignettes that relate the idea of depression — both physical and psychological — to the immaterial surfaces of images.

Recognized by Donald Judd in his 1965 essay Specific Objects, Ortman developed a new type of art, neither painting nor sculpture, that rendered immaterial the distinctions between image and object.

The sturdy froth of color and texture that comprises his images creates a «glancing, immaterial quality,» an impression not of the world as it is, but as it is remembered.1 While the artist finds that «the subject matter of (his) pictures is often established in one sitting,» he may take up to three years to complete a painting, even one as profoundly simple as After Corot (1979 - 1982).2 Hodgkin's process of recollection is related to that of the master mnemonist, Marcel Proust, whose all - over attention did not discriminate between the most significant details of memory and the most obscure.

As images have become predominantly immaterial, the feeling of a book or magazine picture has become something precious, possessing a tactile and sensual quality that digital images can't physically...

There are, of course, fundamental differences between the immaterial, insulated nature of VR experiences and the way we encounter physical objects, whether paintings, sculptures, or moving - image works viewed on a monitor or projected onto a wall.

If Arte Povera emerged as a critique of modernity's push for postwar, the work of these contemporary artists similarly bristles against the smooth, seemingly immaterial dissemination of capital, information, and images within our present global order.

An Immaterial Survey of Our Peers, a group show curated by The Jogging, placed digital images of the selected artists» works into a virtual simulacrum of the School of the Art Institute of Chicago's galleries, images which were then projected into the actual gallery.

The difference, of course, is that the actual seeing is about an experience — an indelibly human act — while the digital image is about information, which is neutral, immaterial, and implies no commitment in the stretch between idea and painting — a point on which Greenberg and the infamous Duchamp would seem to converge.