Sentences with phrase «immaterial space»

I Was Once Lonelyness is a group exhibition that looks at how today's artists are utilizing differing languages of abstraction to bridge material and immaterial space.

Dan Flavin began as a painter, and he brought a vision of light and color to a space between material objects and immaterial space.

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.

As it is impossible to disprove the existence of a giant invisible, immaterial space squirrel named Cedric who rides a pink cosmic skateboard.

Bunker integrates various strands running through Yi Gu's life into a sculptural form that also serves as a vessel for sonic reconfiguration - via acoustic sampling and computer modeling - of sounds made by the viewer into different aural dimensions, immaterial spaces and landscapes connected to Yi Gu's biography.

One of Remli's preoccupations is the immaterial spaces created and activated by Islamic rituals, and in particular, how women occupy these traditions.

Not exact matches

God is the powerful, immaterial, spaceless, timeless Being who brought space - time and material into existence.

That God, an immaterial, spaceless and timeless Being created matter and space - time.

He is: • Supernatural in nature (as He exists outside of His creation) • Incredibly powerful (to have created all that is known) • Eternal (self - existent, as He exists outside of time and space) • Omnipresent (He created space and is not limited by it) • Timeless and changeless (He created time) • Immaterial (because He transcends space) • Personal (the impersonal can't create personality) • Necessary (as everything else depends on Him) • Infinite and singular (as you can not have two infinites) • Diverse yet has unity (as nature exhibits diversity) • Intelligent (supremely, to create everything) • Purposeful (as He deliberately created everything) • Moral (no moral law can exist without a lawgiver) • Caring (or no moral laws would have been given)

'' • Immaterial (because He transcends space)» How can something that is immaterial have a mind, or «do»Immaterial (because He transcends space)» How can something that is immaterial have a mind, or «do»immaterial have a mind, or «do» anything?

• He must be immaterial because He transcends space / physical.

God is: • Supernatural in nature (as He exists outside of His creation) • Incredibly powerful (to have created all that is known) • Eternal (self - existent, as He exists outside of time and space) • Omnipresent (He created space and is not limited by it) • Timeless and changeless (He created time) • Immaterial (because He transcends space) • Personal (the impersonal can't create personality) • Necessary (as everything else depends on Him) • Infinite and singular (as you can not have two infinites) • Diverse yet has unity (as nature exhibits diversity) • Intelligent (supremely, to create everything) • Purposeful (as He deliberately created everything) • Moral (no moral law can exist without a lawgiver) • Caring (or no moral laws would have been given)

Following this train of thought gives you an immaterial God outside of time and space — much closer to an idea than a rock.

Ballroom Marfa is pleased to announce the opening of Immaterial, an exhibition that will focus on the physical and psychic tensions between form, color, and space across varied visual and structural mediums.

While peers in the loosely delineated movement of Light and Space in California from the 1960s onward abandoned painting in favor of more immaterial installation strategies, Norman Zammitt made a career of reasoned, deliberate canvases informed by floaty sensorial aspirations.

Calling himself «the painter of space», Klein «sought to achieve immaterial spirituality through pure color» and concerned himself with the «contemporary notions of the conceptual nature of art «1.

Working from perception, Pierce wishes to convey a sense of the visual as it is unfolding into forms and space that are at once material and immaterial.

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.

Curated by Richard Birkett «in dialogue» with artist Sam Lewitt (the dialogue started during a conference at New York's Artists Space in 2012), And Materials and Money and Crisis features work by 11 artists (of whom Lewitt is one) and seeks to address the issue of how immaterial factors — the conditions of production and display, the language used to talk about art and the forms of exchange surrounding it — affect the reception of artworks.

To translate this singular configuration into another city, and to transpose 98weeks» project space into an institutional one, poses different challenges, such as how to re-present the immaterial, process - based nature of 98weeks» activities.

In the work of Ann Veronica Janssens and Diana Thater, colored light is projected onto the walls of the gallery whereby the architectural space becomes the arena for an experience that melds physical and immaterial / mental coordinates.

Probably the best - known artist in his field, Turrell's entire oeuvre since the 1960s has been devoted to exploring the diverse manifestations of this immaterial medium and working towards a new, space - defining form of light art.

Pushing color into light, shape into space, material into immaterial, and the visible into invisible, he arrived at his black paintings as the state of mind separated from the realities of life.

The other collaboration artists in this issue, Carol Bove, Josiah McElheny, and Philippe Parreno, share a predilection for imponderables; they work with the unfathomable, the spaces in between and the immaterial, consistently probing the potential of «as if.»

These paintings and works on paper explore the liminal space between the material and immaterial.

Although Athanasios Argianas's «Song Machine» works possess a similar minimalist aesthetic — unlike Stamkopoulos's sculptures, which tackle the formal qualities of painting in three - dimensional space — Argianas's interest lies in the limit between material and immaterial structure i.e. information.

Yves Klein, the self - proclaimed «painter of space,» sought to achieve immaterial spirituality through pure color, an ambition that took this most mercurial artist from painting and sculpture to performance, film, photography, and music.

Good painting (whether figurative or abstract) allows the eye to wander smoothly backwards and forwards between a material surface and the immaterial, pictorial space.

On the contrary, it is a structure, in the proper sense of the term, primarily ephemeral and immaterial, where the space in between plays a major dynamic role.

In her first U.S. museum solo show, London - based artist Chosil Kil continues her exploration of the liminal space between interior and exterior; material and immaterial; object and performance.

Through the use of elemental materials, including water and air, Kapoor continues his investigations into the material and immaterial, weight and weightlessness, surface and space, the ocular and the aural, as he subtly balances the literal and the illusory to animate the senses.

Sculpture Center, in association with Volunteer Lawyers for the Arts, presents a panel discussion on issues of public and private space, physical and immaterial, artistic and legal.

These fragile bead constellations with their warm tones of pink, yellow, and orange threw delicate shadows, creating a complex interplay of tangible and immaterial lines in space.

Instead of focussing on the physical attributes and properties of materiality, pitched against what the press release denies as an immaterial internet space, Feeling in the Eyes will contemplate the «free - flowing» re-negotiation around it, as a concept in itself: «In the post-internet condition, the sensible has been redistributed».

Depending on the location, the insights, perspectives, and views provided allow the «empty space» around the sculpture to come to the forefront as immaterial form, equal in status to the material.

Works in the exhibition address changing relationships between media and incorporate immaterial aspects of space, chance, chroma and visual perception.

Self - identified as «the painter of space,» Klein sought to achieve immaterial spirituality through pure color (primarily an ultramarine blue of his own invention — International Klein Blue) and even went so far as to present white galleries emptied of all artworks for his renowned 1958 exhibition of «the Void.»

, LIAF, Lofoten International Art Festival, Norway Rematerialized New Galerie Paris / New York, New Galerie, Paris on Off moments, Grimmuseum, Berlin Le tamis et le sable 2/3: L'Intervalle, Instants Chavirés, Paris New Eyes for New Spaces, ISCP, New York Und everybody says yeah — on internet meme, The House of Electronic Arts, Basel 2012 The End (s) of the Library, Goethe - Institut New York Library, New York The Making of Americans: A marathon reading of Gertrude Stein's novel, Triple Canopy, New York Let us keep our own noon, curated by David Horvitz, West, Den Haag Rome Photo Festival, MACRO, Testaccio, Rome Fair Exchange, curated by Taeyoon Choi, Eyebeam, New York Canceled: alternative manifestations and productive failures, organised by Lauren van Haaften - Schic, Center for Book Arts, New York Frieze, with Triple Canopy, New York Group exhibition, Access Art, Vancouver Matter Out of Place, The Kitchen, New York Scenes of Selves, Occasions for Ruses, Surrey Art Gallery, Vancouver In search of..., curated by Lennard Dost and Daniel Dennis de Wit, Academie Minerva, Groningen the chief on top of the chief, MIRACLE & CONNELLY PRESENTS, Vancouver Force Fields, curated by Alexis Granwell and Jenny Jaskey, Tiger Strikes Asteroid, Philadelphia 2011 The Greater Cloud, curated by Petra Heck, Netherlands Media Art Institute, Amsterdam Worng, IMO, Copenhagen Intimate Bureaucracies: Art and the Mail, curated by Zanna Gilbert, Art Exchange, University of Essex, Essex Subject to Change, Fathom + Hatch, New York The Best of 2011, Soloway, Brooklyn, New York The Open Daybook, Los Angeles Contemporary Exhibitions, Los Angeles FINISHED, Showpaper 42nd St Gallery, New York, New York As Yet UnTitled, SF Camerawork, San Francisco LATE Nights, Berkley Art Museum, Berkeley, California (performance) 2010 FREE, New Museum, New York Different Repetitions, curated by David Senior, Booklyn, New York Palling Around with Socialists, U-turn Art Space, Cincinnati, Ohio We have as much time as it takes, Wattis Institute for Contemporary Arts, San Francisco FAX, Burnaby Art Gallery, Vancouver An Immaterial Survey of our Peers, Chicago (online) 01, Presented by 01 Magazine, 107 Shaw Gallery, Toronto The Page, Guggenheim Gallery, Chapman University, Orange, California Burn, Baby, Burn!

Andy Wicks» installation, on the other hand, directs my attention to the world immediately in and around the artwork, to the here and now of the project space itself, rather than to immaterial, infinite or imaginary worlds.

Notes from the Artist: «Hymns to the void, planetary attributes, light - captured evidence of cosmic occurrences, and willful space - manipulations of immaterial ideas - all while the Earth under your feet wobbles and drifts.