Sentences with phrase «into aesthetic objects»

The quintessential element within these works is the point at which a functional item is transformed into an aesthetic object or narrative microcosm.

Not exact matches

It is apparent in an art which is capable of turning even Campbell soup - cans into objects of artistic representation (Warhol), or in a music which discovers aesthetic value in common noises and in listening to silence (Cage), or in a photography which captures the beauty of doorknobs and cracked walls, driftwood and wrinkled faces.

That is, as an aesthetic object which finds completeness in performance but which is brought into the liturgical frame in order to be broken by a different, but related «language of actions, a language of sounds».

Once again, it seems that the very aesthetic emphasis which Hall shares with Whitehead involves the idea that the values of the subject enter into its experience of the object.

Above all, aesthetic value implies the transformation of contradictions into contrasts that arouse a fullness and intensity of feeling, a sense of beauty, in those who experience the aesthetic object.

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.

Thus transformed into powerful aesthetic objects, these junkyard relics yet retain some of their original, non-abstract identity.

Olga de Amaral transforms two - dimensional textiles into luminous three - dimensional objects by combinung diverse materials, including fiber, gesso, acrylic and precious metals, to make works of unique aesthetic power.

Evoking the rebellious post-Pop aesthetic of New York, Laska often incorporates recycled waste materials and found objects into her paintings, sometimes reworking parts of earlier canvases entirely.

It also references the artists» process of collecting and storing images and objects, their use of the image as object, as well as their process of taking and recombining contextual information and translating it into an aesthetic language.

And while it has been popular of late to display actual handmade African - American quilts, such as the ones exhibited in upscale New York galleries, Huckaby's act of repainting quilts disarms them as fetishized aesthetic objects while folding their weighted cultural meaning into the history of painting.

This exhibition features five artists whose recurring, yet widely divergent, use of circular shapes, dots, droplets and spots are technical and aesthetic tools used for the exploration into objects, places, popular culture, abstract forms and the self.

Not to be outdone by Ford's large - scale attention - grabbing works, Tomaselli coalesces paint and collaged objects into seductive, ornamental imagery reminiscent of an Eastern design aesthetic.

Following the first publication, an exhibition catalogue that relied more heavily on text than image, Printed in Germany was conceived to exist as a stand - alone visual object and extend the artist's conceptual and aesthetic concerns into book form.

A true believer in technology's aesthetic potential, he is intent on reinventing traditional pictorial methods — specifically, painting and drawing — by using the computer's capabilities and limitations to turn ordinary, Pop - inspired objects (video games and their characters, computer cables, screens, Apple Quick - Take cameras, etc.) into motifs but also stylistic models, painting them as if seen on - screen.

By appropriating these everyday domestic items for her evocative abstractions, she draws attention to their aesthetic properties — color, texture, line, etc — transforming them into objects worthy of attention.

Employing found, sometimes abject objects and raw or viscous matter, these artists injected subversive and obliquely feminist content into the rhetoric of aesthetic purity that had been one of the defining threads of postwar modernism and abstraction.

In Somnyama Ngonyama, ready - made objects and found materials are transformed into culturally loaded props, merging the political with the aesthetic — often commenting on specific events in South Africa's recent history.

Displayed as aesthetic objects, they highlight the commercial underpinnings of the contemporary art world, but also theoretically allow a collector who purchases one as an artwork to transform it back into a financial instrument by depositing it into his or her own bank account.

Through this process these objects loose their utilitarian identity and are transformed into an aesthetic rendition of it's former self.

While «painting as object» has often been a formalist issue, the works in this exhibition gather their identity through the subversion of formalism — scrambling and reassembling themselves in an aesthetic shell game where the act of painting is always an investigation of a painting's ability to push into objecthood.

Sibony has created a place back in the constructed world for these found (once discarded) objects, a place that dramatically increases their former value and realigns their use into antagonistic, aesthetic objects.

Either passages of landscape are turned into art or object - art is turned into a kind of landscape, or object and landscape are combined in a way that is both aesthetic and atavistic.

Quaytman has also displayed her paintings on storage racks placed within the exhibition space, pointing to the eventual passage into obscurity of most aesthetic objects as they make space for others.

The exhibition, designed by Dyvik Kahlen Architects, is sorted into separated sections, where from 20 to 3,000 objects belonging to each personal collection are presented in separate spaces, reflecting each artist's aesthetic approach, own preferences and live / work environment.

I'm talking about capital «D» Design, which for the purposes of this piece refers to furniture and other functional objects that also assume a glossy aesthetic that reach beyond pure functionality into the realm of art.

Although Kusama desired to break free from Abstract Expressionism's aesthetic, she still incorporated the all - over style into her own work, commonly covering the entire surface of the canvas, and later entire objects and rooms.

By incorporating a selection of memorabilia and design objects into the works that reinterpret the Interlocking Sculptures, the project expands this notion and approximates new aspects in which the formal becomes historical, whilst the exhibition itself becomes a sort of stage linking the aesthetic to the social and political.

Duchamp distinguished his «readymades» from other «found objects» by stating that, whereas «found objects» are chosen for their interesting aesthetic qualities, «readymades» are mass - produced objects transformed into art by the artist's mere act of selection - thus no exercise of taste is required or implied.

This interaction forged an intangible aesthetic that carried on into their future works; an aesthetic based on the reductive quality of the object and an emphasis on the corporeal energy of light.

Here, the artist transfers major themes of Minimalism into the present, and more specifically, the aesthetic exploration of objects» influence on spatial perception.

«Instead, «Smear» is the direct result of a protracted method of collage and décollage that transforms Bradford's canvas from simply an arena in which to orchestrate an aesthetic arrangement into a highly constructed, autonomous object.

At the time, while I recognized in the installations in which Tonoshiki threw together and brought into dynamic coexistence waste lumber from demolished houses, driftage from the ocean, abandoned televisions and other domestic waste, and scrapped vehicles on the one hand and natural outdoor settings or orderly exhibition rooms in art museums on the other, a common spirit with the cyber-punk-like junk aesthetic that was then reaching its peak (see the work of Seiko Mikami, for example), the only thing I sensed Tonoshiki was stressing — particularly given that he had been influenced by the social sculpture of Joseph Beuys — was probably that the concept of «reversal» could be found in the act of almost violently recycling useless objects that had served their function and were merely waiting to be disposed.

Though she would incorporate more spontaneity into the arrangement of later works, the interaction of objects has always been paramount, and her paintings are first and foremost aesthetic creations.

Art for All: Multiples, graphics, and political campaigns exhibition at the Akademie der Künste presents graphics, objects and art books from the Staeck Collection, by numerous artists working in a diverse variety of styles and aesthetic approaches, and offers insights into a non-conformist creative generation.