Sentences with phrase «meaning as art objects»

Like his hero Marcel Duchamp, Creed values the placement of items, rather than their intrinsic qualities, in qualifying their meaning as art objects.

Not exact matches

For Sherburne, then, the art object, as a proposition, is about meaning, or theory; it is something that may or may not be said about events that may or may not belong together.

In understanding the work of art as a language - event, an image - event, the hermeneutics of Hans - Georg Gadamer and Paul Ricoeur offered a critique of the formalists» tendency to make «meaning» a static object.

As blue objects and art started to fill my home, I tried to keep other colors subdued — especially in rooms meant to be more relaxing, like the bedroom.

A folk art «memory vessel» in the show began as a humble pot whose function was nullified and its meaning elevated by an anonymous artist who encrusted it with objects of personal significance.

«This body of work explores the idea of art as a natural and evanescent object, meant to represent a memory or reflect a specific moment in time.

Her works continue to inform his artistic formal language as well as his radical use of material objects and inquiries into the meaning of art.

She explores the possibilities of performance art as a way to continue her research on the relationship between people and objects, and to further investigate the commoditization of culture, assimilation, and how cultural meaning is transformed in the multicultural urban environment and is absorbed into new social contexts.

By favouring the aluminium surface as his canvas over more traditional means, Cánovas emphasises the tangible nature of each piece, highlighting its place outside that of the conventional printed paper photograph and emphasising its status as an art object in and of itself.

While the move is less radical than routine (by now we've all seen paintings brought in to function as artifacts, arranged in concert with other art or art - like objects), it effectively releases Louis» work from its unimaginative role as illustration for Clement Greenberg, opening the work for new meanings.

There is certainly a resemblance of appearance, of certain technical devices, but Rauschenberg has seen something in them, has seen the Dadaist objects as the works of art they have tried not to be, and by concretizing what he has seen, and repeating it, new meanings and values come into being.

I was struck by the way that his apparent belief in the object or material as free of other levels of meaning doesn't survive in his theoretical writing — for example, in his 1983 essay «Art and Architecture».

Pop artists appropriated the aesthetics of contemporary advertising, made use of popular means of production and expression, such as photography, film, or comics, and they lifted them to the status of contemplative objects, while at the same time scornfullyparodying the clichés of so - called high art.

Riedel often recycles and copies his own past work, as well as art - related objects and artwork by others, in order to comment on, expand, or even invert the meaning and intention of the original object.

Ceramics Finds Its Place in the Art - World Mainstream Lilly Wei writes... From the first generation of modernists who worked in clay to contemporary practitioners, all have made breakthroughs: in scale, in single objects as well as expansive installations; in technical experimentation; in increasingly original formal resolutions from the abstract to the realistic; and in content, exploring issues about the body, identity, politics, history, feminism, domesticity, means of production, and beauty... more

Kirby's emphasis on written description as the primary means of performance documentation provides a context for considering the work of Tino Sehgal, whose This objective of that object (2004) was acquired by the Walker Art Center.

In 300 objects it follows an artist who didn't so much abandon art as push it slowly, painstakingly and even logically — in small abstract paintings, wall pieces and flexible sculptures — to a place where objects and materials were meant to be handled and viewers became participants, alone or in groups.

[29] While Marcel Duchamp caused uproar with his Fountain, which was not accepted as «art» at the time of its release due to Duchamp's attempt to mask the urinals true form, Nevelson took found objects and by spray painting them she disguised them of their actual use or meaning.

Tiravanija's faux - folk aphorism draws our attention to the art object as a carrier of meaning within specific cultural spheres.

With a subtle sensibility and a strict economy of means that occasionally explodes into an obsessively rendered panoply of forms, the American artist Sarah Sze incorporates objects and materials into pseudo-taxonomic site - specific installations that point to the human impulse towards categorization even as they elude any easy placement within the humdrum categories of contemporary art.

This sensation is heightened as the works communicate with each other to embrace meaning that goes beyond art as object alone.

But this is not what a press release is supposed to be about... A press release, as a form, sets up the conditions under which meaning is made in the art objects, it should not, itself, be a place of meaning making.

Spertus took real books and made fake covers for them, often incorporating imagery and themes from within the books themselves, but altering them with subtle humor and a conceptual rigor that made the texts appear not as art or beautiful objects, but as engaging reading material (what any book, at least traditionally, is meant for).

Conceptualism was, ultimately, art about art, a subversive movement meant as critique to a commercial ethos tethered to precious art object wrought by the hand of singular creative geniuses.

This idiom takes on special meaning when applied to the West's preoccupation with certain stereotypes in contemporary Chinese art — images of the Red Guards, Mao Zedong and panda bears — as well as to the fetishized mass - consumption of cultural objects that satisfy its imagination of a new China in transformation.

Smith's shelf of ceramic objects follows a similar strategy: appearing as the ceramic doodles from an elementary art center, they are instantly dismissible as serious objects, which in the gallery context means we begin looking closely for redemptive moments.

If art is really about what it means to us as an event, and less concerned with object - driven interpretation and aesthetics, then what is the difference between Turrell's work and the thrills of an amusement park ride?

Rather, it is about a strain of art that presents the art object as a clue to absent meanings or actions.

In responding to Donald Judd who made «specific objects,» Le Va provides the viewer with «non-specific situations,» inviting us to complete the work of art through bodily interaction with materials and our sense of perception: «What I want [viewers] to do is place themselves in the work, and search out some kind of meaning that fits the object, as opposed to immediately seeing something and applying some readymade explanation... I want the work to set up a dialogue.

According to Kelley, the process of moving through these diverse throngs of art and non-art objects, many of which had once served as doubles for actual human beings, was meant to provoke «disturbing, unrecallable memories» à la Sigmund Freud, who, in his 1919 text, «The Uncanny,» questioned whether «a lifeless object might not in fact be animate.»

During his study, he became associated with a group of radical young German artists, including Albert Oehlen, Martin Kippenberger, and Werner Buettner, whose work collectively challenged the meaning, status and value of the ubiquitously exhibited art object, as well as those who view and consume them.

In the 1970s and 1980s, post-minimalism and the conceptual redefinition of the art object meant that painting and landscape as a genre were relegated to the sidelines, having no use in avant garde production.

The art historian Mignon Nixon has written on the subject of the part - object and its influence on Bourgeois's work: «Klein contends that the subject first relates to its environment as a field of objects (called part - objects) to be fused or fragmented, possessed or destroyed, by means of phantasies of introjection, projection and splitting that are themselves produced by the drives.»

Uniquely, this exhibition reveals that James Castle's deconstruction of meaning, his reduction of forms to simple elements, his economic use of uncommon materials, exploration of text as object and book as art, along with the choice of subject matter, and interest in spirit and symbology, parallel major developments and innovations in a range of 20th Century Aart, along with the choice of subject matter, and interest in spirit and symbology, parallel major developments and innovations in a range of 20th Century ArtArt.

«Environment and Object — Recent African Art» at the Tang features the work of contemporary African artists who focus on the environment, through such means as photography of ravaged landscapes or sculpture crafted from objects found in abandoned junk.

To my knowledge there are no videotapes of Ralston Farina in performance and surprisingly few photographs — largely because he was an artist who not only eschewed the art object but objected to any documentation of his activities; his works were meant to survive only insofar as they imprinted themselves on the spectator's mind.

More recently, repurposed materials, including found objects, as well as new objects given new uses and meanings, are being used as an art medium.

The kit was also improved with better horizontal plotting, 1080p video, and computer vision - based image recognition — meaning ARKit apps can now «see» things like 2D objects, such as posters or art on a wall, then place related objects nearby.