Sentences with phrase «object as a commodity»

Seeing this work first reiterates the notion of object subversion between the relationships of galleries to objects, be it from a conceptual curatorial perspective or objects as commodities.

One thing, though, can we stop referring to art - as - an - object as a commodity.

Not exact matches

Given the standard Enlightenment view of the world as composed of human subjects and nonhuman objects, this dualism of humans and commodities seems appropriate.

Given the standard Enlightenment view of the world as composed of human subjects and non-human objects, this dualism of humans and commodities seems appropriate.

During the T'ang dynasty (ended 295; A.D. 907) and the Sung dynasty (349 - 678; A.D. 960-1279) foreign trade grew steadily as Arabs and Iranians took silk, art objects, Chinese porcelain, and other commodities to the Middle East and to Europe, returning with herbs, spices, pearls, and other products of those areas.

This may explain why partial advertising bans are ineffective and comprehensive bans on all forms of tobacco marketing are effective.As early as 1911 psychology of marketing theorist Walter D Scott said, «[t] he man with the proper imagination is able to conceive of any commodity in such a way that it becomes an object of emotion to him and to those to whom he imparts his picture... should be a practical psychologist and know the human emotions and sentiments...».

While well - meaning progressive educators might be willing to criticize the manner in which humans are turned into dead objects that Marxists refer to as fetishized commodities, they are often loathe to consider the fact that within capitalist society, all value originates in the sphere of production and that one of the primary roles of schools is to serve as agents or functionaries of capital.

Schneider undermined the idea of the artwork as a fixed aesthetic object, and also as a fungible commodity.

Are objects singular and distinctly self - reflective, or do they portray individual history as copy, reproduction, or commodity in a global economy of exchange?

One interpretation of the arrangement of objects in your shelf works, during the 1980s and»90s, was to understand them as referring to commodities: either celebrating capitalism or being a fragment or metonym of it.

An outlier among the well - known generation of young artists who emerged in London in the 1990s, Landy shares their wry attitude towards the marketplace, although his works have never celebrated their status as commodity - objects or luxury goods.

«Simultaneously an art object, a memorabilia item, and a hyper - intimate autograph,» he writes, «CTA works (and super goods as a whole) are a highly potent bundle of commodities nestled within themselves, able to be extracted individually or allowed to appreciate in value simultaneously as a diversified portfolio.»

They signify art as commodity - fetish / object - of - desire / desired - object by exaggerating references to commodity manufacture - as in the printed surfaces, the repetition of the same shapes and imagery, the synthetic palette (hues typical of process inks used for photocolor separations), and the stacking (an allusion to surplus goods and conspicuous consumption); and by conflating these with burlesque allusions to sexuality and eroticism - as in the greasy holes of Painting of Depth or the pornographic photographs of Untitled (1986).

Instead of holding books or objects, as this type of shelving might in a private home, or some visually seductive commodity as it might in a commercial context, Wermers» shelves hold pools of water.

The light boxes look back to the formalist's art object and Minimalism's use of industrial materials, but also to art as sheer commodity in a gallery, as with Louise Lawler.

Where in 2007 Hammons used paint as a means of desublimating commodities, rendering them base and vulgar, paint and painting are restored here as the very object of rich delectation, in turn acted on by the low materiality of the drapery.

While Duchamp's readymades of the early 20th century took the industrially - produced object out of circulation, by the end of the century the readymade as «commodity sculpture» had fully entered another system of circulation: the art market.

Lee's objects and materials are loaded with immediately identifiable referents, all of which can be read as metonymic or metaphorical surrogates for broader concepts like femininity, masculinity, commodity or self - reflection.

The exhibiting artists exponentially expand on and add to the show's themes through a variety of strategies, including: performed fictions that resituate celebrity and commodity culture; collaborative text pieces that give institutionally marginalized voices visibility; appropriation of pop culture to explore the isolation of fame; the mining of distinctly American signifiers such as varsity sports and daytime TV talk shows; and juxtapositions of post-consumer objects that read on multiple levels and often indicate how a person's race, class, gender, and sexuality can position them in a simultaneous state of hypervisibility and invisibility in American culture.

It also departs from the biennial's value system as rooted in the empire building world's fairs of the 19th and 20th centuries — many call London's Great Exhibition of 1951 held in a dramatic crystal palace the «first» biennial — designed to give viewers a deeply overwhelming «great mass and jumble of things» (commodities, mostly) as «a challenge to make sense of... unimaginable diversity; to find or invert a «perspective» on the whole so that objects could be made to «stay and lie orderly.»

Coosje van Bruggen and Claes Oldenburg's oversized commodities invade the landscape, assuming the character of living forms as mundane objects are transformed into the extraordinary.

Opening Thursday 15th April 6.30 pm Onwards Exhibition 16th — 25th April Tues — Sunday 11 am — 6 pm The exhibition concerns the creative, intrinsic and problematic relationship between Art and Object, that is our contemporary stereotype of art as object, as commodity, -LSObject, that is our contemporary stereotype of art as object, as commodity, -LSobject, as commodity, -LSB-...]

Precisely because art can function as multiple things at once - as an object for discourse, an artifact, and a commodity - it is both simultaneously elusive and specific: a soft target.

A low - tech installation of tubing, porcelain filters and hacked household objects boils, distils, dyes and pumps liquid containing colonial commodities such as cochineal, sugar and tea.

Duncan Campbell's acclaimed film It for Others — shown here in the context of Lismore Heritage Centre — tracks the object, from African artefacts to cheap, mass - market commodities, while Gerard Byrne's series of museum paintings offers a view of historic paintings as objects — photographed from behind, where their making and history is most evident

The Stedelijk Museum Bureau Amsterdam presents A Sign of Autumn — Vincent Vulsma a solo - exhibition on view 15 October — 27 November 2011, By employing strategies of spatio - temporal montage, Vulsma brings together objects and patterns taken from their contexts in ethnographic collections and the canons of modernist design and photography, deliberately moving back and forth along the lines between what is classified as commodity, art or ethnographic object.

«Even within my family, they were treated as a luxury commodity as well as a decorative object or even a form of investment.»

Her architectural sculptural installation work in this exhibition, Fetishism of Commodity, refers to Marx's discussion of commodities as objects of desire beyond their intrinsic economic value.

By focusing on the forms of production and materiality, Chang is able to call attention to the unique potential of the photographic image to function simultaneously as commodity, artifact for cultural significance and object for philosophical investigation.

Taking from Pop Art's exploration of commodities and the anthropomorphic qualities of goods, Craig - Martin's acrylic paintings take mass - produced objects from the consumerist age as subject matter, depicting these quotidian items in graphical lurid colours and outlined in black line drawing.

She supported vanguards from Yves Klein and Edward Kienholz to Carl Andre and Robert Morris, who challenged the limits of art's role as object and commodity, and later Robert Smithson, Walter De Maria, and Michael Heizer, whose earthworks were sited completely outside the gallery in remote locations of the American West.

This group of artists is known for drawing on existing art and cultural imagery in their works, commenting on Modernist notions of originality, the autonomy of the art object and its status as a commodity.

In «Incorporeal Bundles», Rallou Panagiotou's playful pop commentary manifests itself in an array of appropriated personal and intimate objects, positioning materiality in a conversation with their more familiar designation as commodities.

That is the inevitable consequence — and completely in the spirit — of doing things like creating tradable commodities out of immaterial objects, such as emissions - trading quotas.