Sentences with phrase «object for contemplation»

Because the moon remains purely an object for contemplation, not of the will.

As Zhang says, he is creating a «societal landscape,» one where, whether he is manipulating an image of a building in Chelsea or one half way around the world in China, his aim is not to efface but to meld disparate concepts and histories, disparate types of visual information, and make yet a third thing — a multifaceted, multi-media, object for contemplation.

He treats it as a means for his sustenance or as an object for his contemplation.

But if it should as objects for the contemplation of the intellect but its objectification in actions and deeds that become embodied in the flesh and blood life of the reader, it will in turn realize a new potentiality: the transformation of the reader's self and the world to which that self belongs.

These simple, silent constellations of colour and form serve as objects for contemplation rather than representations to be interpreted or decoded.

Not exact matches

Such an awareness is impossible if and so long as the other is for me the detached object of my contemplation or observation, for he will not thus yield his wholeness and its centre.

Brooks is asking for the strongest instances of structural complexity, which will clearly introduce it into the conscious mind; not, perhaps, as an object of contemplation, but as an effective agent within the experience, whose stresses are definitely felt.

Incredibly, and without the overt drama of the narrative of Ugetsu, that is somewhat the sensation I had when I walked from Kiki Smith's exhibition at Pace Gallery in Chelsea, through a narrow passage way into a new smaller wing that Pace has built under the High Line and found myself, without preparation or expectation, in an exquisite, thrilling, soul - soothing, museum quality exhibition of craft objects and artworks, arranged in an inventive, harmonious, and instructive manner for contemplation.

Museum visitors are depicted in relation to museum objects, their bodies as much forms for contemplation as the artworks depicted, as in In Order of Appearance IX (2012).

While her earlier work looked at art museums as places for worship or contemplation — in the vein of cathedrals or pilgrimage sites — and artworks as objects of faith, her recent works, such as Deposit III (2015), give more importance to painting as an actual object in its own right: «It allowed me to leave bi-dimensionality, unhang [painting] from the wall and naturally add other supports of images (video, mirrors, printed matter, found paintings) and link them to a same genealogy.»

In this new body of work I am continuing my exploration of the art object as a catalyst for contemplation and meditation for the viewer as well as the artist.

As evidence of this ambient trend's beginnings, Pollock famously painted the engulfing «Mural» (1943) for Peggy Guggenheim, where he transformed the canvas into a whole wall instead of the usual small object of contemplation visually and physically dominated by the viewer.

Through sculpture, performance and installation, my work utilizes a wide range of materials — from pigmented silicone rubbers to concrete — to recreate underutilized objects and situations into venues for participation and contemplation.

At a moment when looking at a static art object is often dismissed unnecessarily by advocates of performance, participatory or social - practice art for encouraging only «passive contemplation,» Mr. Whitney's paintings are opulently interactive and engaging.

These objects — figurines and asteroids — are both, in their different ways, adrift in their place and history, lacking a stable context for contemplation underlined by their blurred, bleached out and faded appearance.

Displayed in stark white - on - white galleries, the sealed vitrines become hermetic environments for contemplation or even mourning as these silenced objects of ritual, play, and aesthetic devotion seem to have reached some form of transcendent afterlife.

Through film, photographs, sculpture, tropical plants, ambient sound, and hexagonal ceramic objects that serve as both planters and seats, Hartt crafts an environment for contemplation of the Habitat project.

All of these works reflect aspects of how a painting can function — as an object of contemplation, for example, or an object of commerce.

In contrast to the artist's carefully wrought paintings, the sculptures consist of objects to which, pointedly, no artistic action has been applied, offering instead a space for the contemplation of non-productivity and a rare moment of silent, solo interaction with a work of art.

Though they can serve specific functions, they often serve as a sort of picture frame, a space to host a rotation of objects of beauty for contemplation.