Sentences with phrase «object quality of his works»

''... The found object quality of these works draws on histories and practices in painting such as abstract minimalism of the»60s and»70s, quietly positioning an apparent similarity to these real world objects which are rudimentary tools for identification,» according to Karma.

Not exact matches

Checking air quality, keeping track of loud sounds, logging fresh shipments of cargo, and locating lost objects in the floating laboratory is also boring and time - consuming work for astronauts, so Astrobee will be loaded with sensors and an RFID scanner to track inventory.

Similarly, excellence in works of art or in games is a specific quality of the concrete object or game.

What Lasch adds to this picture is that married women's large - scale entry into the workplace coincided with the shift to an economy that «depended on work that had no other object than to keep people at work and thus to sustain the national capacity to consume, which in turn sustained production, which sustained... an approximation of full employment» all without reference to the intrinsic quality of the goods and services produced or the intrinsic satisfaction of the work that went into them.»

Moving in tightly, using natural light to achieve a kind of luminescent quality, he now works with what might be called commonplace objects of nature, creating abstract studies of the form and fabric of lichens, ice crystals, seeds, wind - blasted wood, insect - eaten leaves.

Gesture drawing and schematics can work well also, as they reveal the inner structure and rotation lines of objects, buildings, even journeys (think maps drawn with a Zen - like quality).

Titles, show wins, working ability and other qualities have their important place to be sure, but if I want a companion I'd best be looking at breeders who raise and treat their dogs like companions instead of like objects'd art.

They do not apply in the cases of liability for a defect after a guarantee for the quality of an object or a work was given, or in cases of fraudulently concealed defects or injury to persons.

• Follow the level design pipeline from «pen & paper» game designs to implement spectacular character based levels and ultra-fun gameplay mechanics • Work closely with level layout artists to identify level assets and gameplay direction to ensure visual and technical quality for the levels • Follow direction of Lead Level Designer to maintain gameplay vision consistency • Contribute to level concept, layout, implementation (camera, entity, etc.), prototype modeling, scenario creation, event scripting, game balancing, pacing, and gameplay tuning • Contribute to general game design, as well as cooperate with all other facets of game production (programming, environment / world art and animation) • Place and trigger entities (such as enemies, movers, and objects) to create fun, absorbing gameplay • Master internal tools for modeling environments and integrating game play • Rough out world geometry, camera paths, and lighting using 3D world - building tools • Assist with the scripting of gameplay entities and events • Creatively resolve gameplay and production issues • Meet production schedules and deadlines • Collaborate with Design team to define and refine gameplay mechanics • Multitask effectively, prioritize competing demands, and follow through on details

Painted under strongly directed artificial light using everyday synthetic objects — such as plastic fruit, paint brushes, and jugs — these observational works explore the qualities of balance, stillness, and structure that we associate with the classical composition.

The Thingness of Color, which includes work by Sarah Cain, Franklin Evans, Matthew Rich, and Cordy Ryman, explores exactly what the title suggests — the three - dimensional qualities of hue itself — with colorful object - hood firmly in tow.

Sometimes, her works explore the material qualities of household objects and soft furnishings — past bodies of work have explored hanging dresses and coats, «stacks» of material, paper bags, curtains drawn before darkened windows.

This group of intergenerational artists closely considers the process of art - making in their work by playing with scale, the ephemeral quality of their materials, the nature of time and language, and the relationships between the objects that they create.

The play of light on these works gives them an eerie, immaterial quality that's only enhanced by the viewer's awareness of them as made objects; the whiteness of the paint acquires a new intensity as your eye takes in the darker and brighter elements that contradict it even as they make it up.

Complementary in their solid, vault - like presence, the surface texture of both works belies the object qualities of the artists» materials.

EAST HAMPTON, NY: Eric Firestone Gallery presents MirrorMirror, a group exhibition featuring works by artists concerned with reflective surfaces, the quality of a mirrored object's reflection, and doubled images.

Many conceptual works take the position that art is the result of the viewer viewing an object or act as art, not of the intrinsic qualities of the work itself.

(2) On the quality of interiority in her works: «It is also an attempt to penetrate the surface of an object, presenting not only the outside but what occurs within - the essence or core.»

With an insistence on the haptic qualities of the hand - made object, the work included in this exhibition ranges from the imperfections of the loose gesture to the precision of hard - edge abstraction.

«The abstract quality of my work is often troubling to some viewers who are looking for objects that are recognizable and therefore has a name.

What she does change are intrinsic qualities of the room in which the art is displayed, such as the lighting and wall colors, using these elements to transform the mundane objects into works of art.

The museum's unique collection of international contemporary art is a selective collection of works created by artists who occupy key positions in the field, either because they have created a distinctive visual language, objects and images with great originality and quality, or because they have reinvented important aspects of cultural production.

The result is a work of art composed of multiple objects that were once singular and utilitarian and are now presented as one work that is imbued with entirely different aesthetic and conceptual qualities.

In a series of works started in 2012 Thomas Ruff essentially takes an idea that was first introduced my artists like Man Ray, Laszlo Moholy - Nagy who simply placed objects of various shapes, textures and opacities onto photographic paper and captured their physical qualities through the optical traces they left on the light sensitive surface of the paper.

Many conceptual works take the position that art is created by the viewer viewing an object or act as art, not from the intrinsic qualities of the work itself.

In Gober's hands, ordinary objects become imbued with poetic qualities like love, loss and redemption, and Untitled, like the sinks before it, is a signifier of these and the many compelling themes that underpin his work.

The works are displayed mounted to materials such as aluminum or plexiglass, though rather than using these materials in their traditional mounting methods, the images are adhered to the surface and leaned on shelves or stood on the floor, with exposed sections of their mounting substrate and their freestanding nature highlighting the object qualities of the prints, along with their physical connection to the depicted subjects.

Regardless of their emphatic materiality and simplified modular construction, both his outdoor work at the Chinati Foundation in Marfa, Texas, and his recent indoor sculptures seem calculated to destabilize the viewer's experience of their seemingly static quality as objects.

Since British sculptor Anthony Cragg (born 1949) began working in the 1970s and came to fame in the 1980s as part of the New British Sculpture generation, his work has undergone a number of permutations while consistently remaining motivated by a fundamental concern with the qualities of his materials — whether they be found objects, raw materials or manufactured compounds like fiberglass.

The three - dimensional quality of Halley's work asserts the object status of the paintings in a way that photographic reproduction simply can not represent.»

Their «New Sculpture» pushed beyond Minimalism and called all previous conceptions of the art form into question by employing unusual materials that had never before been used.Throughout his career, Sonnier has experimented with materials as varied as latex, satin, bamboo, found objects, satellite transmitters, and video.In 1968, the artist began working with neon, which quickly became a defining element of his work.The linear quality of neon allows Sonnier to draw in space with light and color, while the diffuseness of the light enables his work to interact on various architectural planes.Sonnier's architectural neon installations in public spaces have earned him wide acclaim in an international context.

Through their formal qualities, along with personal, cultural, and technological references, the works evoked questions about the physicality of the art object.

Works of art have an object quality,» she muses, «but are able to access esoteric space and time, independent of bodily logic.

Knickerbocker discusses qualities and approaches in the works in terms of day - «stability, continuity, a kind of plotline managed through repetition, a plan» - and night - evoking «the shifts, the shadows, the objects, the sweep of the brush... all [conspiring] to suggest working in the moment, without the help of a blueprint.»

Harry Geffert's work blurs the boundaries between painting and sculpture, resulting inlandscapes and still life objects that demonstrate the surreal qualities of space, time, and memory.

Although Höller's massive, shiny tubes are oddly beautiful objects in their own right when installed, the point of these works lies not the sculptural qualities of the slides themselves but in the delight that comes with lying on one of the sliding mats provided and launching yourself down one of the corkscrewing chutes.

This is not a new story: artists have been gathering from the streets and use the original source to make new work since maybe a hundred years, since the rise of a social system that throws away and keeps buying; the replaced object is usually a different quality, a different material and design to the previous.

I am also inspired by the juxtaposition of disparate objects and the highly textured qualities in the work by many of today's artists.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz, Grisaille: originally derived from a 19th century term for monochrome painting, especially the portrayal of three dimensional objects in two dimensional form, of which the work of British based Liane Lang in this exhibition approaches the closest contemporary example of this art historical origin, the gris or grisaille is updated in this exhibition to reflect the embattled gesture of not simply the monochromatic, but also any opposition to color as such, in at once its aesthetic and political modes.

Working intuitively, the artist translates both the fixed and mutable qualities of a singular object or grouping before her — shape and form, texture, colour, shadows and highlights, the play of light across a surface — into abstract compositions that evoke a specific atmosphere.

There is an aura that pervades these works of everyday objects that require the viewer to look closely, to take in the complex surface qualities and ambiguous abstractions, while simultaneously recognizing the underlying «real - life» image captured by the artist's lens.

Interested in a painting's potential to function as the very embodiment of the object it depicts, Kahn has also developed works in which the shaped stretchers combine to create the form of an actual object, while a synthesis of hand - drawn motifs and words epitomize its essential qualities.

Amy Patton is a Texas - born, Berlin - based artist whose work often explores the object - like qualities of narrative and the associative processes we use to make sense of all we encounter.

Reece Terris is a Vancouver based artist whose work alters the expected experiential qualities of a place or object through an amplification or shift in the primary function of an original design.

Through their formal qualities, along with personal, cultural, and technological references, the works evoke questions about the physicality of the art object.»

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.

The washed layers of paint evoke a wistful and airy quality but it subverts convention as Hipple incorporates everyday objects into her work such as Q - Tips, duct tape, bed sheet, etc..

I selected 40 objects from the collection of the Fine Arts Museums of San Francisco and asked individuals to participate in a «dialogue» with a work of art, each taking an expressive gesture and gaze that embodied their emotional response to the art object... Slow - motion cinematography, frozen gestures, and an unseen moving stage comment on the active / passive quality of the interactions.

Mitchell recently abandoned that moniker, and her work has taken a material turn, incorporating painting, installation, found objects, and assemblage that nonetheless retain the participatory, voyeuristic quality of her performance work — most likely owing to her use of tactile, unsettlingly inviting materials such as large, thin, powdery sheets of rubber.

Inspired by Louis Kahn's uncamouflaged use of cement — with seams showing, the irregularities celebrated — her works embrace their inherent materiality and have a distinct object - like quality.