Sentences with phrase «objects forms part»

Arranged with minimal simplicity, Steinbach's seemingly random assortment of readymade objects forms part of his ongoing enquiry into the ways in which meaning is structured and modified.

Not exact matches

By this distinction of two modes of passivity — of receiving forms - Aristotle sets off the world of conscious experience from the world of nature, but in such a way that not only the objects but the very workings of nature are included as part of what is felt.

Each sense has its peculiar object, but the sense of being affected by the object is an integral and basic part of sensing in general — at least in its more basic forms.

And finally, for both, perception, especially in its basic forms, involves an element of affective response to the object — a response that is an integral part of the basic experience rather than «a reflective reaction derived from the original perception» (AI 228).

To begin with, I think we must admit that when Whitehead speaks of the subject being constituted of its objects and the cause passing into the effect, he means, at least in part, that the objects / causes are reproduced by way of likeness insofar as the subject / effect assumes the same forms.

It seems that some form of the doctrine of eternal objects was recognized as part of the theory of existence in Principia (WRL 144f.).

but i have a new idea for what believers think god is... and it may actually exist and funny enough is only tested thru its effect on other objects — kinda like a black hole — the collective conscienceness of every living thing... since we all are part of the same energies and have in some form or another a conscienciness, i believe that collective is what the believers claim is god — the collective being felt and moved like any conscienceness but with the power to effect us all as we all play into it — as long as we are open to it... your thoughts?

I want to argue for the advantages of his dualism of eternal objects and actual entities over Hartshorne's monism of concrete actual entities containing the universal forms as abstract parts.

In this analysis, Whitehead states in summary form those items that enter into a perception:»... perception involves a percipient object, a percipient event, which is all nature simultaneous with the percipient event, and the particular events which are perceived as parts of the complete event» (PNK 13).

Forcing sex Withholding sex Rude stories or gestures Double standards Using sex as a weapon Punishing you for not complying Making sexual threats with objects Talking dirty Laughing at you Shaming Intimidation to do unwanted acts beyond comfort level Sex as a form of control Sexualizing in public Rape Possessiveness Mocking of body parts Accusations Sex for favors Pornography

Pluto has a strange elliptical orbit and forms part of the Kuiper Belt of outer solar system objects.

An exception to this may have been if you used a lightweight and / or hollow object that did not sink at least halfway into the layer of flour — if this happened, a relatively smaller crater may have formed because the part of the object that hit the flour was smaller in diameter than the object's actual, widest diameter.

Cygnus X-1 was found as part of a binary star system in which an extremely hot and bright star called a blue supergiant formed an accretion disk around an invisible object.

The most widely accepted theory of the origin of the Moon speculates that a giant object smashed into the proto - Earth at just enough velocity that part of both bodies broke off and formed the moon.

So far it has been assumed that humans recognize faces as one whole object or image, and not by looking at different parts (such as lips, ears and eyes) or local features that together form a face.

Sadly, no one behind «Unfinished Business» decided that audiences would get even a cursory explanation about the business part: Three salesmen form their own company and spend most of the film trying to close a deal that has something to do with swarf, a metal residue left over in the creation of large steel objects.

It's hard for me to imagine how the dominant, non-formalist form of film studies, with its systemic handicap of abstaining from value judgment and not being able to treat the film as an independent aesthetic object capable of producing an infinite variety of affects, can be terribly instructive for the enterprise of film criticism, which necessarily calls for a hierarchy of values on the part of the practitioner and his / her acknowledgement being a sentient, unique subject capable of being transformed by the film.

These objects now form a part of a special collection: the museum collection of the Anne Frank House.

In this game, they can be purchased with treasures, which are still random but also present in a wider variety of forms and objects; thanks to this, search for the golden parts can be made more directly.

Plastic bottles and iPods are stuck into clay; potatoes grow from abstract structures; glass and body parts and pieces of cutlery fuse to form hybrid constructions such that even we, as contemporaries of these objects, lose sense of their original purpose.

More than a meditation on the vastness of the universe, Hubble # 3 forms part of an incisive inquiry into the dialectic between photography and drawing, and between object and depiction.

Ramberg's subject was the body, in particular the female form, construed as a collection of parts — hands, hair, torso, and stand - in objects — and rendered with a discerning sense of line, shape, mass, color, and pattern.

Part of the curator's interest here is in the relationship between text and sculptural objects and the manners in which a written text can be unraveled structurally and what this deconstructed form allows to be seen.

The stools, designed to be assembled together from flat forms without any hardware, conflict the nature of the sculpture as a whole, asking the audience to identify and consider all parts of the art object and its close relationship to design of all kinds.

The same can be said for Nevelson, as her well - known sculptures from the 1950s - 80s «synthesize» minimal and regular objects / parts into larger, complex and abstract forms.

Photography from the Collections, Wadsworth Atheneum Museum of Art, Hartford, Connecticut Hand made in America, Sprovieri Gallery, London, England Collector's Choice, Exit Art, New York, USA (selected by Gregory Allen) Drawing, Stephen Friedman Gallery, London, England 1999 Waste Management, Art Gallery of Ontario, Canada On the Ball: The Sphere in Contemporary Sculpture, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, USA Collectors Collect Contemporary Art: 1990 - 1999, Institute of Contemporary Art, Boston, USA (catalogue) Zero - G: When Gravity Becomes Form, Whitney Museum of American Art at Champion, Stamford, Connecticut, USA (catalogue) Ideas in Things, Irvine Fine Arts Center, Irvine, California, USA Holding Court, L & R Entwistle & Co Ltd, London, England Stuff, TBA Exhibition Space, Chicago, Illinois, USA 1998 More Pieces for the Puzzle: Recent Additions to the Collection, The Museum of Modern Art, New York, USA Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art, New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery, New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, England

In erasing features, removing limbs, expanding scale, and joining together internal and external bodily parts, she creates three - dimensional figures and objects in clay that move away from familiar images of the human form.

Potential exchange items may include: clothes, curtains, blankets, artworks, photographs, paintings, frames, nondescript items of undetermined function, objects that resemble parts of the human body such as wigs or mannequins, costume jewelry and accessories, mirrors and reflective items, potted plants, colorful items and / or those with interesting shapes and forms, transparent materials such as shower curtains, lingerie, or X-rays, books, and trinkets.

In the process of visual documentation, the original functional properties of the objects are replaced by their visual properties, so that they gradually devolve (or rise) to the level of basic geometric outlines that the artist has randomly drawn into the image to form parts of unique abstract paintings.

Working with anything from sea worn plastic toys, clay pipes, wire, painted drift wood to cloth, carpet and leather, Nelson's sculptures have an improvised and makeshift attitude, forming part of a curious world of «possible objects» which defy critical context by reaching out through their physicality.

Capote always tries to draw a connection between the spectator and his art, whether by casting his sculptures from the body parts of real people or by inviting viewers to physically interact with works that take the form of furniture or functional objects.

They form part of the collection of nine thousand objects including tapestries, stained glass, sculpture, and paintings that Burrell gifted to the city of Glasgow in 1944.

Many of these works are studies of the basic nature of objects which are combined with the artist's personal narratives and references including variations of the form of the French curve, the use of the top hat in «Blowing Hats» 2011 and the clock in «Clock with Primary Parts», 2011 which hangs on a wall but doesn't tell time, acting as an invisible indicator of that which we can not control, yet measures our days.

In historicizing the minimalist canvas, critics have pointed to some form of the merger between the subject of a painting and the object used to support it — for a few this «maddening» notion was the «subjectile,» that physical part of art...

The multimedia work of Brazilian artist Valdirlei Dias Nunes navigates the space between geometric abstraction and figuration, using found and created objects, forms, lines and shapes to create a dialogue between all parts of his compositions.

Forming part of the same strand, Lee Kit's contributions, foregrounded by Jane Lombard Gallery, transform everyday items into art objects.

In the mid 1980s he began to look at the individual objects he had previously used as parts in «larger constellations» and decided to make objects «in which the form makes itself apparent as an external skin».

As a traveling project, the Garage Sale accumulates elements from each succeeding event, ranging from components of the first project, such as the slide show and audio track, to «merchandise» from previous iterations and photographs of people holding up objects that form part of the installation.

Video thus was part of a more general questioning of the traditional art object through nonmarketable art forms such as performance, conceptual art, land art and body art.

The casts form part of a complex array of artworks in which houses take on the lives of the people who occupy them, and psychological and emotional dramas are expressed through objects and built spaces.

The laws regulating the sale of these objects can be traced back to the British Mandate period when Palestine formed part of British Empire.

The exhibition forms part of «It's moving from I to It», a 15 month programme by FormContent on visual language, abstraction, disappearance and the object.

Characterised by swirling, almost hallucinogenic forms that recall body parts, domestic objects, foodstuffs and elements seemingly taken from the natural landscape, Heinze's work is dynamic and restless.

Known for her sculptural installations which metamorphose industrial found objects into fleshy organic forms; here Grobler focuses on two - dimensional works for the most part.

The lead is then melted and recast into an object by each artist in response to the text, forming part of a series of exchanges exploring subjective responses to an objective call, and the relationship between object and text.

More recently, in 2010 - 2011, WIELS Contemporary Art Center, Brussels, organized a six - part traveling retrospective, Felix Gonzalez - Torres: Specific Objects without Specific Form, which was also presented at the Fondation Beyeler, Basel, and Museum für Moderne Kunst, Frankfurt.

The work comprised thousands of wooden chips, roughly carved into votive objects that formed part of a large composition of deteriorated and weathered frames, doors, windows and an upturned table.

Inaugurated in 1980 with the gift of the Toraja tau - tau, the DMA's collection of arts of Island Southeast Asia forms a vital part of the Museum's overall holdings and comprises wood carvings, textiles, gold objects, and other materials.

Films such as Blade Runner (1982), Demon Seed (1977), Alien (1979), Prometheus (2012) and Gravity (2013) form the source material for prints of objects that interact or contribute to an important part of the female characters» narrative.

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES