Painted when the artist was just 22 years old, Untitled (Pecho / Oreja) exhibits a sublime combination
of imagistic cacophony and compositional economy.
Still, it is not simply Simmons's understanding
of the imagistic theater of photography that is useful, but her way of using form to acknowledge that image is at the center of the creative construction of collective and personal histories.
These subjects require a much greater variety of paint - handling than the figure paintings, resulting in loose, open surfaces that are a kind
of imagistic action painting.
Space is fractured there is a sequence
of imagistic non-sequiturs, «fragments of the world disappearing» that coalesce into paintings conveyed in bold painterly compositions.
Mass communication on the internet has always incorporated some sort
of imagistic component; before emojis, we let colons, parentheses, and other combinations of punctuation marks speak for us.
Its imagistic character means it stands as a corrective to the bias of much constructive theology toward conceptual clarity, often at the price
of imagistic richness.11 Although it would be insufficient to rest in new images and to refuse to spell out conceptually their implications in as comprehensive a way as possible, the more critical task is to propose what Dennis Nineham calls a «lively imaginative picture» of the way God and the world as we know it are related (Nineham, 201 - 2).
We must be careful, very careful,
of the imagistic glasses through which we interpret God and the world.
Not exact matches
Human behavior appears to be profoundly influenced by the
imagistic, symbolical, narrative powers
of human reflection.
Thus if, in keeping with a process analysis
of language - function, both the confession and the metaphysical assumption are to be taken with full seriousness, the meaning or point
of the confessional element must be sought on the
imagistic, rather than the univocal, level.
So the exclusivist aspects
of the christological formulation give way, functionally, to the
imagistic.
But there are two fundamentally different ways
of approaching such an explication, and they are correlative with the two primary ways
of understanding the language in which the confessional statement is made: the univocal, which takes the language as rigidly discursive, and the
imagistic, which sees it as highly analogical or symbolic.
Is it possible that the
imagistic revolution
of the information age is also a sacramental revolution in which the visual forms we identify as «secular» are themselves embodiments
of faiths and values that compel our deepest loyalties?
That is, instead
of seeking to reproduce in English the formal structures — syntactic,
imagistic, idiomatic —
of the original texts, the translation strives for analogous «structural, semantic, and idiomatic units that are native to the receptor language.»
More theologians, concerned with excellence
of an imaginative cast
of mind, need to struggle in the «circuitous and tortuous» no - man's land
of a style
of theological reflection which is highly
imagistic, experiential and confessional on the one hand and coherent and consistent on the other hand.
This is so because «it is in the nature
of TV's
imagistic, present - oriented, time - compressed curriculum to be nonsequential; that is, discontinuous.
Christian poets throughout the ages have helped people to participate imaginatively in Christian language — in other words, have helped them to hear the word
of God — by placing the
imagistic language
of the tradition in fresh contexts so that the dead metaphors may become alive once more.
At the same time, what is there to appeal to our expectations
of character and comedy detracts from the film's lyrical ambition to compel our attention on a purely impressionistic or
imagistic level.
Signs owes its
imagistic sources to more than The Birds: It cribs liberally from Drums Along the Mohawk (more precisely, John Sayles précis for an early unmade Spielberg project called «Night Skies» that reimagined Ford's film with aliens), Night
of the Living Dead, Field
of Dreams, Close Encounters
of the Third Kind, and, crushingly, John Irving's pulp - Christian novel, A Prayer for Owen Meany.
You Were Never Really Here is adapted from a Jonathan Ames novella by the Scottish director Lynne Ramsay, and like her other work it is powerfully
imagistic and nearly bereft
of dialogue or a conventional plot.
It's not even in the ridiculously out -
of - place
imagistic Xerox
of Wings
of Desire, Wim Wenders's melancholy ode to love and Berlin.
That knowledge makes the already graceful cinematic language
of Lynne Ramsay's film adaptation (the Scottish director's third feature, and her first in a regrettable period
of nine years) all the more remarkable: altering not a jot
of narrative detail, Ramsay and co-writer Rory Kinnear have ingeniously hollowed out Shriver's wordy text into a largely tacit,
imagistic memory collage that substitutes sound and vision for dialogue as extensively as possible.
His writing is
imagistic: «Pale mist, stained the color
of blood, drifted through the silent streets
of Okalin like a floating vapor
of dragon's breath (p. 292).»
Alternatingly playful and elegiac, musical and
imagistic, this long - awaited second full - length collection by Katz addresses the limits
of human understanding by examining the aftereffects
of history and the complexities
of parenthood.
That we have fallen into the
imagistic approach to exhibitions (easily framed, photographed, and shared) makes an environment out
of contemporary art that is perhaps even more hostile to ideas expressed through differences in aesthetics.
But subject matter came back in a really strong way with the Pop thing, and when subject matter came back, it seemed opposed to the idea
of a more abstract or, say, mystical painting, and against the idea that other things were coming out
of a painting rather than real
imagistic pieces
of information.
In the last years
of his life, Resnick turned to figurative and
imagistic paintings, alternating darkness and mystery with humor.
Part II, which will be on view from mid-April to August 2007, will present works in a range
of media, focusing on the figurative and the
imagistic.
The second installment
of the two - part exhibition, Hammer Contemporary Collection: Part II focuses on figurative and
imagistic works.
In the studio, the fields
of transparent purplish wash or pattern become
imagistic paintings.
They have the virtuosic bravura
of Abstract Expressionism but also suggest the things
of this world; trees, furniture, buildings and perspective grids, elements that create an architectonic
imagistic structure.
Jennifer West, known for her sensual, partly
imagistic, partly abstract works exploring the materiality
of film celluloid, debuts the Pacific Northwest section
of Film Memory — a project five years in the making.
All
of these examples border on installations with sculptural components rather than «sculpture» and they all certainly rely heavily on their
imagistic elements.
In it, Bakowski's
imagistic poetry describes the arcane mechanisms
of the mind through pulsating drawings and haunting sound.