Sentences with phrase «often objects of beauty»

«History has portrayed women in a variety of ways — often objects of beauty to be admired — but when women paint other women there is a unique voice that is shared.»

Not exact matches

Though Ozu was discovered relatively late in the Western world, his trademark rigorous style — static shots, often from the vantage point of someone sitting low on a tatami mat; patient pacing; moments of transcendence as represented by the isolated beauty of everyday objects — has been enormously influential among directors seeking a cinema of economy and poetry.

Publishing Trinie Dalton writes an appreciation of Dan Nadel's recently shuttered PictureBox: «It elevated comics and D.I.Y. projects into objects of high - design beauty, often through collaborations between zinesters, cartoonists, musicians, animators, and graphic designers eager for revolutionary assignments; or through showcasing artists who prove those camps are not mutually exclusive, like Ben Jones of Paper Rad (Pig Tales, B.J. and da Dogs, Men's Group: The Video, New Painting and Drawing).

Running counter to this first mainstream are the works of Duchamp, John Cage, and Picasso: expressing beauty transformed, ugliness, startling juxtaposition of images, primitive power, the subconscious of Freud, art as idea, art as found object, art as part of everyday life, non-art transmuted into art, and often an emphasis on social and political issues.

As a prolific artist who manifests beauty with his brush, his focus on detail often creates an aesthetic that surpasses the charm of the objects themselves.

Embracing the linear, abstract and geometric, and the human desire to locate order and beauty in a world that often provides neither, Dahlgren's solo exhibition — his second here — features works (many site - specific or performative) that express how an artist can cultivate awe - inspiring impressions stemming from deliberation and recurring tasks, and from the alteration of domestic objects and common items such as weighing scales, coloured pencils and darts.

But she often coupled her criticality with a sly humor and an exacting, alluring beauty, as in the 1983 — 88 series «Objects of Desire,» for which she cut out items from magazines, ranging from dresses and bowls to bondage gear and classical statues, which she then rephotographed and printed on solid fields of color that matched their frames.

Pushing the edges, often literally, of his primary disciplines, artist Tony DeLap has dedicated close to half a century to exploring the seam between sculpture and painting, merging the boarders of architecture, design and art, reducing to the most basic expression of form, shape, scale and color, while remaining devoted to the search for beauty in the creation of a simple object.

Penn's photographs defined elegance and style of the 1950s, yet he dared and succeeded to transform mundane objects into startling pieces of photographic art — storefront signs, food, cigarette butts, street debris — all of unexpected, and often surreal, beauty.

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.