Sentences with phrase «radical notion from»

After digesting its lessons in our school days, many painters have rediscovered the once - radical notion from the 1960s and 70s that how we make paintings is just as important as what we paint.

Not exact matches

Locke seems to miss what so many miss today — the extent to which his radical shift is still parasitic on a notion of individuality, equality, and later in the tradition, individual conscience, that never really frees itself from its Christian origins.

Whitehead derives the notion of «radical empiricism» from William James.

What distinguishes Hobbes from the classical and Christian traditions and their modern continuers is the absence of any notion of God or the Good and a corresponding radical theoretical individualism.

But when we apply the notion of agape to finite contexts, the subjection of novelty to fundamental continuity can not be appealed to without admitting a radical appeal to a context far removed from cosmic creation.

Whitehead is seeing that if you are having a radical view, starting from events and flying to get space - time, with his insistence on sense - awareness and durations for the strong notion of an event, this is going to affect everything all along the line.

In the past, she's portrayed characters with no trouble accepting a variety of ridiculous notions, ranging from metal - skinned murder skeletons and men with spider powers, to the racial superiority of whites and M. Night Shyamalan's role as a writer of radical, world - changing power.

Taking the commercial colour chart as its point of departure, the exhibition emphasises a radical transformation in the post-War Western art that is characterised by the departure from such notions as originality, uniqueness and authenticity.

Andre was at the forefront of this crusade, and his sculptures — comprised of systems of regular units placed in grid - like formations and lying flat on the ground — became synonymous with this radical new form of art. 100 Copper Square is an outstanding example of the work he created in the 1960s and rejects the notion of sculpture as an object mounted on a pedestal and viewed from a distance.

The negation of traditional form, a radical break from established notions of order and composition, was particularly suited to a cultural environment born out of the circumstances of post war Europe where abuse of morals and fascist ideology had led to such horror and destruction.

The radical underpinnings of Art & Language, for instance, as seen in a propagandistic series of Ten Posters from 1977, are juxtaposed with two later works dealing with the suppression of information in abstract painting — yet the notion of an anonymous author remains constant.

With this new and relatively radical body of work, however, Davis introduced the notion of depicting a three - dimensional abstract shape emanating from the wall as a monochromatic form.

More recently, she curated The Display Show (2015 - 16), an exhibition in three parts, further investigating notions of display through radical practices from twentieth century artists, designers and architects, in addition to the ideas of contemporary artists.

From prenups to domestic partnerships to same - sex marriages, these once - radical notions, which are now part and parcel of daily life, began, more often than not, when a party walked into a lawyer's office and said, «We want to do this.»