Sentences with phrase «relation of objects in space»

Not exact matches

Temporality exists in the relations among occasions; without temporality, no larger scale events or enduring objects are possible, and in a realistic and relational theory of time and space, the concrescence of microphysical occasions is productive of space - time by providing the relata for the relations which are the fabric of space - time.

The wholly superficial displacements of masses and molecules studied in physics and chemistry would become, in relation to that inner vital movement (which is transformation and not translation) what the position of the moving object is to the movement of that object in space.

Without the benefit of a wide shot, we can't tell where in space the object is in relation to him.

Although in each of these pieces the shafts of yarn are all of identical height (stretching from floor to ceiling) and evenly spaced in relation to each other, they appeared to differ wildly thanks to the vagaries of perspective, steadfastly refusing to cohere into a stable configuration, let alone the outline of an implied plane or object.

But her relation to representation is not in the realm of narrative or allegory, the thing itself is the important thing, the painting as an object that projects into our space carrying pigment on its surface.

Susan English uses observations of light in relation to objects and spaces to create colors, atmospheres and surfaces in her work.

Serra said this about his works: ``... if I had to give a brief on what I thought sculpture needed to be, it was to do away with the object, to get sculpture off the pedestal and expand the space of the field, to open up the container and to foreground time and bodily movement in relation to the intensity of place and context.»

«Nathalie Du Pasquier: BIG OBJECTS NOT ALWAYS SILENT, which was first presented in Vienna and will now be shown this fall in Philadelphia with a different configuration, has been conceived as a gesamtkunstwerk, following her ability to play with complex arrangements of forms, the expressive and emotive relations between things, and the space between objects and their representation.OBJECTS NOT ALWAYS SILENT, which was first presented in Vienna and will now be shown this fall in Philadelphia with a different configuration, has been conceived as a gesamtkunstwerk, following her ability to play with complex arrangements of forms, the expressive and emotive relations between things, and the space between objects and their representation.objects and their representation.»

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

His investigation of the body in space, in relation to viewers responded to Minimalist sculpture and what became known as the charged space between the viewer and the object.

And of course I am in some way — particularly with making a point of borrowing something like David's magic box, which was a very personal object, and then putting it in a very public space of the Whitney Biennial — I'm making a point about the effectiveness, say, of highlighting the personal, and the personal process in relation to broadcasting an artist's work.

The nuances of the continent's terrain have been mapped through the artists» interpretation and subjective depictions of the form, further contextualized in relation to the chosen space, place and objects.

The Malaysian - born, London - based artist uses the overly precious setting of the gallery space to pull objects — cooking utensils, kitchen fittings, plastic tubs, sheets of jute, etc — out of their utilitarian context in such a way as to force viewers to think about them as discrete objects, or things in and of themselves, while in the process challenging the assumptions we make about their functionality and attendant concerns such as, for example, the social status of the person who might own such an object, its role in their lives and that relation in respect to one's own style of living.

He develops his work in relation to space (understood as extended territory), using simple objects associated with everyday life to create installations that expand until they become imposing and complex structures, capable of enveloping the entire exhibition space.

Interpretations of the objects found in space by NASA's Spitzer telescope as well as their relation to one another and the technological and scientific methods used to discover them.

The works of the exhibition act as a collaborative installation between the artists where the agency of each artist at times is blurred, at times visible, in an attempt to question the relation of object and agency in the gallery space as well as in a broader context of history writing.

In a revolutionary departure from the institutional definition of drawing, and from the reliance on paper as the fundamental support material, artists instead pushed line across the plane into real space, thus questioning the relation between the object of art and the world.

His work questions how the nature of human identity is established in relation to objects and space.

They follow the line of the visual research on space and the relation between objects in the bi-dimensional representation which is to be found as well in her graphic experiments from previous years.

In the same way, the subtle, calculated gestures of Wood and Harrison who analyze the body's relation to objects, space and others, are indeed a modern response to Foucault's description of discipline as the «political anatomy of detail.»

From the tiny aluminium tablets which were shown throughout the Christchurch Art Gallery in 2006 as a part of the Out of Erewhon exhibition, to the bi-chromatic square panels exhibited recently at le Pavé d'Orsay in Paris, the «reasons» consistently underline the comprehension that, above all, a painting is an object to be appreciated in relation to others, and in the context of the physical space of the showroom.

It is more about the energy and movement of the viewing space in relation to the viewer than the physicality of the objects themselves.