Sentences with phrase «sacred icons of»

Not exact matches

And so, in time, a portrait came to be accepted as a representative presence of a sacred model, one that inspired devotion and prayer — an icon.

According to the Diocese of East Anglia, a man walked into St Mary's Catholic Church on 27thMarch, lit a couple of small fires and attempted to burn a sacred icon taken off the church's altar.

Most Likely to Help Us Find God in the Everyday: Jennifer Fulwiler with «Praying Like You're Illiterate»» I don't know how long I sat there soaking up each aspect of the icon, but when I was finished I felt as enriched as if I had read chapters of sacred theology.

There he photographed a young Eritrean man, Abdullah; one of a number of artists who had decorated the makeshift sanctuary with paintings of icons and sacred triptychs.

Icons of the transfiguration, for example, depict Christ inside a round or oval mandorla, a sacred space around his body that symbolizes his glory and the divine dimension of his being.

In Greece, I'm told, many Byzantine icons have been literally «defaced» by the pious who fleck off little pieces of the «holy» object (particularly about the eyes) and keep them as sacred relics.

When debate about an artist's merit no longer seems to have any point, one is left either with an icon of culture, too sacred to enjoy, or with a target of satire, brought down to our more humdrum level by a vaudeville lampooning of the unapproachable totem, as when graffiti artists paint a moustache on reproductions of the Mona Lisa.

In Mother Theresa, Hitchens recognized perhaps the greatest living icon of Christianity, charity personified — a sacred symbol he sought to profane.

Transformed by God's Word combines the ancient Western practice of lectio divina (sacred reading) with the Eastern Orthodox tradition of visio divina (sacred seeing) by pairing reflections on twenty gospel readings with a series of beautiful, never - before published contemporary icons.

The sacred temple is undoubtedly among the long list of icons not - to - be-missed in Bali.

2017 — LOG at LUMP Gallery, Raleigh, NC, curated by Maria Britton — AWKWARD MOMENTS, Lesley Heller Workspace, New York, NY 2015 — SACRED PLACES, Smithy Center for the Arts, Cooperstown, NY 2014 — MEMENTO MORI, Field Projects, New York, curated by Deborah Brown — CROWD, curated by Andrea Brown for The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, Jackson

Nikolai Kormashov's Paintings from the 1960s 18.10.2013 — 09.02.2014 4th floor, B - wing The exhibition focuses on the first decade of Nikolai Kormashov's (1929 — 2012) work, where we find a combination that seems impossible at first glance: the work motifs and industrial views familiar from the official art of the day combined with the sacred aesthetics of icon painting.

Colen announces himself boisterously with The Big Kahuna (2010 - 17), an enormous, crumpled American flag, complete with 50 - foot flagpole and 20 - tonne block of concrete pinning the fabric of the sacred national icon to the ground.

Inspired by Masheck's remarkable essays on the relationships between modernist painting and icons and other pre-Old Master sacred art — what he dubbed «hard - core» painting — I wrote almost exclusively in support of abstract painting.

«i see my typestracts as icons depicting sacred questions — dual space - probes of inner & outer... they should probably be viewed like cloud - tracks & tide - ripples — bracken - patterns & gull flights — or simply as horizons & spirit levels.»

Opening: «Kamakura: Realism and Spirituality in the Sculpture of Japan» at Asia Society A survey of sculptures from Japan's Kamakura period (dating from 1185 to 1333), this exhibition brings together a group of unique realist icons imbued with sacred powers.

The nuanced application of paint invokes the meditative and emotional quality of Rothko, while the use of gold and silver leaf recall sacred Byzantine icon paintings.