Sentences with phrase «simply aesthetic objects»

They were simply aesthetic objects, demanding to be considered according to their own formal, objective qualities.

Not exact matches

As an aesthetic object, though, it simply can't measure up to what Battista «Pinin» Farina did at the peak of his powers sixty years ago.

[2][3][7] As extremes in a possible spectrum, [13] while some favour simply remarking on the immediate impressions caused by an artistic object, [2][3] others prefer a more systematic approach calling on technical knowledge, favoured aesthetic theory and the known sociocultural context the artist is immersed in to discern their intent.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz, Grisaille: originally derived from a 19th century term for monochrome painting, especially the portrayal of three dimensional objects in two dimensional form, of which the work of British based Liane Lang in this exhibition approaches the closest contemporary example of this art historical origin, the gris or grisaille is updated in this exhibition to reflect the embattled gesture of not simply the monochromatic, but also any opposition to color as such, in at once its aesthetic and political modes.

Fried loathed the minimalists - Donald Judd, Robert Morris, Carl Andre - artists who emerged in New York in the 1960s, wanting to do something different from the generation of Pollock and Rothko, and who simply presented «objects» to the viewer, brutally shorn of traditional aesthetic values.

«Instead, «Smear» is the direct result of a protracted method of collage and décollage that transforms Bradford's canvas from simply an arena in which to orchestrate an aesthetic arrangement into a highly constructed, autonomous object.

However, he finds more than just inspiration in the works of these artists; he does not simply copy the work of his artistic forebears but uses their work «as a pretext» («como pretexto») to create an entirely new aesthetic object.