Sentences with phrase «structuring of aesthetic experience»

Simultaneously confounding and illuminating, The Intuitionists at the Drawing Center is a puzzle within a puzzle, a conceptual stunt that raises sticky questions about curatorial responsibility and the structuring of aesthetic experience.

Not exact matches

Both Whitehead and Charles Hartshorne have repeatedly argued that art and aesthetic experience arise within a structure of contrast within identity, or unity in variety.3 This structure enables the mind, or the rationalizing self, to grip the beautiful, to hold it within a category, sometimes called a proposition.

The first of our two schemes is framed in terms of the hierarchical structure of nature and the second in terms of aesthetic experience.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

The Belgian artists, including Mil Ceulemans, Joris Ghekiere, Bernard Gilbert, Marc Maet, Werner Mannaers, Xavier Noiret - Thomé, Bart Vandevijvere, and Jan Vanriet are a mixture of younger and older artists who all share an interest in deriving their pictorial structure from immersive painterly experience, and foregrounding such experience as inherent to their aesthetic doxa.

Or, one could go a step further here and propose that her works aim to deterritorialize aesthetic experience by providing a space of contradiction that upends the dialectic oppositions proposed by the history of abstract painting and its attending structures of valuation, be they class based, gender biased, institutionally sanctioned or otherwise normatively constructed.

No less a figure than the artist Hans Haacke — whose long - standing commitment to rendering transparent economic, social, and aesthetic structures throughout culture has led him to be immanently associated with the paradigm — used the phrase «consciousness industry» as early as the mid-1980s to describe the sophisticated networks of institutional support necessary to make visible ostensibly adversarial avant - garde artistic gestures.4 Works seeking to emphasize the moral, political, and intellectual forces that determine and enforce culture, he observed, were nevertheless dependent on a museum or gallery platform designed to privilege aesthetic experience.

The world looks the way it does and is the way it is because of their vital importance as sources of selection in organic diversity, and as a result we need to structure evolutionary biology to recognize the aesthetic, recognize the subjective experience [of beauty].