Sentences with phrase «who values objects»

«Doug is a person who values objects, particularly art objects,» he said, recalling Crimp's onetime desire to «lick a Brice Marden painting.»

Not exact matches

This is the natural consequence of the logic of exchange as the foundation of worth and value: if worth is based upon what one has or knows or achieves, those who have little by society's standards become worthless and expendable, objects of scorn, neglect and abuse.

Proudfoot's dilemma presumes that just such a pure account of religious experience is claimed by all theologians who talk about religious experience; but this simply does not apply to American radical empiricists who assumed that experience is always already an interdependent combination of facts and values, objects and subjects.

Its teachings are very, very simple: There really are free and natural markets where the optimum value of things is assigned to them; everyone must compete with everyone; the worthy will prosper and the unworthy fail; those who succeed while others fail will be made deeply and justly happy by this experience, having had no other object in life; each of us is poorer for every cent that is used toward the wealth of all of us; governments are instituted among people chiefly to interfere with the working out of these splendid principles.

They are Madisonian pluralists who stress Federalist Paper No. 45 as the preferred side of Madison: «The public good, the real welfare of the great body of the people, is the supreme object to be pursued: and that no form of government whatever has any other value than as it may be fitted for the attainment of this object.»

Above all, aesthetic value implies the transformation of contradictions into contrasts that arouse a fullness and intensity of feeling, a sense of beauty, in those who experience the aesthetic object.

... Placing value on women based on men's attraction makes those who don't possess the traits society considers attractive feel worthless, and it makes women of all appearances feel like objects.

That surely can not be right, and it is worth reminding those Opposition Members who object to the rationale that it was one of the founding tenets of the Chartists - one of the predecessor movements to the Labour party - that all votes should be of equal value.»

Anybody who has evidence that I have breached those objects and values of the Constitution and the NDC should make a report against me to the Police so I can have my day in Court instead of attacking my person without any evidence whatsoever.

I'm a white WOMAN and four black men on a mailer, the first of whom is a racial arsonist and a tax dodger — Al Sharpton — does not show me anyone who «shares our values» (except maybe Carl McCall) If Black New Yorkers can object to an all white ticket why can't I object to an all black MALE mail piece?

Cake - cutting is a metaphor for a wide range of real - world problems that involve dividing some continuous object, whether it's cake or, say, a tract of land, among people who value its features differently — one person yearning for chocolate frosting, for example, while another has his eye on the buttercream flowers.

But Irwin Shapiro, an astrophysicist at the Harvard - Smithsonian Center for Astrophysics in Cambridge, Mass., who chaired the 2010 Committee to Review Near - Earth - Object Surveys and Hazard Mitigation Strategies for the U.S. National Research Council, says that ground - based observatories such as the planned Large Synoptic Survey Telescope (LSST) on Cerro Pachón in Chile are better value for money than space telescopes, because they last longer and are less expensive.

But some dogs will hide their cherished things around the house and guard them from unsuspecting people or animals who have no idea that they're anywhere near a valued object.

Historical facts are almost always accompanied by real photographs from World War I. Collectible objects — which give Valiant Hearts some long - term replay value for completionist players who miss collectibles the first time through the game — are always historical objects that can be examined for additional information.

The late conceptual photographer was a member of what critic Douglass Crimp called the «Pictures Generation» — a group of artists in the late»70s who rejected the predominant values of object - based Minimalism in favor for a return to imagery, or more specifically, commercial imagery related to advertisements and film / television.

His work shares common ground with artists such as Haim Steinbach, Jeff Koons, and Josephine Meckseper, who address the meaning of display and the hierarchy and value of objects.

This idiosyncratic collection of objects comments on the tendency to overshare personal details in contemporary culture and questions who has the authority to ascribe value to objects.

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 concept and exhibition title is derived from an essay by Queens - born photographer, scholar and educator Nathan Lyons who saw the value in objects and attributes of the everyday.

In the late 1940s, he began to explore abstraction, forming vital friendships with Jackson Pollock and Jean Dubuffet, who showed Ossorio the value of reaching inward for inspiration rather than starting with an object or world external to himself.

And that has a kind of African context too in that the African artists or the medicine men and others who were involved with creating things — cultural icons and other things — would determine the value of something and place it in a different context; such as the use of objects from nature.

In the late 1940s, he formed vital friendships with Jackson Pollock and Jean Dubuffet, who showed him the value of reaching inward for inspiration rather than starting with an object or world external to himself.

The provenance of an object — the history of who owned it — is highly valued in the world that the art dealer Gordon VeneKlasen inhabits.

So many artists are in some way playing with the way in which people find value in objects and how objects give value to social relations: Rirkrit Tiravanija, Meschac Gaba, Urs Fischer, Isa Genzken, Jeremy Deller, Rosemary Trockel, David Hammons, Thomas Hirschhorn, Doris Salcedo, Jimmie Durham, Gabriel Orozco, Mark Manders, Robert Gober, Kara Walker in her last show... I think the question is, who doesn't?

«The museum is this place where objects are given amazing value, and it seemed interesting to go into this place and not do that,» says the artist, who has exhibited at the Tate Britain, the Institute of Contemporary Arts in London, the Walker Art Center in Minneapolis and Chicago's Museum of Contemporary Art.

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.

During his study, he became associated with a group of radical young German artists, including Albert Oehlen, Martin Kippenberger, and Werner Buettner, whose work collectively challenged the meaning, status and value of the ubiquitously exhibited art object, as well as those who view and consume them.

I was once told, years ago, that I «couldn't build a small house» because the neighbors (who never came forth and were never named) would object; that in an area of 250K overpriced, oversized, lawyer foyer houses, my little house would «reduce property values»; this would be code for «we can't charge you enough for property taxes...» Forget that I owned the land, forget that we've been sold a line about «freedom» complete with soaring rhetoric and waving flags our whole lives, buy a piece of land and want to build something on it that isn't «code», isn't the «norm» and all of a sudden you're a hippy rebel whacko.

Ruth Carter: I do, it's really simple, I mean really it's about having things in your life, whether it's physical objects or where you spend your time or who you affiliate with that add value.

But Peckham argues that» «Newness,» «sameness» and «valued» aren't always the same things, and even where they are, it's surely not incumbent on consumers who buy a digital object to protect the copyright owner's market by sacrificing a time - honored practice like being able to resell it, is it?»

Thus, it could vindicate its own values claims by treating individuals as autonomous subjects, rather than objects who may be treated instrumentally as bargaining chips in a negotiation — a position which has unfortunately already been displayed by the UK political leaders who will soon sit on the other side of the negotiating table.

Variations in the quality of maternal caregiving shape the neurobiological systems that regulate stress reactions.18 Higher sensitivity was found in mothers and fathers who valued attachments based on their recollections of being accepted themselves and sensitively cared for as a child.27 Likewise, in close relationships with non-parental caregivers or mentors in which the child feels safe and secure, the child will make ample use of joint attention to social and non-social objects and events.