Sentences with phrase «with aesthetic objects»

«Object in the sense that, when viewed from different angles, in varying moods, it reveals more and more of itself, other emotions and, for a film overrun with aesthetic objects, deepened ideas.»

Rather than experiencing transcendence from something hidden within the painting or from some interpretive element in the work, the only transcendent experience Stella intended for viewers of these paintings to have came from the psychological relief of being allowed to interact with an aesthetic object on its own terms.

Not exact matches

This is primarily because it has proven to be a powerful aid in the effort to avoid dealing with works of art or literature as products of the human spirit: aesthetic objects that move us with their intricately wrought beauty, humor, and insight.

In so far as «C major» is highly valued in this particular aesthetic synthesis, it is included and with it every other eternal object with which it is internally related — including «D major.»

Is there a greater aesthetic value in participatory experiencing «in accordance with the natures of things» than in a mode of experiencing which involves the active construal and perhaps even domination of the experienced object?

Once again, it seems that the very aesthetic emphasis which Hall shares with Whitehead involves the idea that the values of the subject enter into its experience of the object.

More generally, gender stereotypes are used to justify women's unlikelihood to speak up: the general perception of women as instruments whose function is primordially to be used, as passive sexual objects than as active subjects, as bodies and faces that should be looked at and evaluated on the basis of demanding aesthetic criteria, as sacrificial mothers or as empathetic persons mainly attuned to other's people needs, is not very compatible with an assertive form of communication.

Because of her, and with her, I am able — by moments — to move out of my own natural larval state and experience movies not just as deliverers of entertainment, conveyors of meaning, or objects of aesthetic contemplation, but as pure fields of emotional and sensory intensity, almost like rooms to which one can return.»

It's hard for me to imagine how the dominant, non-formalist form of film studies, with its systemic handicap of abstaining from value judgment and not being able to treat the film as an independent aesthetic object capable of producing an infinite variety of affects, can be terribly instructive for the enterprise of film criticism, which necessarily calls for a hierarchy of values on the part of the practitioner and his / her acknowledgement being a sentient, unique subject capable of being transformed by the film.

Take a look at any number of aesthetic and well - engineered household objects, such as Crest Standup Squeeze Dispenser Toothpaste, Post-it ® Super Sticky Notes, the Thermos Nissan Intak Hydration Water Bottle with Meter, or Under Armour's Storm Swacket.

The way that the Sega Saturn handled layered transparencies gives some objects a slightly unusual aesthetic to those not so familiar with the system.

Pairing an original sense of humor and wit with a controlled minimalist aesthetic, Feher accentuated and exploited the physical characteristics of his chosen material - form, color, texture and weight - to alter our understanding and appreciation these simple objects, thus also altering our world view.

Playing with notions of the aesthetic of dictators, imagined objects from an Arab palace become inspiration alongside portraits of mother and child.

These materials and objects constitute what Samaras has called a «five - and - dime aesthetic» that contrasted concurrent trends in art — Minimalism and the clarity of Pop — but resonates with subsequent generations of artists.

As a prolific artist who manifests beauty with his brush, his focus on detail often creates an aesthetic that surpasses the charm of the objects themselves.

In their aesthetic and conceptual choices for the work exhibited in Data / Transfer / Object the artists will respond to and interact with one another, each picking up a concept where the other leaves off.

The title of the exhibition fits well: from his earliest object on display, Hunting Dogs Project (1961), a model for a public garden in the form of a maze, to PN27 Penetrable, made in 1979, a year before his death, there is a definite drive in the artist's work to contain a boundless and unpredictable human body, including the collective body — with all its joyful and painful emotions — within a certain aesthetic frame.

Installation view thru October 23, 2010 «I've chosen artists» work that I feel share something of a fetish with / in the production / object, particularly based on an aesthetic predisposition that can run formally, culturally, adding the social / personal.

On view through December 23, Nathalie Du Pasquier: BIG OBJECTS NOT ALWAYS SILENT will provide an all - encompassing experience of Du Pasquier's aesthetic, organized in close coordination with the artist to demonstrate the seamless boundaries between functional and decorative objects in Du Pasquier's prOBJECTS NOT ALWAYS SILENT will provide an all - encompassing experience of Du Pasquier's aesthetic, organized in close coordination with the artist to demonstrate the seamless boundaries between functional and decorative objects in Du Pasquier's probjects in Du Pasquier's practice.

Grouped thematically rather than chronologically or according to nationality, everyday or mundane objects are sometimes juxtaposed with boxes created for ceremonial, aesthetic, or symbolic purposes.

Within these simple arrangements, Andre compresses a wealth of complex aesthetic ideas, implicitly arguing with sculptural conventions and refuting such formerly common notions as elevating the work of art on a pedestal, the concept of three dimensionality, and the expectation that there must be craft and talent involved in shaping the object.

The inclination to use a tool such like Zazzle to produce works that remix and «rebrand» corporate objects with each individual artist's own aesthetic brand echoes validation behind the quote «ironic mimesis is not a critique, it is the mind of a slave».

The result is a work of art composed of multiple objects that were once singular and utilitarian and are now presented as one work that is imbued with entirely different aesthetic and conceptual qualities.

Larson's relationship to material and appropriation remains true to the found object aesthetic, following in the path of predecessors such as Ed Kienholz, Kurt Schwitters, and Robert Rauschenberg, while keeping in dialog with contemporary practitioners such as Mark Bradford and Richard Prince.

In Somnyama Ngonyama, ready - made objects and found materials are transformed into culturally loaded props, merging the political with the aesthetic — often commenting on specific events in South Africa's recent history.

Claire Barclay is a Glasgow - based artist well known for her large - scale sculptural installations that combine highly formalised elements with a scatter aesthetic, using platforms, screens and other structures around which crafted objects lie in carefully gathered constellations.

Her sleek, abstracted metal and concrete furniture combines the aesthetic sensibilities of contemporary design, craft, and sculpture to create objects that alter viewers» expectations of and interface with the domestic landscape.

A long - awaited and in - depth monograph of the life and work of Robert Arneson, an artist who has infused the alchemy of clay with the funk aesthetic of everyday objects and self - portraiture, in ways that elevate their sustaining power through his insightful social and political observations.

It's mark - making as collaboration, often with objects designed for other uses — indeed, seemingly resistant to their use as a brush or tool in an aesthetic process, but often surprisingly pliant, their resistance to control part of their enhancive effect.

After making his mark in the 2008 Whitney Biennial with an assortment of shatterproof glass cubes made to the standards of FedEx shipping boxes — a gesture that pointed toward the illusion of autonomy in minimalist sculpture, and to the systems of corporate transport and capital that tend to cover over and regulate the processes that deliver objects to your doorstep — Beshty has continued to find ways to acknowledge and create representations of the repression of materiality in contemporary aesthetic production.

Alexandra Bircken is an artist who has attracted interest for her sculptures and installations that combine knitted elements with organic and lowly materials such as hair, leather, dried grass, latex and twigs, creating amulet - like objects with an arts and crafts aesthetic that reflect her background in fashion design and an interest in the radical aspects of handmade culture.

Constructed with hand - upholstered cushions in luxurious fabrics, referencing 19th century aesthetic style and craftsmanship of decorative objects the installation fills the gallery space forcing viewers to explore and touch their crowded expanses and cavernous corners, creating a small maze not unlike the Essex Street market itself.

Drawn to objects that record physical processes or bear imperfections and the scars of life, Jacqueline's interest lies in the aesthetic of books as residual objects with histories of use and meaning.

The concept of Fountain may be more important than the object, which Duchamp chose in part for its lack of aesthetic in terest, but it might also, as another title of his has it, be an object To Be Looked at With One Eye, Close to, for Almost an Hour.

Hugely respected and admired by collectors and artists for his discernment and for an ability to see beauty in unusual objects, Cochrane was an art dealer with a passion for the aesthetic rather than the financial value of a work of art.

Santiago Muñoz's work arises out of long periods of observation and documentation, in which the camera is present as an object with social implications and as an instrument mediating aesthetic thought.

Her manipulation of miniaturised objects, dolls and interiors provided these domestic Mise - en - scenes with a dream like quality, which isolated the images from the austere «Pseudo-Documentary» aesthetic other artists were trying to achieve.

Artist David Brooks describes how his experience with artifacts from Papua New Guinea inspired a newfound understanding of art objects existing beyond an aesthetic experience, with the potential to connect to functional, real - world elements.

As with the artist's other projects Donald laboriously crafts objects or build environments in order to work between the hand made and the aesthetically valued, the aesthetic and the usable — every project is underlaid by a conceptual interest in the limits (or not) between craft and art, art and architecture, as well as begging questions about particular content and rendering innocent forms (like the decoys) in provocatively corporeal ways.

In a series of aluminum prints, Salama introduces three objects bound by their feminine aesthetic: a hot pink «burner» phone, a pink latex glove, and a platform heel decorated with butterfly charms.

I re-categorize to negate this distinction, so that what is devalued might return to rational comprehension as sensual art objects with all attendant aesthetic values.

When seen in concert with these images, the otherwise unadorned furniture objects become imbued with new formal potential, as if by sleight of hand, ready to re-enter domestic spaces with a newly aesthetic agenda.

In this exhibition, we can expect to see a highly eclectic body of work as Athol lets his imagination take the reins using Victorian mirrors, vintage chairs and plates, collages of vintage stamps and letters, wherever he can see the potential to create an art work, and combining the discarded objects with media such as gloss paint, enamel and duct tape to depict nostalgic images in his distinctive pop - art aesthetic.

The foundation of this handmade aesthetic, however, lies in the rigor and fastidiousness with which the artist and his high - functioning studio construct both the objects themselves and the conceptual and intellectual benchmarks that guide Sachs's life and practice.

The traces to traditional art mediums and the representation of mundane material make the works unfamiliar yet aesthetic; by stripping objects off its original function, replacing them within an art context, and combining them to form a new sculptural entity, Stramrud unavoidably points at Surrealist juxtaposition techniques with its aim to create an image of poetic reality.

Jacobsen's works occupy the liminal overlap of nature, art and culture; they derive from an experimental approach to materiality and design, with a particular focus on the compositional, aesthetic and sensory properties of objects.

Rejecting the illusionism of painting and seeking an aesthetic freed from metaphorical associations, Judd sought to explore the relationship between art object, viewer and surrounding space with his so - called «specific objects.»

This hybrid aesthetic mixed with functional objects of design round out an outstanding solo exhibition.

The presented works form two groups: one based on playing with the traditional marine painting with its focus on the expressive and aesthetic potential of the sea, and the other, in which the sea is neither the object of study nor the main protagonist but rather the backdrop for the action.

Combining mark - making and sculptural processes with everyday materials she produces artworks that hover between states of being such as painting and sculpture, 2 - D and 3 - D, functional thing and aesthetic object.