Sentences with phrase «work against the object»

The reason is that centrifugal effects are greatest at the rotational equator and work against the object's self - gravity.

If the planet's gravity has to work against the object's spin, it will be unable to sweep in as much material as when they are aligned.

Not exact matches

It was a statement against the prison of growing up poor, and the idea that the goal of life is to live to work and sometimes treat yourself to an empty object that society had advertised as a signifier of success.

But getting in touch with the part of you that has to seriously overcome great fear, fight against what feels like an immovable object, and experiencing the joy that comes with hitting a goal you've been working tirelessly towards is good for your damn health.

Shoulders: Cable lateral raises or leaning dumbell lateral raises (leaning against a solid object with your working arm hanging down in front of you) and any pressing movement

Composed of two seemingly antithetical materials — wood and galvanized iron — this work would at first seem to go against Judd's statement in «Specific Objects» that his work be viewed as» [a] thing as a whole» rather than a conglomeration of parts.

In a modest sized rectangular white walled exhibition space, objects of daily use, artifacts ancient and new, paintings and pots, quilts, and kimonos were arrayed on two tiers, hung from the ceiling, against works hung on wall that were subtly dematerialized by natural light coming from unseen skylights along the edges of the dropped ceiling.

1999 Contemporary Japanese Art I, 1950s - 1970s from the Collection, The 10th Anniversary of Museum Opening, Introducing Newly Collected Works, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan Eyes Watching the Space, Enjoying Painting and Space, Niigata City Art Museum, Niigata, Japan Japanese Prints 1945 - 1999, Expressions and Anti-Expressions of the Times, Machida City Museum of Graphic Arts, Tokyo, Japan Against Educational Course of Contemporary Art, The 20th Anniversary of Museum Opening, Itabashi Art Museum, Tokyo, Japan NICAF TOKYO» 99, The 6th International Contemporary Art Festival, Tokyo International Forum, Tokyo, Japan Listening to Kaoru Abe, Ota Fine Arts, Tokyo, Japan Out of Actions: Between Performance and the Object 1949 - 1979, The Museum of Contemporary Art at the Geffen Contemporary, Los Angeles, USA MAK - Austrian Museum of Applied Arts, Vienna, Austria Museu d'Art Contemporani, Barcelona, Spain Museum of Contemporary Art Tokyo, Japan

In a 1992 letter to Rosen, he described one of his stack works as «a chance to alter one's life and future, an empty passport for life... A simple white object against a white wall, waiting.»

Oscar Murillo is now considered an established artist — and David Zwirner is currently presenting Murillo's first exhibition at the gallery in London — titled «Binary Function», which refers to the pairings that permeate the artist's multifaceted practice; with multiples that play against one another to create a dialogue that the exceeds individual objects, with another chance to step on the artist's work!

Constellations and groupings of drawings and sculptures will be juxtaposed against found objects, ephemera, and works by other artists.

Not only do the works in this exhibition expound on Thiebaud's signature motifs — objects and figures limned in color against ambiguous backgrounds, and inventive city and landscape scenes — they also convey the range of process, ingenuity and specificity that distinguishes each of Thiebaud's works.

Across the space, still - life paintings depicting everyday objects and formal explorations will be installed against a backdrop of Du Pasquier's wallpaper designs, juxtaposed with the sculptures, textiles, and design objects that inspire her work in painting and illuminate her iterative process of creation.

«You have the sense in Guston's work that once the self is imperilled, even everyday things become sinister and conspire against you,» says Anfam, «These familiar objects represent the hostile world taking revenge.

Outside of the norms and conventions of an object - based art world, Willats has developed work which reacts against what he sees as the historical determinism within art.

Many first generation Conceptual artists working in the late 60s and early 70s de-emphasized the art object, in part as a gesture against what they perceived as the increasing commercialization of the artwork (one thinks of Sol LeWitt's ephemeral wall drawings, painted over at the end of their exhibition, or the linguistic investigations of Lawrence Weiner who in 1972 wrote, «I do not mind objects, but I do not care to make them»).

Behind this work, a punk and his dog sits in a little scene with their backs against a large modernist object by

Behind this work, a punk and his dog sits in a little scene with their backs against a large modernist object by Lin May Saeed.

He will explore these ideas using a deliberately varied aesthetic that pitches the industrially made against works that meditate on the devotional connotations of folkloric objects.

Her most recent body of work is a series of images that depict Caucasian female hands interacting with specific objects against a beige background.

They are the work of Edson Chagas, a 34 - year - old Luanda - based photographer who created the spare compositions by walking around his city in search of derelict objects (a broken chair, a shoe) and artfully framing ones that caught his eye against the wanly colored walls of the street.

The artists maneuver a relationship between the object's ontology and their transformation into vehicles of psychological projection; a parallel to the work's intimate development in the studio against their perceptive contextual availability in the gallery.

In the 1950s and»60s, reacting against Abstract Expressionism's seriousness and influenced by Surrealist Roberto Matta, Saul began to paint everyday objects like iceboxes, steaks, and toilets in bright colors, along with political works like his series of graphic, cartoonish «Vietnam» paintings (1960s), which though had no clear moral message or political agenda, were evidently anti-Vietnam War.

They have also incorporated statements about the concept or against the art object into the work, most famously with sans - serif text by Lawrence Weiner: «this work need not be built.»

But more often, her work is deeply visually pleasurable, isolating images or objects — a dress, a classical statue, a bowl — against colorful monochrome backgrounds for analysis, like forensic evidence, or brain - food canapés on a tray.

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.

Lawrence's work pitches poetics against instrumental reason through sculpture, painting, drawing and the manipulation of everyday objects.

Mintz writes that Piotrowski's works «approach the possibility of narrative, though the artist deftly pulls back just in time» Conefry, Mintz notes, investigates «painting as object, something constructed and assembled,» while in Cohen's paintings «organic shapes lean against geometrics to create a push - pull of color and form.»

Deliberately reacting against a linear approach to interpretation, The Object of the Attack will work as an echo chamber to the main exhibition and raise multiple questions about art production and curatorial engagement, translations and communication, avoiding any fixed answers.

A painter, sculptor, and printmaker, Sultan is regarded for his ongoing large - scale painted still lifes featuring structural renderings of fruit, flowers, and other everyday objects, often abstracted and set against a rich, black background; but he is also noted for his significant industrial landscape series that began in the early 1980s entitled the Disaster Paintings, on which the artist worked for nearly a decade.

Curated by esteemed curator Djon Mundine, this exhibition will bring together historical and spiritual objects from the collection of Robert Bleakley, and place them in context against contemporary screen based works alluding to ideas of transformation.

The works are quietly, humbly rebelling, flat on their back, against the need for objects to be more grand than individuals.

The erotic works created from a male perspective on the female figure either as an object of beauty or with lust and desire are unusually set against Emin's figures from the female perspective reflecting her internal thoughts and emotions.

Rebelling against what he saw as the dehumanizing forces of industrialization and consumerism, Merz preferred to work with everyday materials and organic matter, like earth, found objects, and neon tubing.

Displayed against the fresh white gallery walls, the functional purpose of the objects is de-accentuated, allowing the works to be appreciated as objets d'art.

Nouveau Realisme (New Realism) Term coined in 1960 by the French critic Pierre Restany for art derived partly from Dada and Surrealism, which reacted against more abstract work, especially by using industrial and everyday objects to make junk art or sculpture.

Typically, Hewitt arranges printed materials, photos, and the occasional object into assemblages, photographs them in her studio, and displays the works both on and leaning against

Jacquette's work often explores night and the effects of bright lights, reflections, and indistinct objects set against the surrounding darkness.

Later works include exuberantly satirical works of the 1960s, many featuring the vaguely autobiographical figure described by critic and artist Anne Doran as a «nattily dressed and deeply ridiculous Everyman in mad pursuit of liberty, poetry, and sex»; the pornography - inspired «X-Rated Paintings» of the early 1970s; the «Noun» paintings of the same period (each depicting a single everyday object against a bright, patterned background); the schematic, figurative canvases made in homage to Copley's Surrealist idol Francis Picabia; and the story cycles and morality tales from the 1980s and 90s, including a painting from the installation project The Tomb of the Unknown Whore.

Though related in subject matter, the works of each gallery function differently; and the experience of each set of works is different: the tension of the temporary wall drawing is a set against the solid relief and forms of the painted objects.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

If abstract expressionism was defined by a reaction against Europe, an assertion of nationalist values, a way of decentring the way in which one worked by putting the painting on the floor, and minimalism is defined by the understanding of the three dimensional object, and fabrication and industrial methods, what happens when a painting comes after abstract expressionism but before minimalism?

[3] In this case, the respondents the Downtown Eastside Sex Workers United Against Violence Society, whose objects include improving working conditions for female sex workers, and Ms. Kiselbach, have launched a broad constitutional challenge to the prostitution provisions of theCriminal Code, R.S.C. 1985, c. C - 46.

And it does not work because an objecting party has to overcome not only the parenting coordinator but also the opposing party — being out - voted from the git - go, two against one, a problem also inherent in the family court guardian ad litem role, but potentially even worse in this instance because the parenting coordinator solicits support from the guardian ad litem, the appointed therapists, and the rest of the courthouse cronies.