An abstract object of art, to be discussed but never felt If only those moments of cohesion were more consistent.
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It's an abstract object of art, best looked at from afar and discussed in hushed tones of quiet reverence — but oddly, never to be felt.
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Intermittently, though, it is an incisive meditation on age and youth, the female body as an object of art and desire, the easy power of nubile beauty and what's left when that goes away.
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In the Lore Ross Jewelry Gallery, curator Ulysses Dietz, recently retired, spent the last three decades making wonderful jewelry acquisitions that are beautiful, interesting and varied in an effort to show the power of jewelry as an object of art and desire and also as a measure of societal change.
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The object of art must be beauteous not only by its form, but also venerable by its content. Illustrious artists are "folk teachers, the creators of life".
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The basic difference of all competitive shows of festival "Mamont" from other fashion shows consists that the clothes collection is considered as object of art, and its presentation – as performance.
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The 2007 retrospective "Anzaï: Personal Photo Archives, 1970-2006" (National Art Center, Tokyo) showed for the first time an unprecedented collection of 37 years of art in Japan. A lone chronicler, Anzai's style of shyly documenting, yet accurately encompassing photographies of art is in itself an object of art. He always includes actual living people in his photographs.
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Jerome Stolnitz, "Ugliness", Encyclopedia of Philosophy (McMillan, 1973). For Aristotle, the function of artistic forms was to instill pleasure, and he first pondered the problem that an object of art representing ugliness produces "pain." Aristotle's detailed analysis of this problem involved his study of tragic literature and its paradoxical nature as both shocking and having poetic value.Monroe C. Beardsley, "History of Aesthetics", Encyclopedia of Philosophy, Volume 1, p.
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Keris sheath of Ladrang Surakarta style. As with the hilt, a kris' sheath (warangka) is also an object of art. It can be made from various materials, usually a wooden frame to hold the blade which can be coated with metals such as brass, iron, silver, or even gold, usually carved in sulur floral motifs. The upper part of the sheath formed a broad curved handle made from wood or sometimes ivory.
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Machiavelli in the robes of a Florentine public official Virtù is a concept theorized by Niccolò Machiavelli, centered on the martial spirit and ability of a population or leader,Machiavelli and the politics of virtue but also encompassing a broader collection of traits necessary for maintenance of the state and "the achievement of great things." Machiavelli's Virtue by Harvey Mansfield In a secondary development, the same word came to mean an object of art.
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Smashed mug As a ubiquitous desktop item, the mug is often used as an object of art or advertisement; some mugs are rather decorations than drinking vessels. Carving had been traditionally applied to mugs in the ancient times. Deforming a mug into an unusual shape is sometimes used. However, the most popular decoration technique nowadays is printing on mugs, which is usually performed as follows: Ceramic powder is mixed with dyes of chosen color and a plasticizer.
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Jaynie Anderson,'CIHA as the Object of Art History', in The Challenge of the Object. Die Herausforderund des Objekts, in 32. Wissenschaftlicher Beiband zum Anzeiger des Germanischen Nationalmuseums, Proceedings of the 33rd Congress of the International Committee of the History of Art, 15 – 20 July, Nürnberg, volume 4 (2014), pp. 1474-1476. In 2009 she was appointed Foundation Director of the Australian Institute of Art History, an initiative that sprang from the success of the Melbourne CIHA congress in 2008, Crossing Cultures.
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He told many more jokes throughout his lectures and writings. Kant developed a distinction between an object of art as a material value subject to the conventions of society and the transcendental condition of the judgment of taste as a "refined" value in his Idea of A Universal History (1784). In the Fourth and Fifth Theses of that work he identified all art as the "fruits of unsociableness" due to men's "antagonism in society"Kant, Immanuel. Idea for a Universal History. Trans.
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Addison's notion of greatness was integral to the concept of sublimity. An object of art could be beautiful yet it could not possess greatness. His Pleasures of the Imagination, as well as Mark Akenside's Pleasures of the Imagination of 1744 and Edward Young's poem Night Thoughts of 1745 are generally considered the starting points for Edmund Burke's analysis of sublimity. Edmund Burke developed his conception of sublimity in A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful of 1756.
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Judge Tomasz Zieliński denied that Nieznalska's work was entitled to any special constitutional protection as an object of art, stating that "the fact that a work is within the boundaries of art has no significance for whether it can offend the feelings of other people." The court ordered Nieznalska to perform six months of unpaid community service. The trial prosecutor had originally demanded a fine of 2000 złoty, but the court decided to increase the penalty. Judge Zieliński additionally forbade Nieznalska from traveling out of the country.
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Richly decorated Balinese kris hilt coated with gold, adorned with rubies. The handle or hilt (hulu) is an object of art, often carved in meticulous details and made from various materials: precious rare types of wood to gold or ivory. They were often carved to resemble various animals and Hindu deities, although this became less common with the introduction of Islam. In Bali, kris handles are made to resemble demons coated in gold and adorned with semi precious and precious stones, such as rubies.
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After the early deaths of Riegl and Wickhoff, one of the art- historical positions at the University was filled by Max Dvořák, who at first continued the tradition of his predecessors. However, Dvořák's interest gradually turned towards issues of content; that is, to precisely those issues that, for Riegl, were not the object of art history. Dvořák, in part influenced by the contemporary expressionist movement in German painting, developed a deep appreciation for the unclassical formal qualities of Mannerism. Dvořák's idealistic method, which would later be termed "Kunstgeschichte als Geistesgeschichte" ("art history as intellectual history"), found its most committed champions in Hans Tietze and Otto Benesch.
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Typical of the Unione Corse's secrecy would be the case of a man known as Antoine Rinieri. On 12 June 1962, Rinieri, who identified as an art broker, arrived in the City of New York by air from Paris, France, carrying $247,000 in hard currency, ostensibly to purchase an object of art from an American identified as "Mr. Anderson". He arrived at a club to complete the purchase, but the seller was a no-show; Rinieri decided to visit a friend, Gennett, in Asheville, North Carolina, before he left for Europe. For the duration of his visit, the money was stored in a jointly held safety deposit box at Wachovia Bank in Asheville, per the recommendation of Gennett.
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This is an example of the holistic nature of visual anthropology: a figurine depicting a woman wearing diaphanous clothing is not merely an object of art, but a window into the customs of dress at the time, household organization (where they are found), transfer of materials (where the clay came from) and processes (when did firing clay become common), when did weaving begin, what kind of weaving is depicted and what other evidence is there for weaving, and what kinds of cultural changes were occurring in other parts of human life at the time. Visual anthropology, by focusing on its own efforts to make and understand film, is able to establish many principles and build theories about human visual representation in general.
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From the 15th to the 17th century, diplomatic gifts, mementoes and curiosa owned by the Dukes of Burgundy and subsequently the Habsburg archdukes were displayed in the Royal Arsenal, a large hall in the vicinity of the palace on the Coudenberg. It was there that the first collections, which are now housed in the Royal Museums of Art and History, were established. Regrettably, a large number of art treasures and objects were removed to the imperial museums in Vienna in 1794. In 1835, with the intention of giving the independence of the young Belgian State an historical perspective, a ("Museum of Antique Weapons, Armour, Object of Art and Numismatics") was established, headed by Count Amédée de Beauffort. The collections were moved to the Palais de l’Industrie, the left wing of the present Royal Museums of Fine Art.
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After he had spent his youth in Upper Austria (also at the Attersee, the origin of his artist's name), Attersee began his studies in 1957 at the then-named Vienna Akademie für angewandte Kunst' (Academy of Applied Arts, in 1998 renamed to "University of Applied Arts") with E. Bäumer, keeping these up until 1963. From 1966 on, he was involved with the short-lived Viennese Actionism movement. Being very intrigued by object and action art from the start, Attersee attempted to combine music, speech, photo and video art with the basic form to create a new form of total artwork (also known by the German term Gesamtkunstwerk) like object inventions such as the "Speisekugel" ("food sphere"), the "Speiseblau" ("food blue"), the "Prothesenalphabet" ("prosthetical alphabet"), the "Speicheltönung" ("saliva tinge" or "saliva hue"), the female vagina as an object of art, as well as the self-coined "Attersteck". In later years, the quintessence of his work shall be characterized by subjects like sexuality and natural studies.
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Kawara's first exhibitions include the first Nippon Exhibition, at the Tokyo Metropolitan Art Museum, in 1953, and at the Takemiya and Hibiya galleries the following year. His work was exhibited at New York's Dwan Gallery in 1967, and his one-person exhibition "One Million Years" was shown in Düsseldorf, Paris, and Milan in 1971. Kawara's work was included in documenta 5 (1972), 7 (1982), and 11 (2002), in Kassel, and in the Tokyo Biennale (1970), the Kyoto Biennale (1976), and the Venice Biennale (1976). His work has been included in many conceptual art surveys from the seminal Information show at the Museum of Modern Art, New York in 1970 to Reconsidering the Object of Art: 1965-1975 at the Museum of Contemporary Art, Los Angeles in 1995. Solo exhibitions of his work have included the Otis Art Institute, Los Angeles, and the Centre Pompidou, Paris, in 1977; Continuity/Discontinuity at the Moderna Museet, Stockholm in 1980; Museum Boymans-van Beuningen, Rotterdam in 1991; the Dia Center for the Arts, New York in 1993; and the Dallas Museum of Art.
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