Although a certain kind of politics can be discerned in his early work, his explicit politics were secondary to his acts of making: the fountain that he made for the Spanish Republican pavilion at the World's Fair in 1937 stood in front of Picasso's "Guernica," but no one could have detected in its beautiful patternings of mercury and water a polemical point.
|
|
According to the biography at Stewart & Stewart (see External links), "Crile is noted for her disturbing and evocative abstracts. Vaguely geometric, planetary and aeronautical shapes and patterns are rendered in thin veils of saturated color often used in eccentric combinations." Many of Crile's abstractions are based on study of oriental rugs and other patterned textiles, somewhat recalling the textile-inspired patternings in the work of Matisse. The art also evokes ceramic pattern designs, as well as natural patternings such as those seen on snake skins.
|
|
129-30 further transforming the common and professional perception of early man. Such 'home' art, involving bone patternings and carvings, were associated with both the Aurignacian and the Magdalenean cultures.H. Osborne ed. The Oxford Companion to Art (London 1992) p.
|
|
Sosnowy received a MFA from Pratt Institute (1989), and a BFA from Stephen F. Austin State University. Over the course of her career Sasnowy has created works that explore strategies of representation and abstraction, and range in scale and medium. While certain works are quiet minimalist color studies, others are dense maximalist patternings. Sosnowy draws from a wide pool of source imagery that ranges from Old Master works to flora to folded newspapers to reams of ribbon.
|
|
The images highlight the textures of the plant material and reveal their repetitive nature and patternings. Often smashing and breaking the material before photographing it, Dashti comments on the beauty of the natural world while also acknowledging the damaging effects humans can have on it. Even though the original images are made in a way that is very hands-on, she alters the prints further by enlarging them and reproducing them digitally which adds to the mechanical and organic relationship in the work.
|
|
Patterning mechanisms such as those described by the French flag model can be perturbed at many levels (production and stochasticity of the diffusion of the morphogen, production of the receptor, stochastic of the signaling cascade, etc). Patterning is therefore inherently noisy. Robustness against this noise and genetic perturbation is therefore necessary to ensure proper that cells measure accurately positional information. Studies of the zebrafish neural tube and antero-posterior patternings has shown that noisy signaling leads to imperfect cell differentiation that is later corrected by transdifferentiation, migration or cell death of the misplaced cells.
|
|
Whereas the first part is about hermaphrodites, the second is about Greeks. The latter half, "full of incest, violence, and terrible family secrets", was considered by Daniel Mendelsohn, an author and critic, to be more effective because Middlesex is largely about how Callie inherited the momentous gene that "ends up defining her indefinable life". Writing for The New Republic, James Wood classified Middlesex as a story written in the vein of hysterical realism. He said the novel is influenced by its own recounting of "excitements, patternings, and implausibilities that lie on the soft side of magical realism".
|
|
They primarily criticize the idea that there is an autonomous neuro-physiological color pathway, citing a lack of concrete evidence for its existence. Saunders is also bothered by the overall de- contextualization of color terminology and the failure of universalists to address the limitations of their methodologies. She points out that: > Ordinary colour talk is used in a variety of ways – for flat coloured > surfaces, surfaces of natural objects, patches of paintings, transparent > objects, shining objects, the sky, flames, illumination, vapours, volumes, > films and so on, all of which interact with overall situation, illumination, > edges, textures, patternings and distances, making the concept of sameness > of colour inherently indeterminate.
|
|
Both functions are fundamentally illustrative. The “external” function is basically an illustration of several hallucinatory plotlines, existing at the level of fundamental patternings of delirium on the ethno-semiotic plane, and, moreover, they exist not as “legitimate” components of these “narratives from the collective depths”, but as cavities, defects, whispers, cracks, parasitic “subplots” and other flaws of these narratives. Art, like hallucinosis, encounters in the first instance the spatial and acoustic parameters of all these “lower-depths events”, and therefore the metaphor of “parasites that leave tunnels in the compacted strata” is entirely appropriate, as is the metaphor of “cracks in the foundation”. It is “hallucinations on a global theme” that are illustrated. The important thing here is the conceptual background of “common doings and things” which pervade “common bodies and spaces” through and through. Naturally, these global themes can be themes of the state, religion, money, the city, war and so on.
|
|