They're visionary experiments that reject the neat parameters of yore—narratively, thematically, representationally.
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Each of these artists is capturing something that seeps through the cracks of these simplifications and stereotypes — and they achieve this both conceptually and representationally.
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These could continue even in the face of a representationally perfect movie industry, I'm afraid, and I expect that we will prove that by experiment.
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It's then the artist's prerogative to paint within that structure representationally, or, like some of the best artists do, to challenge, abstract, and deconstruct form as well as content.
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There's a lot of people out there that haven't been able to get their words heard, and this is my one chance to kind of representationally speak for all of them.
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She worked in the Modern's department of drawings from 1996 to 2001, organizing the ambitious "Drawing Now: Eight Propositions," which featured eight artists who often worked representationally and in large scale.
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However, I have also been thinking about how you can give a viewer something to grab onto, when you're making paintings that feel deconstructed, that don't locate either representationally or abstractly, or that give you bits and pieces.
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Beyond design: Cybernetics, biological computers and hylozoism. Synthese 168:469-491. This is described as Beer's "spiritually-charged awe at the activity and powers of nature in relation to our inability to grasp them representationally".Op. cit.
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Notably, FASB indicates that assumptions enter into models that use Level 2 inputs, a condition that reduces the precision of the outputs (estimated fair values), but nonetheless produces reliable numbers that are representationally faithful, verifiable and neutral. ;Level Three: The FASB describes Level 3 inputs as “unobservable.” If inputs from levels 1 and 2 are not available, FASB acknowledges that fair value measures of many assets and liabilities are less precise. Within this level, fair value is also estimated using a valuation technique.
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Not only geographically, but also representationally the district has been one of the most stable. There have been only nine council members since 1925 — seven men and two women. None served fewer than four years. The thirty-year incumbency of John S. Gibson, Jr., was the second-longest of any Los Angeles City Council member, after John Ferraro of the 4th District. The officeholders were: # Charles J. Colden, 1925–29 # A.E. Henning, 1929–33 # F.P. Buyer, 1933–39 # Wilder W. Hartley, 1939–43 # George H. Moore.
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All three works of art are uncategorizeable, and Spolsky expands on Cymbeline. Spolsky identifies three "representationally hungry issues of the early Jacobean years" that Cymbeline seems written to address: the first is how the divine can be conveyed without images, the second is how men want monogamy but also many heirs and how the two can be reconciled, and the third is how the culture of England relates to the culture of Italy. "Hungry" is an important word in Spolsky’s text, as is the "gaps" that she seeks to fill in with words vs image.
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In 1967, Guston moved to Woodstock, New York. He was increasingly frustrated with abstraction and began painting representationally again, but in a personal, cartoonish manner. "It disappointed many when he returned to figuration with aplomb, painting mysterious images in which cartoonish-looking cups, heads, easels, and other visions were depicted against vacant beige backgrounds. People whispered behind his back: "He’s out of his mind, and this isn’t art,” curator Michael Auping said. “He could have ruined his reputation, and some people said he did.” The first exhibition of these new figurative paintings was held in 1970 at the Marlborough Gallery in New York.
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Being No one More simply, it is what is commonly referred to as the ecological self, the immovable center of perception. The third phenomenal property is selfhood, which is "the phenomenal target property" or the idea of the self over time. It is the property of phenomenal selfhood that plays the most important role in creating the fictional self and the first person perspective. Metzinger defines the first-person perspective as the "existence of single coherent and temporally stable model of reality which is representationally centered around or on a single coherent and temporally stable phenomenal subject".
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Born in Iowa, Spratt was the grandson of a house painter from whom he received his first lessons in painting. He later built upon this early training during his adolescence as a sign painter. He received his MA in Studio Art from University of Iowa in 1951, and in 1954 he began teaching in the Art Department at San Jose State University,Artshift San Jose » Blog Archive » Recalling The Momentious Sixties And Seventies where he taught the American figurative artist, Robert Graham (1938–2008) in 1961. In 1962 he took a sabbatical in England for one year, where he lived and painted representationally in St. Ives Cornwall, United Kingdom.
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The nimbus in Christian art first appeared in the 5th century, but practically the same motif was known from several centuries earlier, in pre-Christian Hellenistic art. It is found in some Persian representations of kings and gods, and appears on coins of the Kushan kings Kanishka, Huvishka and Vasudeva, as well as on most representations of the Buddha in Greco-Buddhist art from the 1st century AD. Its use has also been traced through the Egyptians to the ancient Greeks and Romans, representations of Trajan (arch of Constantine) and Antoninus Pius (reverse of a medal) being found with it. Roman emperors were sometimes depicted wearing a radiant crown, with pointed rays intended to represent the rays of the sun. According to Islamic tradition, the Prophet Mohammed may not be depicted representationally; however some religious artists have indicated his presence in historical scenes using an empty, flaming aureole as a placeholder.
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