In Sublimations, La'ford's mesmerizing, geometric shapes are bright gradients, fading from deep earth tones into beige and white, forming patterns like mazes and maps.
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This is often cited as a critique of her generation, but, man, I found it refreshing, especially in light of the careful sublimations and apologies I'd learned to make over the years.
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This unusual reference to Picasso's work of the same name is part of Sublimations: Ancestral Patterns, La'ford's fifth and largest solo exhibition to date, which opened at Yeelen Gallery in Little Haiti, Miami, this past weekend.
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It's appropriate that Sublimations coincides with John Dunkley's exhibition, Neither Day nor Night, at the Pérez Art Museum Miami—Dunkley is La'ford's grandfather, and La'ford has long paid homage to her ancestral narrative and childhood memories.
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Realgar most commonly occurs as a low- temperature hydrothermal vein mineral associated with other arsenic and antimony minerals. It also occurs as volcanic sublimations and in hot spring deposits. It occurs in association with orpiment, arsenolite, calcite and barite. It is found with lead, silver and gold ores in Hungary, Bohemia and Saxony.
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Her best known advances were in heating and distillation processes. The laboratory water-bath, known eponymously (especially in France) as the bain-marie, is said to have been invented or at least improved by her. Essentially a double-boiler, it was (and is) used in chemistry for processes that require gentle heating. The tribikos (a modified distillation apparatus) and the kerotakis (a more intricate apparatus used especially for sublimations) are two other advancements in the process of distillation that are credited to her.
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Our social > strivings are not Freudian sublimations of phallic frustration — rather, the > weeping phallus is an inferior sublimation of the technological, gender- > superseding finger. This, truly, is EXPORT's feminism, suggesting that > beneath the beautiful, adaptable, versatile finger is a degraded, savage > totem better left to the ancients. Export’s work deviates from Muehl or Kren—she sees the body not as an extension of the canvas, but as something that must "resist masochistic devolutions into bloody phallic tragedy." As her work progresses, she is in direct dialogue with the medium and structure of video and television.
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Freud theorized that some are born with unfocused pleasure / libidinal drives, deriving pleasure from any part of the body. The objects and modes of pleasurable satisfaction are multifarious, directed at every object that might provide pleasure. Polymorphous perverse sexuality continues from infancy through about age five, progressing through three distinct developmental stages: the oral stage, anal stage, and genital / phallic stage. Only in subsequent developmental stages do children learn to constrain drives towards pleasure-satisfaction to socially accepted norms, culminating in adult heterosexual behavior focused on the genitals and reproduction or sublimations of the procreative drive.
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Thus the gas pressure in the chamber is reduced.VG Scienta retrieved 8 April 2009 But after some time, the titanium film will no longer be clean and hence the effectiveness of the pump is reduced. Therefore, after a certain time, the titanium filament should be heated again, and a new film of titanium re-deposited on the chamber wall. Since the time taken for the titanium film to react depends on a number of factors (such as the composition of the residual gas, the temperature of the chamber and the total pressure), the period between successive sublimations requires some consideration.
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Identity itself is a difficult topic to talk about as it involves many aspects within it. According to E. Erickson´s theory on identity, the image of oneself integrates its own personality with the surrounding world, which can in this case be successful sublimations, active protective mechanisms, preferable potentials and so on. There is also the famous understanding that only language enables a person to see himself in his imaginations as an object. The identity issue here comes into forefront as ethnicity plays an important role, as this makes the base for objective characteristics features like place of birth, languages, economy, race type etc.
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In the opening section of Human, All Too Human entitled 'Of first and last things', Nietzsche wrote:Walter Arnold Kaufmann, Nietzsche: philosopher, psychologist, Antichrist, Chapter 7, section II, p. 219 > There is, strictly speaking, neither unselfish conduct, nor a wholly > disinterested point of view. Both are simply sublimations in which the basic > element seems almost evaporated and betrays its presence only to the keenest > observation. All that we need and that could possibly be given us in the > present state of development of the sciences, is a chemistry of the moral, > religious, aesthetic conceptions and feeling, as well as of those emotions > which we experience in the affairs, great and small, of society and > civilization, and which we are sensible of even in solitude.
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An artist who has a passion for all sorts of metamorphoses, sublimations and transmutations, Jean-Michel Othoniel has a predilection for materials with reversible properties. Othoniel first gained recognition with a series of sculptures made of sulfur, exhibited at Documenta IX in Kassel in 1992. In 1993, Jean-Michel Othoniel introduced glass into his work and began to explore its properties. Transformations, mutations of materials, and rites of passage from one state to another echo an essential rite in the artist’s work: that of journeys and memory. In 1994, he participated in the exhibition Féminin/Masculin at the Pompidou Center in Paris, with an installation entitled My Beautiful Closet, a mise-en-scène of dancers filmed in the darkness of a closet. In 1996, Othoniel hung gigantic necklaces in the bamboo gardens of the Villa Medici in Rome, and later in the trees of the Venetian garden of the Peggy Guggenheim Collection (1997), and at the Alhambra and Generalife, in Granada (1999).
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