Because the worlds from which past art objects
come from are lost to the art historian, Holly is interested in (1) what the art historian is trying to do by writing about these affectively charged objects and (2) whether the art historian even really encounters the art object
when approached this way.
Engagement with art and culture is very much about exercising intellectual and aesthetic choice; the choice to visit a museum or library and the choice to engage with an art object
in a busy city centre location - or not.
It is exactly this endeavor that brought Kovanda to use the occasion of the publication of a catalogue to transform the book into an art object
and make it the subject of his latest exhibition.
To design a building as an iconic art object
is to continue this dissociation.
Even with the ability to look at an unlimited amount of art at any time on the Internet, there is no substitute for being in the presence of the actual art object
But that's resulted in an art object
that can only be admired for its technique, rather than as a movie that draws you into its own uniquely defined world.
Thus here, drawing on art critic Paul Guillaume, Lemke flatly asserts that "the encounter with the cultural other enabled the Europeans to discover a new aesthetic law in which the art object
became a 'creation in itself' "and continues a few pages later to claim that "these two main impulses in modern European art history--.
The flesh photographer said: "I use the body as a shape - as an art object
, not a sex object.
Each month from February 1950 to January 1951, editor and creator Fleur Cowles hit America's newsstands with a dazzling words-and-pictures melange that was as much an art object
as it was a magazine.
The San Francisco Center for the Book is a non-profit organization dedicated to exploring and encouraging contemporary interpretations of the book as an art object
, as well as preserving the traditional art of book-making.
Like other published works on African art that define the connection between the art object
and its use, this book offers valuable information.
Whether the numerous component parts of Apfelbaum's works (their fragmentation makes them feel more theatrical than "pure" painting) are scattered loosely about, pooled around the edges of walls and the corners of doorways, or arranged in a sharply defined rectangle like an area rug, the logic of her practice still resides in the conviction that there's no going back to the idea of the art object
as irrefutably singular or easily contained.