Translation of "Objekthaftigkeit" in English

The objectuality of an object or the materiality of the material returns as a central theme again and again.

They challenge the viewer to change perspective and do not conform to the definition of pure objectuality.

He equally emphasises the materiality of his works, the objectness of the medium.

In contrast to the virtual world the analogue medium is evenly stressed in its haptic materiality and objectivity.

This novel shape was developed by American artists during the 1960s and was intended to free them from the traditional rectangular pictorial shape in order to achieve a congruence between picture and format, as well as at the same time attaining an enhanced objectivity.

Beyond objecthood, space, and the experience of the viewer are also central concerns of my installation practice.

The specific object-orientation of Minimal Art, whose new three-dimensional objects want neither to be painting nor sculpture and yet borrow essential aspects from both, is something Heike Weber thinks out to its logical end.

The relationship with space and the enhanced object-quality make the works entirely three-dimensional on the one hand and they thus also represent something from a sculptural point of view.

While the platform is functional, in its quality as an object it also asserts itself as an autonomous work.

Thus the relationship of figure and ground is just as much a theme in his work as the potential object character of painting resulting from the fact that it is inseparably linked with the picture surface.

An abstract work is characterized by adamance concerning its object nature and it dispenses with all symbolic functions.

He to whom medical power (violence) is disclosing itself only as an experience of powerlessness and external determination in singularisation and interchangeability, that is objectively as "object-likeness", has indeed grasped a basic trait of this whole system; he has, however, done far too little against the iatrocracy within himself to be able to understand his illness and our findings as being linked together, let alone to comprise these findings, clarifying and explaining them, in order to get a concept of it [auf den Begriff bringen], a concept detached from immediate practice.

Sometimes Man emphasizes the object character of his pictures by backing them with animal skins or combining them with sparsely distributed objects to create a spatial installation: a chain here, some wire mesh there, an assemblage of chairs or a floor-mounted statuette.

California Hard Edge representatives Frederick Hammersley (23) and Karl Benjamin (35), who came to the fore in the 1959 exhibition Four Abstract Classicists, prepared the path for American Minimalism with their geometrical color fields and sequences, their formal economy, the perfection of their paint application and their reliance on the object.

He considered the cinema and theater stage spaces of possibility and politics, where the relationship between live events and moving images, production and performance, immateriality and objecthood could be renegotiated.

Cross-references, associations, and correspondences within the grouping of individual photographs with an accentuated object nature also grant new perspectives on our own place within those structures of order and chance so characteristic of our world.

We consider the relationship between object and subject in their dynamic interconnection an extremely important element of the demonstrational structure.

The works thematize those moments of absence that have denied the presence of women for centuries, instead reducing them to the desire of the (male) body. The object nature of this view started being revised with the feminist demands of the 1960s at the latest, claiming woman as an autonomous subject.

The combination of machine and organism gives rise to questions about their object nature and fluidity – when the cyborgs resurrect after being melt into a hot, fluid aggregate phase, for example.

After the extreme proximity of wall and painting in the Generals and the Surface Veils, the picture once again starts to regain its qualities as an object.

Based on current philosophical theories of the object and a critique of anthropocentrism, our attention is focused on non-human actors.

Whilst its interest consists in selling or preserving works of art, which is inseparably tied to their quality as an object, Gottfried Helnwein's focus of aesthetic endeavours is not the artistic object, the work of art, but human perception.

Lately, I've been criticizing Michael Fried's famous essay Art and Objecthood (1967), in which I think he's conflating two very different things.

They do not pretend to be pure picture, beyond any objectness, on the contrary: their thick, brittle layering suggests a spatialness and an objectness reminiscent of installation and minimalism.