Add to ORKGIn a brief interview, Von Tiesenhausen discusses his “borderline” atheism in relation to his use of symbolic imagery, in particular the cross. Elaborating on the artist's explorations of nature and spirituality, author Garneau concludes that the work destabilizes conventional understandings of perspective in order to encourage viewers to consider their place in nature and its hidden workings. Biobibliography 6 p. 7 bibl. ref
A human being is essentially homo aestheticus and not in the first place homo faber. In the light of...
UND sculptor Patrick Luber’s newest creation straddles the symbolic intersection of scientific and...
Saint Sebastian and the Wounded Forest is a project that sets out to show that painting has the abil...
In a brief interview, Von Tiesenhausen discusses his “borderline” atheism in relation to his use of ...
Roenisch's reflections on von Tiesenhausen's work foregrounds the artist's spiritual connections wit...
Ginn contextualizes von Tiesenhausen's multi-media installation by referring to the artist's explora...
Thompson situates von Tiesenhausen's work within the contexts of contemporary media culture, moderni...
The stories gathered in these pages lay bare the power of the arts to unsettle and rework deeply ing...
MIt i & only as an aesthetic phenomenon that ex~stence and the world a ~ eternally justified. u ...
Within the field of theological aesthetics, this project assesses the divide between theological acc...
Experiencing a sense of sacrality in nature renders technological intervention in it non-trivial. In...
The paper examines the concerns of the art critic and environmentalist Rebecca Solnit with the myth ...
Since the System of Nature is the maximum work in which Holbach tries to demystify the religious bac...
Includes bibliographical references (pages [68]-70)The visual imagery in the paintings of Caspar Dav...
Northern Europe at the beginning of the 16th Century was in turmoil as a result of religious and pol...
A human being is essentially homo aestheticus and not in the first place homo faber. In the light of...
UND sculptor Patrick Luber’s newest creation straddles the symbolic intersection of scientific and...
Saint Sebastian and the Wounded Forest is a project that sets out to show that painting has the abil...
In a brief interview, Von Tiesenhausen discusses his “borderline” atheism in relation to his use of ...
Roenisch's reflections on von Tiesenhausen's work foregrounds the artist's spiritual connections wit...
Ginn contextualizes von Tiesenhausen's multi-media installation by referring to the artist's explora...
Thompson situates von Tiesenhausen's work within the contexts of contemporary media culture, moderni...
The stories gathered in these pages lay bare the power of the arts to unsettle and rework deeply ing...
MIt i & only as an aesthetic phenomenon that ex~stence and the world a ~ eternally justified. u ...
Within the field of theological aesthetics, this project assesses the divide between theological acc...
Experiencing a sense of sacrality in nature renders technological intervention in it non-trivial. In...
The paper examines the concerns of the art critic and environmentalist Rebecca Solnit with the myth ...
Since the System of Nature is the maximum work in which Holbach tries to demystify the religious bac...
Includes bibliographical references (pages [68]-70)The visual imagery in the paintings of Caspar Dav...
Northern Europe at the beginning of the 16th Century was in turmoil as a result of religious and pol...
A human being is essentially homo aestheticus and not in the first place homo faber. In the light of...
UND sculptor Patrick Luber’s newest creation straddles the symbolic intersection of scientific and...
Saint Sebastian and the Wounded Forest is a project that sets out to show that painting has the abil...