The phrase "aesthetic appropriations" is correct and usable in written English.
It can be used in discussions about art, culture, or design, particularly when referring to the adoption or adaptation of aesthetic elements from one context to another.
Example: "The artist's work is a series of aesthetic appropriations that challenge traditional notions of originality."
Alternatives: "artistic borrowings" or "visual adaptations".
If Dolezal's cocktail of vigorous artistic appropriation and artistic "blackface" appeals to your aesthetic tastes, lucky for you: Two of her works are available for purchase on eBay.
To him it was a quintessential act of artistic appropriation of public property, in keeping with the graffiti philosophy and aesthetic.
Unlike most directors at the landmark Shakespeare festivals in China (1986 and 1994), who were concerned more with political aspects than with aesthetic implications of dramatic appropriation, Wu conceived and spearheaded his project with very strong personal motives.
This impulse for extreme tactility is evocative of Anselm Kiefer with his straw, Walter de Maria with his patches of fragrant earth, and Andy Goldsworthy with his aesthetic interpretations and direct material appropriations of Nature.
The exhibition revolves around two issues: sampling -- or appropriation -- as a aesthetic strategy, and marginalized identity as an artistic subject.
The upside, I guess, is that Pepsi-Cola is relatively harmless, unlike a certain overseas appropriation of the Obama aesthetic.
Little in the writing or in Mr. Elliott's direction can touch the ransacking film-encyclopedic specificity that Mr. Busch brings to the still-running "Divine Sister," or Joey Arias and Basil Twist's ingenious appropriation of the Ed Wood outer-space aesthetic in "Arias With a Twist".
The book attacks the 80s on two distinct fronts: the appropriation and internalization of style both in its aesthetic and plot and the relentless accumulation of the abject.
Mohr's use of the algorithm to create art can be understood as an appropriation of a mathematical form to investigate aesthetic possibilities that are out reach of immediate human comprehension.
This introductory course attempts to cover the first 300 years, from circa 700-1000 AD, stressing the birth of Islam as the birth of a new aesthetic phenomenon in the Mediterranean Basin, Near East and Central Asia and its appropriations and innovations in creating a novel imperial style, while, at the same time, questioning the modern historiographies and narratives for these masterpieces.
