The phrase "art perspective" is not correct and may lead to confusion in written English.
It could be used when discussing a viewpoint or interpretation related to art, but it is more common to use "artistic perspective" instead.
Example: "The artist's unique artistic perspective is evident in her latest work, which challenges traditional norms."
Alternatives: "artistic viewpoint" or "artistic lens".
Physicalizing the immaterial interests me both from a neuroscience and a performance art perspective.
As in Cézanne's art, perspective is rendered through colour, with the warm reddish-browns advancing and the cool blues receding.
From an art perspective we could note two things: that the headstonelike sculptural array of chairs is Minimalist in concept, or Minimalist-derived.
From an art perspective, though, what's more important than Richter's rejection of the divine is his parallel rebuffal of the sublime.
As an art historian, Eskilson looks at design from the art perspective more than the others do, which is valuable because design does indeed intersect with art movements.
It's harder to see his connection to Minimalist art, because, at least from an art perspective, the term signifies, among other things, the use of machine-made materials, the lack of human touch, the emphasis on geometric shapes and formal simplicity among sculptors and painters of the 1960's.
Landscape architects might know, for example, that walking down Central Park's Promenade to Bethesda Terrace at the rowboat lake was designed to deliver three traditional landscape art perspectives -- formal, pastoral and picturesque -- in sequential order.
Robots And Avatars presents contemporary art perspectives on the phenomena by which our individual nervous systems are increasingly plugged into a collective network of incessantly evolving electronic communications systems.
In FireSigns, Steven Skaggs offers the foundation for a semiotic theory of graphic design, exploring semiotic concepts from design and studio art perspectives and offering useful conceptual tools for practicing designers.
Familiar names such as Rothko, Picasso and Matisse are still there, and the story of the 20th century in New York and Paris is still being told, said Morris, "but there are also new approaches to art, perspectives from São Paolo, from Zagreb, from Tokyo".
On one side is an avant-garde trying to graft a high-art perspective onto vernacular styles while deliberately withholding itself from any particular tradition.
