It's easy for politicians to denounce such work as deliberate provocation, but quick publicity is not why artists are examining notions of the sacred in America -- the body, the image of divinity, the memory of history.
Rejecting the Aristotelian hylomorphic account, he returns to an Augustinian picture of the soul as a wholly spiritual and immaterial substance made in the image of God, and consisting of memory, intellect, and will.
It periodically returns to Sri Lanka, as if in a dream or memory; the image of an elephant will stir, enigmatically, from the darkness of sleep or forgetting, like an ambiguous call to arms.
In American memory, the image of William Jennings Bryan, whom the Democrats nominated for President in 1896, 1900, and 1908, has been obscured by the pathetic, evolution-bashing Bible-thumper based on him in "Inherit the Wind".
The circuits we laid down would have to include the image of the circuit itself before memory overhauled it.
In Teffi's "Memories," the image of the sky is countered by an image of the sea.
But photography is an image of memory.
There won't be one happy time where the memory and the image of Greg laughing, and we laughing with him, will ever leave us.
ENGRAVED in the baby-boomer memory is the image of Brooke Shields in 1980, then a provocative 15-year-old dressed in a tight pair of jeans, declaring that "nothing comes between me and my Calvins".
Chosen for his attachment to a childhood memory - the image of a man shot dead on the observation pier at Orly airport - he spirals inevitably back to that moment, which is revealed as the scene of his own death.
