Sentences with phrase «modern abstraction in»

The gallery's program includes: Estates of historically significant Canadian artists, most notably many of the Painters 11 group who established Canada's international reputation for modern abstraction in the 1950s including many of the Painters 11's immediate post-contemporaries who emerged predominantly in Toronto during the 1960s and 1970s, especially those hailing from the legendary Isaacs and Carmen Lamanna galleries; established senior artists working in a wide range of media; recognized mid-career artists from Canada and Europe; and emerging international talents, particularly those exploring the boundaries of media, representation and interpretation within contemporary art making.

Text 2018 Ted Stamm Woosters, essay by Alex Bacon, Lisson Gallery, ISBN 978 -0-947830-67-0 2018 From Stasis to Kinesis: The Woosters of Ted Stamm by Robert C. Morgan, Art Critical, April 2018 2018 New York: Ted Stamm at Lisson Gallery by E. Macdonald, Art Observer, April 2018 2017 Ted Stamm: DRM 1980, The Estate of Ted Stamm and Karma, New York, ISBN 978 -1-942607-66-3 2013 Ted Stamm: Marianne Boesky by Robert Pincus - Witten, Artforum, Summer 2013 2013 Ted Stamm: Paintings at Marianne Boesky by Will Heinrich, Observer Culture, April 2013 2013 Revisions: Another Alan Uglow and Ted Stamm's Minimalisms by Saul Ostrow, Art Experience: New York City, 2013 2012 Times Square Show Revisited by Robert Pincus - Witten, Artforum, December 2012, pp 274-275 1997 Painting Advance Stamm 1990 (1989) by Robert C. Morgan, Between Modernism and Conceptual Art, 1997 Published by McFarland & Company, Inc., 1997, ISBN 0 -7864-0332-2 1990 Painting Speed by Tiffany Bell, Art In America, November 1986, pp 140-143 1990 Reconstructivism: Neo Modern Abstraction in the US by Peter Frank, Artspace, March / April 1990 1990 Rekonstructivisims: Neo Moderne Abstraktion in der Vereinigen Staaten by Peter Frank, Kunstforum, January 1990 1986 Ted Stamm Painting Advance 1990, essay by Tiffany Bell, Hillwood Art Gallery, C.W. Post College, curated by Per Haubro Jensen 1985 Constructures: New Perimetries in Abstract Painting by Peter Frank, essay for exhibition Nohra Haime Gallery 1984 Can Small Works Carry It Off by William Zimmer, essay for small works exhibit, Muhlenberg College, pp. 9 - 10.

Not exact matches

In Science and the Modern World, Whitehead argues strongly against the value of pure abstraction because it leads to thinking that is detached from concrete reality and it leads to narrow specialization.

It is interesting to contrast Whitehead's extreme objectifying and abstractive position reflected here and stated concisely in Science and the Modern World that «Mathematics is thought moving in the sphere of complete abstraction» (SMW 21) with his later statement in Modes of Thought: «Hence the absolute generality of logic and mathematics vanish» (MT 98).

In Science and the Modern World, in the chapter «Abstraction,» Whitehead's allusion to propositions is ensconced in a discussion of «eternal objects.&raquIn Science and the Modern World, in the chapter «Abstraction,» Whitehead's allusion to propositions is ensconced in a discussion of «eternal objects.&raquin the chapter «Abstraction,» Whitehead's allusion to propositions is ensconced in a discussion of «eternal objects.&raquin a discussion of «eternal objects.»

In the words of Allen Tate: «The abstraction of the modern mind has obscured their way into the natural order.

Thinkers who have been more faithful to Thomistic Realism, with its a posteriori abstraction of the universal form, have rejected the idea that formality is a priori to observation in general but kept it as a priori to modern experimental observation.

Back in the early seventeenth century Francis Bacon, the first modern philosopher of science, recognised that the developmental nature of modern scientific methodology provided a truer vision of how human knowing arrives at formality than the scholastic theory of abstraction.

The author discusses the metaphysical traits found in music based up his analysis of «universal principles» as found in Whitehead's chapter entitled «Abstraction» in Science and the Modern World.

This essay is largely a simple, concrete, particularized application of the universal principles discussed in the chapter entitled «Abstraction» found in Science and the Modern World.

This is what Whitehead speaks of as its «relational essence» — see his chapter on «Abstraction» in Science and the Modern World.

Further, there is direct continuity between what is said of God in Science and the Modern World and what is said of the primordial nature of God in Process and Reality.5 In the latter book it is explicitly recognized that the primordial nature of God is an abstraction from God as actual entity, 6 yet most of the references to God in that book are references to this abstractioin Science and the Modern World and what is said of the primordial nature of God in Process and Reality.5 In the latter book it is explicitly recognized that the primordial nature of God is an abstraction from God as actual entity, 6 yet most of the references to God in that book are references to this abstractioin Process and Reality.5 In the latter book it is explicitly recognized that the primordial nature of God is an abstraction from God as actual entity, 6 yet most of the references to God in that book are references to this abstractioIn the latter book it is explicitly recognized that the primordial nature of God is an abstraction from God as actual entity, 6 yet most of the references to God in that book are references to this abstractioin that book are references to this abstraction.

This is a project for A-level students starting with looking at Geometric Abstraction and the use of the colour «White» in the work of modern abstract artists.

Parks has embraced the medium in a thoroughly modern context, creating colorful, textured panels that explore themes of abstraction, the natural world and everyday objects.

Organized both thematically and chronologically, the show divides the works on view into two main chapters: the years from 1923 to 1933, a time when Torres - García was involved in early modern avant - garde movements such as Catalan Noucentismo to Cubism, Ultraism - Vibrationism, and Neo-Plasticism; and those from 1935 to 1943, a time in which he was fully committed to creating works in his unique style of synthetic abstraction.

For Dove, the difficulty of rendering forms in darkness proved a useful step in the early - modern march toward abstraction.

A blog post asserting a true commonality shared by the artists included in Inventing Abstraction: 1910 - 1925 at the Museum of Modern Art, New York, on view through April 15, 2013.

Yet over the last decade, she has forged a conceptual link in her work between the histories of abstraction and of modern jazz in America — «black guys in the 1950s taking jazz into the concert hall and making it this bluesy hybrid with Bach,» as she puts it.

While Johnson's works are grounded in a dialogue with modern and contemporary art history, specifically abstraction and appropriation, they also give voice to an Afro - futurist narrative in which the artist commingles references to experimental musician Sun Ra, jazz great Miles Davis, and rap group Public Enemy, to name just a few, with various symbols including that of Sigma Pi Phi (also known as the Boulé), the first African American Greek - letter organization, and writings by civil rights activist W. E. B. Du Bois, among others.

1981 Amerikanische Malerei 1930 — 1980, Haus der Kunst, Munich (November 14, 1981 — January 31, 1982) Ciba - Geigy Collects: Aspects of Abstraction, Sewall Art Gallery, Rice University, Houston (September 8 — October 24) Art Américain: Oeuvres des collections du Musée national d'art moderns, Centre Georges Pompidou, Paris (September 2 — December 2) 45th Annual Mid-Year Show, Butler Institute of American Art, Youngstown, Ohio (June 28 — August 30) 26 Salon de Montrouge, Montrouge, France (spring) 37th Biennial Exhibition of Contemporary Painting: Frank Stella, Joan Mitchell, Richard Diebenkorn, Agnes Martin, Richard Serra, Corcoran Gallery of Art, Washington, D.C. (February 19 — April 5) 1980 The Originals: Women in Art, Graham Gallery, New York (January 15 — February 20)

The National Museum of Women in the Arts is celebrating the work of black women working in modern and contemporary abstraction, including Alma Thomas, Jennie C. Jones, Howardena Pindell, and Mary Lovelace O'Neal (shown above).

Developed by the Tate Modern in London and debuting in the US at Crystal Bridges, Soul of a Nation: Art in the Age of Black Power examines the influences, including the civil rights movement, Minimalism, and abstraction, on artists such as Romare Bearden, Noah Purifoy, Martin Puryear, Faith Ringgold, Betye Saar, Alma Thomas, Charles White, and William T. Williams.

«Pose and Sculpture,» curated by Daniel Baumann, Casey Kaplan, New York, NY, June 30 — August 4, 2006 «Two or Three or Something: Maria Lassnig, Liz Larner,» Kunsthaus Graz, February 4 — May 7, 2006 «Whitney Biennial 2006: Day for Night,» Whitney Museum of American Art, New York, NY, March 2 - May 28, 2006 «Gone Formalism,» Institute of Contemporary Art at the University of Pennsylvania, Pittsburg, January 21 — March 26, 2006 2005 «Extreme Abstraction,» curated by Louis Grachos and Claire Schneider, Albright Knox Art Gallery, Buffalo, NY, July 15 — October 2, 2005, catalogue «The The,» curated by Stuart Shave, Modern Art, London, July 8 — August 7, 2005 «The Meeting,» curated by Kathryn Andrews, Center for the Arts of Eagle Rock, Los Angeles, CA, May 27 — July 2, 2005 2004 «Showdown,» curated by Kimberli Meyer and Fritz Haeg, Schindler House, Los Angeles, October 22 — 23, 2004 «Full House,» curated by David Pagel, East Gallery, Claremont Graduate University, Claremont, CA, August 16 - September 10, 2004 «100 Artist See God,» curated by John Baldessari and Meg Cranston, The Jewish Museum San Francisco, March 7 — June 27, 2004; Laguna Art Museum, Laguna Beach, CA, July 25 — October 3, 2004; Institute of Contemporary Art, London, England, November 19, 2004 — January 9, 2005; Contemporary Art Center of Virginia, Virginia Beach, Virginia, June 9 — September 4, 2005, catalogue «The Thought that Counts,» curated by Jason Meadows, Sister Gallery, Los Angeles, CA 2003 «Inaugural Exhibition,» Regen Projects, Los Angeles, CA, January 25 - March 8 «Within Hours We Would Be in the Middle of Nowhere,» 303 Gallery, New York, NY, July 19 — August 29, 2003 neugerriemschneider, Berlin, Germany «Popstraction,» curated by Paola Antonelli, curator of Architecture and Design at MOMA and independent curator and writer, Eungie Joo, Deitch Projects, New York, NY, catalogue «Imagination: Perception in Art,» curated by Peter Pakesch and Martin Prinzhorn, Kunsthaus Graz, Graz, Austria, October 25, 2003 — January 18, 2004, catalogue Tanya Bonakdar Gallery, New York, NY, November 20, 2003 — January 10, 2004 2002

The Modern and Whitney shows share three Americans: Joseph Stella and Marsden Hartley, who both spent time in Europe soaking up advanced ideas before World War I, and Georgia O'Keeffe, who was spurred toward abstraction in 1916 by the austere terrain of the American Southwest.

This will be after taking in Robins sculpture, and Gary Wraggs paintings in Deal.Great that there are two shows of British Abstract Painting and Sculpture on at the moment.With Bill Tucker at Pangolin and Sams cracking show of 60s colour in Liverpool, Abstraction is far from a dead issue.Indeed there is a symposium by Matthew Macauley at a northern university [to be confirmed] coming up, with requests for papers.Two very good painters rang me to say go and see the Picasso show at Tate Modern, which I did.It was stunning and there were probably eight or so masterpieces in one room from one year!Tony and Sheila Caros show in Peterborough and Graham Boyd at the Cut, Frank Bowling in Dublin and Scully in Newcastle, Mali Morris at Women can't Paint at Turps Banana, loads to see, enjoy, think about and stimulate new work.I hope there are all those hungry [artistically] young Abstract Painters and Sculptors out there keen to extend the genre.!

Other recent group exhibitions include Revolution in the Making: Abstract Sculpture by Women, 1947 - 2016, Hauser & Wirth, Los Angeles (2016); Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York (2017); and Where We Are: Selections from the Whitney's Collection, 1900 - 1960, Whitney Museum of American Art, New York (2017).

1994 Selected Works from the Collection of Osaka City Museum of Modern Art: Joy of 20th Century Art, Asia and Pacific Trade Center, Osaka, Japan (November 19 — December 18) 22 Bienal Internacional de Sao Paulo, Sao Paulo, Brazil (October 12 — December 11) American Abstraction: A New Decade, Southern Alleghenies Museum of Art, Loretto, Pennsylvania (September 24 — November 20) Martha Jackson Gallery, 1953 - 1979, Associated American Artists, New York (September 14 — October 22) Paths of Abstraction: Painting in New York, 1944 — 1981.

THE career of 52 - year - old Los Angeles artist Lavi Daniel has been marked by constant change, so when his work appeared in not just one but two solo shows last month, it came as no surprise that he was once again refocusing and refining his vision of modern abstraction.

From his participation in the first Bienal de São Paulo in 1951, de Barros interpreted and reworked tenets of the European avant - garde to achieve a uniquely Brazilian abstraction that reflected the dynamism of a new modern society.

Vasily (Wassily) Kandinsky (1866 - 1944) was a Russian painter, teacher, and art theorist who was one of the first artists to explore nonrepresentational art and, in 1910, created the first totally abstract work in modern art, a watercolor entitled Composition I or Abstraction.

I am also reminded of another book Music and Modern Art, edited by James Leggio, and containing a chapter by Harry Cooper called Popular Models: Fox - Trot and Jazz Band in Mondrian's Abstraction.

Over the course of the next six decades, Zao became a major presence in Europe, America, and Asia, and now stands out as an exemplar of the global scope of modern abstraction.

By chance «Legends» coincides with the Museum of Modern Art's sweeping survey «Inventing Abstraction: 1910 - 1925,» which traces the development of a largely geometric form of abstraction, mostly by European and Russian artists who often worked in closely relaAbstraction: 1910 - 1925,» which traces the development of a largely geometric form of abstraction, mostly by European and Russian artists who often worked in closely relaabstraction, mostly by European and Russian artists who often worked in closely related styles.

The works in 3 x Abstraction also bring into focus the role of modern and contemporary art in representing complex ideas.

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

Iva Gueorguieva adapts the visual language of modern abstraction to create tumultuous, energetic spaces on canvas; her process of building up paintings by layering torn cloth with pigment and color washes produces spontaneous, dynamic compositions rooted in personal stories.

His goal was not to document, but to capture their essence and the urban landscape in the graphic and abstract... to build upon their impact on the urban landscape as modern abstractions that have been filled with color, shapes and patterns.

Treanor adds that there may have been fewer female artists working in abstraction because, in the early modern period, women were steered toward still - life painting or portraiture.

Recent notable group exhibitions include «Geometries On and Off the Grid: Art from 1950 to the Present», The Warehouse, Dallas, Texas, USA (2015); «Geometric Perspectives on Japanese Abstraction», BTAP, Tokyo, Japan (2014); «Tokyo 1955 - 1970 New Advanced Guard», The Museum of Modern Art, New York, USA (2013); «The 70s in Japan, 1968 - 1982» The Museum of Modern Art, Saitama, Japan (2013); «Mono - ha Avantguard», Nakanoshima Design Museum, Oska, Japan (2012); «Depicting the Uncanny: Tricks and Humor», The Yokosuka Museum of Art, Kanagawa Japan (2011); «Japanese Art after 1945: Scream Against the Sky», Yokohama Museum of Art, Kanagawa, Japan; touring to Guggenheim Museum SoHo, New York, USA; San Francisco Museum of Modern Art in association with the Center for the Arts at Yerba Buena Gardens, San Francisco, USA (1994).

Sanín became a pioneer of the geometric abstraction movement and a key figure in modern Latin American art.

The painting was also part of the exposition «Inventing Abstraction» at the Museum of Modern Art in 2012.

In the 1970s, as many artists rebelled against color - field abstraction, they appeared to be denying modern art itself.

Gesture, Emotion, Shape: Sources of Abstraction by Philip Dytko, Class of 2017, Pauline Lewis, Class of 2016, and Amalia Siegel, Class of 2016, Art History 71: The American Century - Modern Art in the United States, Winter 2015, Mary Coffey, Class Project, Israel Sack Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 14 - July 12, 2015.

However, beginning with Wassily Kandinsky's pioneering work in pure abstraction and his theorizing about «The Spiritual in Art,» many of the most spiritually ambitious visual artists of the modern age have found that their ambitions are best served by the stripped down, elemental language of abstraction.

Late in his life, the painter of modern orientation attempted to re-introduce elements of abstraction into his new figurative style, a feat that can be seen in several of his works from 1980.

Years ago, in 1943, New York Times critic Edward Alden Jewell admitted to being «befuddled» and «non-plussed» by the abstraction he'd seen at a recent Federation of Modern Painters and Sculptors show.

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

Major solo exhibitions include; «Henry Moore Outside», Rijksmuseum, Amsterdam, The Netherlands (2013); «Francis Bacon / Henry Moore», The Ashmolean Museum, Oxford, UK (2013); «Bronze», Royal Academy of Arts, London (2012); «Advancing Abstraction in Modern Sculpture» The Baltimore Museum of Art, Baltimore, USA (2010); «Henry Moore», Tate Britain, London (2010) and «Henry Moore: Natural Forms», Tate Liverpool, Liverpool, UK (2006).

Indistinct, marvelously enigmatic blobs of pooled ink and paint, blurred draftsmanship that obscures faces, and hazy horizons align with the endgame of MoMA's traditional agenda, as outlined by curator Alfred Barr in 1938 in a famous diagram tracking the progression in modern art toward abstraction.

In 1967, as his frustration with abstraction was reaching its maximum, the artist embraced representational approach once again, this time creating modern paintings in a rather personal, cartoonish manneIn 1967, as his frustration with abstraction was reaching its maximum, the artist embraced representational approach once again, this time creating modern paintings in a rather personal, cartoonish mannein a rather personal, cartoonish manner.