Sentences with phrase «other abstractions come»

Not exact matches

I don't want to rewrite this article in english, but basically, I came to the following conclusions 1 - that Scriptures ought to be used in close interaction with daily reality (not out the blue, in abstraction, or in academic ivory tower) 2 - it ought to be interpreted by what we could call «crucified» christians 3 - and that «crucified» christian should interpret in the context of a «crucified» community / church (because being in a close knit church is a very good way to actually be «crucified» and sanctified, and because I need insight from others in my interpretations.

I think it is plausible to say that at least some of the assertion of abstraction (or self - sufficiency) in modernist painting comes from stressing paint's materiality, so suggesting that illusions of space or light (or other allusions to the wider world) are in fact inherent properties of the material.

Minimalism, Conceptual Art, Post-Minimalism, Eccentric Abstraction, Neo-Expressionism and whatever came next were influenced directly by the German artist Joseph Beuys, Marcel Duchamp, Jean Dubuffet, Giorgio Morandi, and other European painters and sculptors.

Walker's other work comes closer still to Pop rather than abstraction, but it continues to play with the same multiple sign languages.

It was a characteristic that I think clearly marked his work throughout; all his drawings, the early delightful «other world» still lives of fish, eggs and utensils, his progress towards abstraction and the final large paintings where austerity, essence, geometry and evocation come together.

Photographs by Rory Donaldson and others aspire to abstraction's «Strange Magic,» while paintings aspire to something always about to come into focus.

When it comes to abstraction, we know about Howard Hodgkins but not about Hoyland or, for that matter, William Tillyer and others.

While his reign eventually came to an end, with opinion turning against his dogmatic edicts, his ideas — which he published in the pages of the Partisan Review, the Nation, and Commentary — remain a critical touchstone for anyone trying to grasp the Abstract Expressionists, the Washington Color School painters, and others who were engaged in formalist, «non-objective» art, as abstraction was called back then.

When he came to New York, he found a studio among others on Fulton Street, and he just had to drop in on the Abstraction Expressionists at the Cedar Bar.

The most fascinating response was that of Philip Guston, who seemed to come out of the other side of abstraction into an alternative world of figuration, ironic, often amusing, but at heart deadly serious about human failure, and how hollow the pose of artistic heroism had become.

Instead of human - machine interactions and a viewing pace hinged on proximity, here the dramatic encounter of two megaphones from opposite side of a hanging rail gradually approaching each other singing a duet of female and male voices and causing a pile of neon tubes to flare and extinguish until the two megaphones come to a stand - off midway, exploding into a thundering abstraction and dazzlingly white light as if the harmony is pixelated into fragments of destruction.

Her inspiration comes from a passion for plein air painting as well as classic paintings of the renaissance and other periods that serve as a springboard for her conceptual abstractions.

Parkinson notes that «the works, whilst coming from varied places of logic around abstraction, at some point in their realisation share a notion of object and placing them in proximity to other objects, persons or spaces, new relationships emerge inviting us to look again.

Along with Picasso and other turn - of - the - century, avant - garde artists, he jettisoned recognizable content, contributing to a form of art that would come to be known as «abstraction.»

Perhaps we're coming out the other end of a decade - long reign of abstraction?

Out of a combination of influential emigrant Europeans - such as Max Ernst (who married Peggy Guggenheim), the ex-Bauhaus painter Josef Albers (1888 - 1976), and the Armenian Arshile Gorky (1904 - 48)- plus unique American painters such as Mark Rothko (1903 - 70), Jackson Pollock (1912 - 56), and others - came Abstract Expressionism, with its variants of «action - painting» (Pollock and Lee Krasner), Colour Field Painting (Rothko, Still, Newman, Frankenthaler, Kenneth Noland), Hard Edge Painting (Frank Stella) and Post-Painterly Abstraction (Ellsworth Kelly).

Some of these rules and restrictions came from Greenbergian formalism, while others came out of Abstract Expressionism or geometric abstraction.

She came to know other artists who, like her friend Ms. Bartlett, were combining abstraction and imagery.

We're tough around here, and we can take it if someone's talking behind our backs: Hilton Kramer, testy art critic for the New York Observer, came to San Francisco on «other business,» he writes, but managed to stop in at the Museum of Modern Art, where he glanced at the Gerhard Richter show (which he'd «already suffered through at MoMA in New York») and looked both at the permanent collection (early Matisses «remain, in my opinion, SFMOMA's principal aesthetic asset») and the Ellsworth Kelly exhibition («What could be more personal than the persistent, unvarying project of self - abnegation on a monumental scale that we observe in his own most ambitious abstractions?»

Some of the abstractions in the exhibition, which he produced after a trip to Europe in 1950 where he visited with Picasso and other modernist artists, come from public and private collections.

One of the few political statements at the fair came from the veteran performance artist Pope.L (he recently dropped the «William» from his name), who combined abstraction with found objects steeped in racial caricature in this painting and invoked cops and doughnuts in other text - based works.

They've gone the other way from us, because they've come to abstraction, I suppose, last.

And The Painting Factory: Abstraction After Warhol — which I caught at the Museum of Contemporary Art in Los Angeles just before it closed the other day — is about as nutty as they come.