Sentences with phrase «about abstraction from»

I was just asked to be involved in a group show about abstraction from Chicago which will be at Nebraska Wesleyan University in Lincoln this October and has a killer lineup of artists that I'm honored to be listed among.

Nor would you have learnt much about abstraction from the paintings of Paul Nash.

Not exact matches

All Biblical characters we read about are to some extent abstractions from the real person who lived in time and space.

I am not talking about the corny jokes or funny introductions many preachers use as a lead - in for 30 minutes of platitudes and abstractions, but honest truth from a person who believes what they are saying and has seen how it plays out in everyday life.

Aristotle and Berry both warn against this dangerous monetary abstraction, but there is nothing new to this insight, and while Berry speaks truthfully about economy as oikonomike, he assumes that piety alone will prevent economic aggrandizement from becoming simple money making.

Doctrinal agreement turns out to be sheer abstraction apart from a common vision about the concrete shape of the Life we are saved to live.

In any case, at least the fallacy of simple location, and in part the fallacy of misplaced concreteness, two of Whitehead's most important critical ideas, arise from and are explicitly attributed to Whitehead's reading of and engagement with Bergson's philosophy.17 Indeed, these two critical ideas about failings in the history of philosophy are addressed by both Bergson and Whitehead with the same twofold strategy: (1) a common method designed to minimize the distortion that enters into our metaphysical descriptions while allowing us still to generalize (extensive abstraction); and (2) a common descriptive postulate or tool (the epochal occasion).

For Bergson, like many process thinkers (Peirce, James and Dewey come particularly to mind), the entire concept of «necessity» only makes sense when applied internally to abstractions the intellect has already devised.11 Of course, one can tell an evolutionary story about how the human intellect came to be a separable function of consciousness that emphasizes abstraction (indeed, that is what Bergson does in Creative Evolution), but if one were to say that the course of development described in that story had to occur (i.e., necessarily) as it did, then one would be very far from Bergson's view (CE 218, 236, 270).

But to talk about the life of men apart from the societies that shape and constitute them is similarly an abstraction which borders on the reductionist fallacy, which sees social wholes as merely summaries of individual behavior.

To talk about the «ethical teaching of Jesus» is to talk about something that can only be found by a process of abstraction and deduction from the teaching as a whole.

And, since laws of nature are abstractions from environmental order, the inference provides a context for inferring predictions about entities in the environment E as well.

«My impression is that so much of the literature that has really dominated our thinking about the church derives from generalized abstractions about what the church ought to be or about what the evils of the church are by theologians who are at best uncomfortable in trying to apply that to particular congregations.

It was not a message about the interior life of the soul considered in abstraction from the public life of the world.»

«The poem, if it be a true poem, is a simulacrum of reality — in this sense, at least, it is an «imitation» — by being an experience rather than any mere statement about experience or any mere abstraction from experience» (WWU 194).

Although Schmidt derives his view from the SMW chapter «Abstraction,» he evidently finds the basis for his observation in statements Whitehead made about the relational essence of eternal objects, and this buttresses my own conclusions.

Indeed, Whitehead claims that thinking emerges Out of feeling, because thoughts about eternal objects are abstractions from our feelings of actual entities (Process 229 - 30).

«In abstraction from the creative urge... this phase is merely a proposition about its component feelings and their ultimate superject» (PR 342).

Whitehead would meet this contention through having a hierarchy from sense objects to perceptual objects, to physical objects, to scientific objects, with more and more abstraction and interpretation, at each stage and he can only get away with what he says about pure sense objects if he makes them far more primitive than one normally thinks sense objects are.

Whitehead experiments for a while with deliberations about the various theories of the world with regard to the degree to which they abstract from the world, and about adjusting a sequence of more or less abstract perspectives on the world, oriented at the level of abstraction attainable in the mathematized natural sciences.

Factual propositions are themselves only partial abstractions from the whole truth; they never tell the whole story about the things to which they refer.

These seem, on the surface, to be forms of foundationalism.16 Whitehead seems to be of two minds about these concepts, usually treating them as abstractions from fully concrete human experience, which includes transmuted contents synthesized from these elements.

They are abstractions: they represent a thematization of fundamentalist culture, an extraction from observations, a way of summarizing what fundamentalism is supposedly all about.

For me, that offers one of the key perspectives on understanding societies, and it is a way of thinking about politics that shifts it away from the great theories and abstractions of political philosophers, who often can not speak with reference to everyday life.

«For most people, it's an abstraction, literally isolated from the rest of the city,» de Blasio said about the jail.

We examine a wide range of stylistic approaches from extremely loose abstraction to precise realism a Frequency about 2 posts per month.

It also serves as an underlying subversive streak, a unique and nagging abstraction about current war time politics, sandwiched into genre in the glorious tradition of horror films from days past.

Drawing from the art - historical lineage of cubism, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Comic Future is as much about the breakdown of the human condition as it is about the absurdities which define the perils of human evolution.

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.!

With a focus on works from the period between their first meeting in 1955 until their separation in 1979, the exhibition shows how Mitchell and Riopelle, who lived together in Paris, then in Vétheuil in the Seine valley, developed unique but related bodies of work while they were engaging in a vigorous exchange about abstraction and painting.

And as early as 1943 the principal tenet that was to distinguish the new abstraction from earlier, pre-war abstract art was clearly formed, as evidenced in a brief «manifesto» of the rising movement crafted by Mark Rothko, Adolph Gottlieb, and Barnett Newman for The New York Times in response to a negative review of the new style: «There is no such thing as good painting about nothing.

Thursday April 16th Hasselknippe will talk about her work on display from the exhibition NN - A NN - A NN - A - New Norwegian Abstraction.

From Matisse she turned her attention to Mondrian, whose abstractions taught her «to start with the thing itself», then to Monet's expansive water lilies, then to the Futurists («There's lots I don't like about Futurism... but it was certainly moving towards abstract painting»).

Diebenkorn, speaking about his turn from abstraction, noted, «It may seem momentarily magical that shapes, colors, and variously applied paint can have the power autonomously that they do.

Dickinson opens with a statement about abstraction, which leads to a discussion about different definitions, Grosse saying» I am not an abstract painter any more» where abstraction is understood to be «abstracting from or generating a residue of something seen».

Works by Leo Hurzlmeir, Richard Schur & Brent Hallard (l to r) March 12 — May 2, 2009 Exhibiting artists: Kasarian Dane, Stephan Fritsch, Brent Hallard, Leo Hurzlmeir, Robin McDonnell, Mel Prest, Richard Schur, Nancy White, John Zurier Pharmaka is pleased to present «TRANS: formal» the Los Angeles manifestation in a series of traveling shows by nine artists from Germany, Japan and the United States who are all engaged in a dialogue about Abstraction -LSB-...]

2017 Third Space: Shifting Conversations about Contemporary Art, Birmingham Museum of Art, Birmingham, AL We Wanted a Revolution: Black Radical Women, 1965 — 85, Brooklyn Museum, Brooklyn, NY; California African American Museum, Los Angeles, CA; Albright - Knox Art Gallery, Buffalo, NY; Institute of Contemporary Art, Boston, MA Magnetic Fields: Conversations in Abstraction by Black Women Artists 1960 - Present, Kemper Museum of Contemporary Art, Kansas City, MO; National Museum of Women in the Arts, Washington, DC; Museum of Fine Arts, St. Petersburg, St. Petersburg, FL Approaching Abstraction: African American Art from the Permanent Collection, La Salle University Art Museum, Philadelphia, PA 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Carnegie Museum of Art, Carnegie Institute, Pittsburgh, PA Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York, NY The Time Is N ♀ w, Michael Rosenfeld Gallery LLC, New York, NY MIDTOWN, Salon 94 at Lever House, New York, NY

Abstraction Blog posted about a new exhibition at Tate St Ives: The Indiscipline of Painting, subtitled International Abstraction from the 1960s to Now.

2010 Art of The Eighties, Nymphius Projekte, Berlin Re-Seeing the Contemporary: Selected from the Collection, Dallas Museum of Art, Dallas Psychedelic: Optical and Visionary Art Since 1960, San Antonio Museum of Art, TX (catalogue); travelled to Memorial Art Gallery, University of Rochester, NY; Telfair Museum of Art, Savannah, GA Inside, Outside, Upstairs, Downstairs: The Addison Anew, Addison Gallery of American Art, Andover, MA Art of the Eighties, Nymphius Projekte, Berlin Color and Form, Los Angeles County Museum of Art, Los Angeles Once Removed, The Apartment, Athens Masters of Impressionism and Modern Art, Heather James Fine Art, Jackson, WY VaXiNation, Xippas Gallery, Athens Global Art Show, The Columns, Seoul Track and Traces, Galleria in Arco, Turin, Italy Abstract Vision 2010, Art + Art Gallery, Moscow The 80s Revisited: The Bischofberger Collection, Kunsthalle Bielefeld, Bielefeld, Germany (catalogue) Painting Panel Exhibition, in conjunction with the College Art Association Annual Conference, Shane Campbell Gallery, Chicago, IL Personal Structures: Time — Space — Existence, Künstlerhaus Palais Thurn and Taxis BV: BKV, Bregenz, Austria Pictures about Pictures: Discursive Painting from Albers to Zobernig, Daimler Art Collection, Museum Moderner Kunst, Vienna España / America: The Redefined Abstraction, Galeria Max Estrella, Madrid (curated by Demetrio Paparoni)

Mercedes was my main inspiration, teaching me about spatial connections and how to move from figuration to abstraction.

The kind of sexually explicit, almost brutally blunt portraiture seems about as far from abstraction as you can get.

Drawing from the art - historical lineage of cubism, graffiti, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Aaron Curry's eagerly awaited survey exhibition at CAPC musée d'art contemporain de Bordeaux next summer is as much about the breakdown of the human condition as it is the absurdities that define the perils of human evolution.

The artists represented in the exhibition come from all over the U.S., with rooms devoted to groups such as AfriCOBRA, based in Chicago in the late 1960s, or East Coast Abstraction, which challenged the idea that art had to directly represent Black communities, prompting debate about Black aesthetics.

Post Painterly Abstraction (the term was coined by Greenberg to signal a break with what he called «the turgidities of second - generation Abstract Expressionism») was Greenberg's way of making real what he'd been writing about in such much - discussed essays as Modernist Painting, from 1961.

Hesse, Chicago and Benglis all featured in Susan L. Stoops» 1996 exhibition «More Than Minimal: Feminism and Abstraction in the»70s», which signalled the returns to be gained from thinking about the use of abstraction to explore gender as both subject and sociAbstraction in the»70s», which signalled the returns to be gained from thinking about the use of abstraction to explore gender as both subject and sociabstraction to explore gender as both subject and social context.

«Insight, inspiration and influence from one of modern America's true artistic visionaries... For many, it's almost incomprehensible to imagine art after World War II in a world in which Stella never existed... This book charts his extraordinary career... The detail is fantastic, the insight never seen before, and the presentation is a masterpiece in itself... A great entry point for anyone wanting to learn more about Stella or minimalism and post-painterly abstraction in general... A perfect compilation [and] something that both a hardcore aficionado an a keen modern art student would get a lot out of... This book is big, bold and beautifully laid out.»

Guest, Barbara, «Reviews and Previews», Art News (New York), April, volume 53, no. 2, p. 54 Devree, Howard, «About Art and Artists: Moderate Abstractions Make a Lively Exhibition at the City Center Gallery», New York Times, 8 April, p. 25 Newbill, Al, «Fortnight in Review: A Contrasting Trio», Art Digest (New York), 15 April, volume 28, no. 14, p. 20 «Coast - to - Coast: Guggenheim to Show and Buy «Younger» Painters», Art Digest (New York), 1 October, volume 28, no. 1, p. 14 McBride, Henry, «Americans looking east, looking west», Art News (New York), May, volume 53, no. 3, pp.32 - 33 & pp.54 - 56 Devree, Howard, «About Art and Artists: Display of Work by «Younger Americans» Brought Together by J.J. Sweeney», New York Times, 12 May, p. 36 Hunter, Sam, «Guggenheim Sampler: Abstract painting comes of age in a museum exhibition of fifty - four younger Americans», Art Digest (New York), 15 May, volume 28, no. 16, pp. 9 & 31 Devree, Howard, «Americans Today: Selection of Work From East to West Opens at Guggenheim Museum», New York Times, 16 May, section 2, p. 1 - Fremantle, Christopher E, «New York Commentary», Studio (New York), October, volume 148, no. 739, pp. 124 - 126 Arnason, H.H, Reality and Fantasy: 1900 - 1954, catalogue, Walker Art Center, Minneapolis Sweeney, James Johnson, Younger American Painters: A Selection, catalogue, Solomon R. Guggenheim Museum, New York 61st American Exhibition: Paintings and Sculpture, catalogue, Art Institute of Chicago Goodrich, Lloyd, «Whitney's Battle for U.S. Art», Art News (New York), November, volume 53, no. 7, pp.38 - 40 & 70 - 73

His paintings often appear to be pure abstractions, but upon investigation and contemplation, they reveal a charged space that connects to the artist's personal experiences and whose underlying ideas raise questions about issues from politics to environmentalism to cultural identity.

As Pollock developed from his early abstractions to the «drip» paintings for which he is known, his work fell more into Greenberg's ideal — painting about space and color and, above all, about painting itself.

I mean the whole group of works from Chromafesto, my first solo show at Canada in 2003, was about seeing if the audience could «read» political content in abstraction.

Somewhere in the exhibition's development, the title «Reinventing Presence» was changed to the snappier Tightrope Walk — which comes from an observation by Francis Bacon about his «tightrope walk between what is called figurative painting and abstraction».