Sentences with phrase «as modern abstractions»

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.

Not exact matches

The author shows that Brumbaugh deals with what is one of the central difficulties of modern pedigogy, what Whitehead calls the fallacy of misplaced concreteness, where abstractions or excerpted aspects of the fuller deeper occasions are treated as actual.

Solzhenitsyn's work takes such sweeping dialectics to task as symptomatic of the modern predilection to reduction through abstraction.

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.

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 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 abstraction.

Can be used as a sub lesson during a relevant project (colour, pattern, abstraction, portraiture, Modern Art...), an extension activity, independent study, or as a whole class task.

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.

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.

Adventures of the Black Square presents abstraction as not being estranged from social reality, that its concern with form, shape and colour throughout its history are intrinsically linked to politics and expressions of modern living.

A unique amalgamation of artist, Spiritualist and medium, the fascinating and unexpected story of Houghton has generated international interest from curators and writers who see her work as representing an abandonment of figurative form that anticipates the development of modern abstraction by artists such as Kandinsky or Malevich by several decades.

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.

The bi-coastal gallery provided comprehensive client services and organized acclaimed exhibitions of modern and postwar art, such as Tanguy Calder: Between Surrealism and Abstraction (2010), John Chamberlain: Early Years (2009), and Tom Wesselmann: The Sixties (2006).

Whether one considers these bold innovations or gimmicks by which to impress the art market, they had nothing to do with abstraction as such, with that ruthless subtractive process of whittling images down to their roots which so obsessed critics like Greenberg that they put it at the center of their story of what modern art even is.

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.

Some will say that «Inventing Abstraction» reflects an old orthodoxy at the Museum of Modern Art, where sometimes (although by no means always) abstraction has been regarded as a one - way street leading to ever increasAbstraction» reflects an old orthodoxy at the Museum of Modern Art, where sometimes (although by no means always) abstraction has been regarded as a one - way street leading to ever increasabstraction has been regarded as a one - way street leading to ever increasing purity.

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.

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

After the second world war, as the US became a superpower, a new generation of artists made New York the centre of modern art, with a strange yet authoritative form of abstraction that was free from the influence of the still - living European modern masters.

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 manner.

Included in the massive show, which goes to London's Tate Modern after MoMA, are abstractions like the ghostly, white - streaked Untitled (2007), as well as the classic 1980s piece Watchtower with Geese (1988), with its totalitarian subject matter and its use of interlocking color and patterns on fabric — one of Polke's many experiments with materials other than plain old oil on canvas.

Smith's work has also been included in important group exhibitions such as Painting 2.0: Expression in the Information Age, which opened at the Museum Brandhorst, Munich, and subsequently traveled to the Museum Moderner Kunst Stiftung Ludwig Wien (mumok), Vienna (2015 - 2016); The Forever Now: Contemporary Painting in an Atemporal World, The Museum of Modern Art, New York (2014 - 2015); The Painting Factory: Abstraction after Warhol, The Museum of Contemporary Art, Los Angeles (2012); ILLUMInations, the central exhibition at the 54th Venice Biennale (2011); Le Printemps de Septembre festival in Toulouse, France (2011); and The Generational: Younger Than Jesus at the New Museum, New York (2009).

Widely perceived as Eurocentric and, therefore, alien to the American spirit, abstraction nonetheless proved to be a fertile arena for exploration for many modern American artists.

With the development of his pliage method firmly solidifying Hantaï's position as a celebrated leader in European abstraction, he went on to exhibit widely across Europe while American museums, such as the Museum of Modern Art and the Hirshhorn Museum and Sculpture Garden, acquired his work.

However, instead of trying to establish a pedigree that approximates the emergence and development of modern art in larger metropolitan areas like New York, Chicago, or Los Angeles, with its requisite local variations of welded steel sculpture and lyrical abstraction, the historic past proposed in this exhibition is one that is just as idiosyncratic as the present it influences.

Be sure to check out booths by Galerie Ernst Hilger from Vienna, representing the works of artists such as Erró and Mel Ramos, along with exponents of Austrian modernism from the 1960s onward and the main exponents of the most important international art movements of the 20th century; Galerie Lisa Kandlhofer from Vienna, representing emerging and mid career artists; Galerie Thaddaeus Ropac from London, Paris and Salzburg, specialised in international, contemporary art representing around 60 artists and a number of renowned estates; SUPPAN FINE ARTS from Vienna, focusing on international and modern as well as representatives of art after 1945; and PIFO Gallery from Beijing, representing a selection of Chinese and international artists with a core focus on minimalism and abstraction; among others.

He has also participated in important group exhibitions such as «The Painting Factory: Abstraction after Warhol» at the Museum of Contemporary Art, Los Angeles; «Le Printemps de Septembre» in Toulouse, France; «ILLUMInations» in the 2011 Venice Biennale; «The Generational: Younger Than Jesus» at the New Museum, New York; and, most recently, «The Forever Now: Contemporary Painting in an Atemporal World» at the Museum of Modern Art, New York.

The success was yet another confirmation of the strength of the contemporary art market segment as an alternative asset class as paintings by the masters of modern abstraction — Pollock, Rothko, Kline, Klein, Richter, all posted fantastic results.

The fragmented paintings of Pablo Picasso and Georges Braque, as well as Futurism in Italy, and the non-figurative works of Kazimir Malevich, and Piet Mondrian, paved the way for modern interpretations of abstraction.

As a result, she was well - schooled in the principles and practices of Modern minimalism and abstraction.

In Slightly Ajar, her second exhibition with the gallery, Sharon Lawless continues to use found materials — discarded packaging, paint samples, wrapping paper and altered pages from auction catalogs — in her manipulation of two modern traditions, collage and geometric abstraction as she explores the tension between accident and control and how this tension effects perception.

Vierkant follows a late modern tradition, in which abstraction is not necessarily the spiritual, as it was for Wassily Kandinsky, but exactly what it is — a literalism that invites words while defying one to use them.

She writes on modern and contemporary art with an emphasis on abstraction, painting, process, creativity, pedagogy, and American philosophy as it intersects with aesthetics and institutional discourses.

Here I had that so trendy figure of the 1980s, so properly postmodern for abandoning abstraction and Minimalism except as an oblique reference to modern life.

LATE LAST DECEMBER, halfway through the Museum of Modern Art's de Kooning retrospective, John Chamberlain's sculpture irresistibly sprang to mind — as if the Dutchman's extraordinary mid -»50s abstractions (Interchanged, 1955; Gotham News, 1955; The Time of the Fire, 1956) had conjured their three - dimensional counterparts made from the remnants of crushed automobiles.

2008 Text / Messages: Books by Artists - Walker Art Center, Minneapolis, MN Inspired by Literature: Art and Fine Books - Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ PEGGY GUGGENHEIM E LA NUOVA PITTURA AMERICANA - Peggy Guggenheim Collection, Venice Collector's Eye - Gana Art Gallery, Seoul Blake to Kahlo to Warhol: Masterworks from the Harry Ransom Center - El Paso Museum of Art (EPMA), El Paso, TX 1945 - 1949 Repartir à zéro, comme si la peinture n'avait jamais existé - Musée des Beaux - Arts de Lyon, Lyon Action / Abstraction - Saint Louis Art Museum, Saint Louis, MO Contemporary Masters: Print Selections - Amy Simon Fine Art, Westport, CT REFLECTIONS ON LIGHT - 30 years Galerie Bernd - Galerie Klüser, Munich Tilted Balance - Collectors Contemporary, Singapore From Abstract Expressionism to Pop Art: Johns, Rauschenberg and the Aesthetic of Indifference — Sonoma Valley Museum of Art, Sonoma Nuances of Printmaking - Koehnline Museum of Art, Des Plaines (IL) The sight of music - Mississippi Museum of Art MMA, Jackson, MS Abstraction: Summer 2008 - Thomas McCormick Gallery, Chicago, IL Philadelphia Collects: Works on Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Out!

Part of the group of artists known as the Taos Moderns, which also included Ribak, Ed Corbett, Agnes Martin, Oli Sihvonen, and Clay Spohn, Mandelman was said to be «a dedicated painter and committed to modernism and abstraction throughout her career,» the release states.

Despite her prominence within the contemporary art canon, Agnes Martin nonetheless remains something of an «artist's artist,» her work revered more by critics and practitioners than those uninitiated to modern art, to whom her spare abstractions can come off as inscrutable.

Zappettini was also present in group exhibitions such as Concerning Painting which travelled between three Holland museums (Museum Van Bommel - Van Dan, Venlo; Stedelijk Museum, Schiedam; Hedendaagse Kunst, Utrecht), Bilder ohne Bilder at the Rheinisches Landesmuseum, Bonn, and Abstraction Analytique at the Museum of Modern Art in Paris.

Wolk - Simon says that this new awareness helps to work through certain biases: «For a long time, abstraction was modern art's preeminent triumph, and artists working in the figurative tradition were not seen as modern, but now with a renewed interest in Italian modern art comes a renewed interest in figurative art.»

This exhibition demonstrates his protean reach as an artist, pushing not only the boundaries of abstraction but also bringing modern vitality and innovation to landscape, cityscape, and portraiture, themes that preoccupied him throughout his working life in Barcelona, New York, Paris, Madrid, and Montevideo.

In this podcast recorded on March 8, 2007, at the National Gallery of Art as part of the Elson Lecture Series, Sean Scully, an artist of international acclaim, discusses his work in the modern tradition of abstraction.

The core of modern art in the Colección Patricia Phelps de Cisneros [CPPC] consists of works by Latin American artists of the twentieth century, particularly the major figures of geometric abstraction movements in countries such as Argentina, Brazil, Uruguay and Venezuela.

Her unprecedented piece Rhapsody (1975 — 76, collection Museum of Modern Art), a painting on 987 gridded, enameled steel plates, reads as a lyrical conversation between mathematical abstraction and painterly figuration.

His subject matter was not chosen as particularly suitable for formal experiments in abstraction: in his late works «he continued to explore visual perception, natural phenomena, modern life, the course of history and the social and ethical contexts that determine the endeavours of mankind».

Guyton's interest in the struggle of two materials interacting play perfectly into his new achievements stating: «I have become interested in when something starts as an accident and then becomes a template for other things, or reproduces itself and generates its own logic until something else intervenes to change it» (S. Rothkopf, «Modern Pictures,» Wade Guyton: Color, Power & Style, Cologne, 2006) Untitled, 2008, is an outstanding example of his exploration into the limitation of artistic language that abstraction still holds in the 21st century.

Group Exhibitions 2018 Stretch / Pulled / Inked, Impact Arts, as part of the Glasgow International, Glasgow (upcoming) Glasshouse, Glasgow Botanic Gardens, Glasgow (upcoming) 2017 Amazing Perplexity, Curated by Nathalie Hoyos, Rainald Schumacher and Alevtina Kakhidze, Residents Group Exhibition of FACE — Artist Residence Program in Kiev 2016 Factually Real Illusions, curated by Lorna McDowell, Cookhouse Gallery Chelsea College of Art, London Semi-Gloss, Semi-Permeable, Glasgow International Festival 2015 International Women's Contemporary Art Forum — A Crossing Section of Art, BankART Studio NYK, Yokohama Finite Project Altered When Open, David Dale Gallery, Glasgow Abstraction from Architecture, Edinburgh Print Studio Hold, Sway, Generator Projects, Dundee 2013 Editionshow, Chert, Berlin You're my wife now, Infernoesque project space, Berlin Every Day, GoMA, Gallery of Modern Art, Glasgow 2012 Tintenfisch, CNEAI =, Paris, organized by Chert & Motto in the frame of Berlin - Paris exchange 2011 Industrial Aesthetics: Environmental Influences on Recent Art from Scotland, Times Square Gallery of Hunter College, City University of New York Annuale, Edinburgh 2010 Drinnen & Draussen, Chert, Berlin A man, some chickens and one corner, with Petrit Halilaj and Heike Kabisch, Berlin — Paris exchange, Galerie Carlos Cardenas, Paris, with Chert, Berlin 2009 Spacioux, curated by Michela Arfiero, Paola Gallio, Daniela Lotta, Lambretto Art Project, Milan Motto & Chert & Roses, Tulips & Roses, Vilnius 2008 You can't hide your love forever, LH Gallery, Paris And So It Goes, Art news Projects, Berlin MFA Degree Show, Tramway, Glasgow Flock, Bezalel Gallery, Tel Aviv 2007 MFA Interim show, Glasgow School of Art, Glasgow Devil Blue Dress, The Factory, Impact Arts, Glasgow 2005 Tercet, Intermedia, King Street, Glasgow 2004 Pieces, The Factory, Impact Arts, Glasgow