Sentences with phrase «at by abstraction»

A principle arrived at by abstraction from one order of facts, is confronted with facts from another order of experience, as a test of speculative applicability: «The success of the imaginative experiment is always to be tested by the applicability of its results beyond the restricted locus from which it originated» (PR 5/8).

Not exact matches

Although at times Hartshorne has spoken as though his account of experience rested on some intuition of its essence as exhibited in his own experience, 2 his predominant view and his philosophical practice advance a concept of experience that is generated by dialectical argument rather than by appeal to direct introspection or intuition: «The philosopher, as Whitehead says, is the «critic of abstractions.»

But the purpose of the hierarchy is precisely to formalize the process of abstraction used by historians, so that they can avoid the logical inconsistencies that often corrupt their narrative explanations and meet the criticism that has been (I think justly) leveled at them.

By sorting out the primary contrasts at their appropriate levels of abstraction, we provide a critical approach to both the criticism of narrative explanation and the construction of logical arguments.

As I'll discuss at the end of my presentation, political science only does this by dint of a systematic abstraction of our lived political experience, that is, by singularly emphasizing politics as the management of a conflict of interests rather than the prudential navigation of conflicts between competing claims to honor, or of competing claims to the good.

On this view, the universal principles, which are arrived at by means of abstraction from particulars, retain an intrinsic link with the particulars subsumed under it.

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).

But this criticism does not really apply to Hartshorne in that in his virtue ethics he is not so much concerned with agents as with the principles that (albeit at a high level of abstraction) guide one in determining which actions are logically possible and which, when chosen by some agent or other, are consistent with what must be the case in metaphysics.

«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.

«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).

At bottom, some possible steps by which pyrene can form more complex hydrocarbons via HACA (red) or another mechanism (blue) called hydrogen abstraction — vinylacetylene addition (HAVA).

By the way, Jimmy - Given what Chris Roberts says here about not liking video game abstractions like lives / score counters, that really, really puts the combat sim intro of Wing Commander in perspective - must have seemed like a radical move at the time!

Originally released for PC and Mac OS in 2013 after winning the Excellence in Audio award at the Independent Games Festival, 140 is now being adapted for consoles and handhelds by Abstraction Games in partnership with Double Fine Presents.

140 was originally released for PC and Mac OS in 2013 after winning the Excellence in Audio award at the Independent Games Festival, and is now being adapted for consoles and handhelds by Abstraction Games in partnership with Double Fine Presents.

A retrospective of Jones» paintings, Celebrating Abstraction, will be on view June 7 - 14th at the Appledore Festival with works by ceramicist Sandy Brown.

It both brought him to the attention of a wider public at a time when Abstract Expressionism still held sway in the eyes of the New York art world, and it documented, step - by - step, his transition from abstraction to figuration.

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.

James Kalm visits the exihibition Reinventing Abstraction curated by Raphael Rubinstein at Cheim & Read, New York, on view through August 30, 2013.

By pairing the first - an abstract painting whose flat forms are schematic and derived from markings observed on a soccer field with the second - a silkscreened canvas depicting a nearly identical painting photographed at an angle, Uglow creates a visual experience charged with the potential of both abstraction and representation.

Opening: Trudy Benson and Yann Gerstberger at Lyles & King This two - person show, titled «TT52,» brings together work by a pair of painters whose densely layered abstractions recall either computer - based abstraction or vernacular imagery.

Rosa Esman Gallery «17 Years at the Barn, Highlights from the Edward Albee Foundation» New York, N.Y. Lang & O'hara Gallery «The Inscribed Image» New York, N.Y. Luhring, Augustine & Hodes Gallery «Drawings» New York, N.Y. AFR Fine Art «Works on Paper» Washington, D.C. 1987 Willard Gallery New York, N.Y. New York Studio School «Five Abstract Artists» curated by Robert Storr New York, N.Y. Knoedler & Co. «Art Against Aids» New York, N.Y. Brooklyn Museum «Working in Brooklyn» curated by Charlotta Kotik (catalogue) Brooklyn, N.Y. Pace Editions «Monotypes» New York, N.Y. Barbara Krakow Gallery «Poetic Substance» Boston, MA 1986 Dart Gallery «Abstraction» Chicago, ILL..

At Pace Gallery, the group show «Blackness in Abstraction» is curated by Adrienne Edwards.

They mark a revival of abstraction tempered by allusions and digital media, the kind that led to at least half a dozen coordinated summer group shows in 2011, although not simply a return to the past.

One of the Regina Five, Art McKay was influenced in the 1960s by Barnett Newman at the Emma Lake Artists» Workshops and was included in Clement Greenberg's 1964 «Post-Painterly Abstraction» exhibition at the Los Angeles County Museum.

Curator Mark Ormond has organized «Summer Abstractions» gathering paintings, prints and sculpture by abstract artists at Allyn Gallup Contemporary Art Gallery, 1288 N Palm Ave., Sarasota.

By reinterpreting American abstraction through the prism of their own varied cultural backgrounds and artistic heritage, the artists urgently reaffirm the diversity and openness in American culture, at a pivotal point in the nation's history.

During the early 1950s, Richard Diebenkorn was known as an abstract expressionist, and his gestural abstractions were close to the New York School in sensibility but firmly based in the San Francisco abstract expressionist sensibility; a place where Clyfford Still has a considerable influence on younger artists by virtue of his teaching at the San Francisco Art Institute.

Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm by Sanford Kwinter, Art In America, January 1983, pp. 121-122 1983 Ted Stamm by Stephen Westfall, Arts Magazine, January 1983, p. 3 1983 Ted Stamm at the Far Turn by William Zimmer, Re-Dact 1 by Peter Frank, Published by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm, Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981 by Geynne Vernet, Arts Magazine, February 1982 1982 Two Unprovincial Shows at the Jersey City Museum by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm by Valentine Tatransky, Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981 Abstraction with a Relaxed Air by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm by Tiffany Bell, Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting by Tiffany Bell, Arts Magazine, June 1981, pp. 120-124 1980 Tre Amerikaner i Skaane by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5, 1980 1980 Pool Documentation by Kay Larson, Village Voice, June 2, 1980, p. 85 1980 Jane Highstein and Sensibility Minimalism: A Tissue of Happenstance by Robert Pincus - Witten, Arts Magazine, October 1980 p. 140 1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock by Daniel Cornu, Tribune De Geneve, December 1980 School's Out by William Zimmer, The SoHo Weekly News, June 11, 1980, p. 61 1980 Old Wine, New Bottles, Bad Year by John Perreault, The SoHo Weekly News, June 18, 1980 1979 Ted Stamm by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles of Artists and Critics by Robert Pincus - Witten, Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm by Tiffany Bell, Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm at Hal Bromm Gallery by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977 Arts and Leisure Guide by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New Museum at the New School by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative Arts Spaces: One to one politics for the avant - garde by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975 Artists Space by Trudie Grace, Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.

Amongst our favorite artworks being exhibited here are Marc Dennis» realistic still - life painting of luscious flowers at Dallas» Cris Worley Fine Arts, Francis Upritchard's gesturing bronze figure at London «s Kate MacGarry, Jason Middlebrook's geometric abstraction on an elm plank at New York «s Ameringer McEnery Yohe, Luis Gispert's abstraction made by embedding gold chains in a field of black stones at Palma de Mallorca's Lundgren Gallery, and Klara Kristalova's ceramic sculpture of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.

Guston became a hero to at least one corner of Postmodernism by rebelling early and often against the authority and high seriousness of abstraction.

Another solo show followed at London's blue - chip Lisson Gallery, giving her commercial traction and a major presence at art fairs, where people are regularly stopped in their tracks by her radiant abstractions.

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

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.!

The inspiration to use the typographic — a ready - made form — may have come from Nicholas Krushenick's graphic abstractions inspired by Matisse's cut - outs, Japanese woodcuts and comics; Jasper Johns» «alphabets» and «numerals,» which were shown in his groundbreaking debut solo show at Leo Castelli in 1958; and Willem de Kooning's black - and - white paintings «Orestes» and «Zurich» (both 1947).

Notes in Preparation for an Exhibition and Lecture at St. Mary's College of Maryland, 1992, by Mac Wells What Abstraction Means to Me, by James Gross

On the occasion of the installment of Hilma af Klint: A Pioneer of Abstraction at Louisiana, the museum by the seaside north of Copenhagen had invited art historian Thierry de Duve to give a talk.

Art at the End of The Social, Rooseum, Malmo, Sweden (curated by Collins and Milazzo) Anti-Simulation: A Debate on Abstraction, Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York, USA (curated by Maurice Berger, cat.)

Traveled to Fondation Deutsch, Lausanne, Switzerland (September 17 — November 8); Musée Bab Rouah, Rabat, Morocco (December 11, 1992 — January 31, 1993; Casablanca, Morocco (February — March 1993); Fondation FISA, Séville, Spain (April — May 1993); Italy (summer 1993); Museum Sankt, Saint - Ingbert, Germany (September 19 — November 21, 1993); and Paris (December 1993 — January 1994) Painting, Self Evident: Evolutions in Abstraction, concurrently at Halsey Gallery, College of Charleston; The Meddin Building; and the Gibbes Museum of Art, Charleston, South Carolina (May 21 — June 28) Summer group exhibition, Ginny Williams Gallery, Denver (May 14 — June 30) From America's Studio: Twelve Contemporary Masters — Works by Alumni of the School of the Art Institute of Chicago / One Hundred Twenty - fifth Anniversary Celebration, Art Institute of Chicago (May 10 — June 14) 15th Anniversary Exhibition, Rhona Hoffman Gallery, Chicago (May 8 — June 13) Slow Art: Painting in New York Now, P.S. 1 Museum, Institute for Contemporary Art, Long Island City, New York (April 26 — June 21) Play Between Fear and Desire, Germans van Eck Gallery, New York (April 24 — May 23) Alumni Exhibition, School of the Art Institute of Chicago (April 20 — June 15) An Exhibition for Satyajit Ray, Philippe Briet Gallery, New York (April 11 — May 16) Paint, Edward Thorp Gallery, New York (April 4 — May 9) Paths to Discovery: The New York School — Works on Paper from the 1950s and 1960s, curated by Ellen Russotto, Sidney Mishkin Gallery, Baruch College, City University of New York (March 20 — April 17) American Art 1930 — 1970 (organized by FIAT with the assistance of Independent Curators, New York), Lingotto Fiere, Turin, Italy (January 8 — March 21) A Permanent Collection: Art From the 19th Century to the Present, Castellani Art Museum, Niagara University, New York

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.

TER.FER.EN.CE, The Farjam Foundation, Dubai, UAE NOW - ism: Abstraction Today, Pizzuti Collection, Columbus, OH Alter / Abolish / Address, as part of 5 × 5:2014, a project of the D.C. Commission on the Arts and Humanities, LAND (Los Angeles Nomadic Division), Washington, D.C. Four Decades of Drawings and Works on Paper, John Berggruen Gallery, New York, NY Tarīqah, Barjeel Art Foundation, Maraya Art Centre, Sharjah, United Arab Emirates Graphicstudio: Uncommon Practice at USF, Tampa Museum of Art, Tampa, FL BLACK / WHITE, curated by Brian Alfred and Shay Kun, LaMontagne Gallery, Boston, MA

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.

By the late 1950s, when Kinley painted Red, White and Black and other pared down palette - knifed abstractions of landscape with subliminal suggestions of the human figure, the Vienna - born, St. Martin's - trained painter had already enjoyed two solo exhibitions at Gimpel Fils, London.

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.

Thinking about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated with Greenberg and Fried.

EXHIBITION «Blackness in Abstraction,» a group exhibition curated by Adrienne Edwards, opens at Pace Gallery in New York on June 22.

Although he continued to promote abstract work produced in Britain and throughout Europe, Sylvester believed at this time that figurative art «was capable of going further... that [it] could be more complex, more specific, richer in human content».18 By 1958, however, Sylvester had undergone what he later described as a «Damascene conversion'to the profound achievements of recent American abstraction.

Stop in at Minus Space, a site maintained by Matthew Deleget and Rossana Martinez, where you'll find reductive color in astonishing variety; Geoform, a cyber collection of geometric abstraction, curated by Julie Karabenick; and Color Chunks, John Tallman's utterly quirky view of slab, blocks, chunks and pieces of color, plus his own related work.

Also relevant are reviews of the 2008 exhibition at the Jewish Museum, «Action / Abstraction: Pollock, de Kooning, and American Art, 1940 — 1976,» notably those by Roberta Smith, Peter Schjeldahl, and Martha Schwendener.

An exhibition of some 90 rarely seen works by three artists who pioneered the development of modern abstraction: Hilma af Klint (Sweden, 1862 - 1963), Emma Kunz (Switzerland, 1892 - 1963) and Agnes Martin (Canada / US, 1912 - 2004), opens to the public at the Irish Museum of Modern Art on Wednesday 25 January.