Sentences with phrase «by radical abstraction»

Her practice is defined by radical abstraction, giving deeper narrative to forms both graceful and monstrous.

Not exact matches

For example, the hydrogen bonding interaction between the phenolic — OH and the o - methoxy groups in curcumin influences the O - H bond energy and H atom abstraction by free radicals, thus making it a better scavenger of free radicals compared to other curcuminoids such as BDMC.

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!

Spearheading this movement, Robert Irwin began to take ideas from philosophical inquiries into the nature of human experience and radical advances in perceptual psychology and combine them with the immersive abstraction that had been pioneered by artists such as Jackson Pollock, Mark Rothko, and Barnett Newman.

The exhibition focuses on the extraordinary breadth of motion achieved by Calder from the moment he turned to radical abstraction in 1930 and continuing throughout the subsequent decades of his career.

Trying to fuse cubist - surrealist - abstract elements with representationism, he arrived at a profoundly innovative vision — but one that, precisely due to its complex originality, was eclipsed by Rothko's subtle but more radical and thus easier - to - assimilate abstraction.»

By bringing together all parts of her radical production, the exhibition seeks to reintroduce her into current discourses of abstraction, participation, and a therapeutic art practice.

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

Hales Project Room put the spotlight on rarely seen, richly stained abstractions created in the 1970s by American painter Virginia Jaramillo, whose practice has recently been rediscovered through important group shows such as Soul of a Nation: Art in the Age of Black Power and We Wanted A Revolution: Black Radical Women, 1965 - 85.

By 1975, Baer had moved to Ireland and abandoned abstraction, opting instead for what she called «radical figuration» — a dreamy, surrealistic mode of painting.

Works that expressed a personal or political viewpoint through figuration were considered to be retrograde in comparison to the radical abstractions created by the great American painters of the forties and fifties.

It also came just as the organizer of Radical Presence, Contemporary Arts Museum Houston senior curator Valerie Cassel Oliver, was preparing to open the first installment of Black in the Abstract, a two - part exploration of abstract painting by black artists, as part of CAMH's six - exhibition, two - installment abstraction extravaganza, Outside the Lines.

Abstraction, however, became suspect during the 1959 Revolution, led by Fidel Castro, for its earlier radical associations and utopian ideals.

Whitechapel Gallery, London, 15 January — 6 April 2015 The RA's show of South American abstract art, «Radical Geometry», examined how geometric abstraction travelled diagonally across the Atlantic from Europe, taking compelling new forms inspired by local political and social circumstances.

By the 1930s, European and American Modernism was making slow but steady inroads into Texas through a few well traveled and educated early converts to radical art forms of abstraction.

In Post-war British art radical work tended towards various styles influenced by the modern art of Paris and New York such as Surrealism, abstraction and Pop Art.

For these artists, who were in their 30s and 40s during the 1980s, it was not a question of a «return to painting,» but, rather, of finding a bridge between the radical, deconstructive abstraction of the late 1960s and 1970s (which many of them had been marked by) with a larger painting history and more subjective approaches.

Never Free to Rest brings together works by six artists who utilize the radical language of abstraction to destabilize black representation and systems of control, conjuring new possibilities of perception, imagination, and liberation.

Though indisputably inspired by Matisse's interiors, Cezanne's still lifes, and Picasso and Braque's radical displacement of form, Hofmann ultimately developed his own style of abstraction which he would continue to explore throughout the remainder of his career.

Challenging official accounts of the decade, which tend to ignore the individualistic abstraction exemplified by these painters in favor of more easily identifiable movements and styles, Rubinstein chronicles how, around 1980, a generation of New York painters embraced elements that had been largely excluded from the radical, deconstructive abstraction of the late 1960s and 1970s, which had influenced many of them.

To explore the story of these radical shifts and their legacy, «Revolution in the Making» unfolds as a thematic historical survey that is international in scope and fundamentally revisionist, making women artists central to the history of sculpture by tracing the legacy of studio - based organic abstraction.

Working in almost total isolation, first in New York State, later in Oakland, California, Still had arrived by 1943, at a style that was more radical in its abstraction, and more sweeping in scale, than the work of any New York School artists of that time.

These theoretical studies firmly establish that the mechanism of gas phase MSA formation is occurring via hydrogen abstraction from organics by the CH3S (O)(O) O • radical.