Sentences with phrase «defined by abstraction»

Not exact matches

In the theory we are offering, since knowledge is by intuition and perception, not by abstraction of only part of the singular real, this ultimate universalism of the nature as sort or species, is said to be a singular real and also a concept defined within a distinct limit of formal variability, both as real, and also as concept.

«JACK WHITTEN: Five Decades of Painting» Museum of Contemporary Art San Diego, La Jolla, Calif. Sept. 20, 2014 — Jan. 4, 2015 Jack Whitten's approach to abstraction is distinct, defined by his career - long commitment to evolving his practice.

Formally, the works are defined by Hull's distinctive and characteristic visual style - angular figures, bold, graphic lines and marks in black, contrasted with gestural abstraction in vivid, sometimes shocking, color, and recurring imagery — ships and nautical themes, and court jester or clown - like figures alone or interacting in totemic or frieze - like compositions.

The performative nature of the paintings and the artist's self - awareness on camera recalls Hans Namuth's infamous photographs of Jackson Pollock's dramatic painting process — images that have defined our understanding of his active bodily presence.18 However, in Saint Phalle's hands, there is an explicit refusal of the terms of abstraction that Pollock and others of his generation perfected — i.e., the expression of exquisite anguish that could be exorcized by subjective brushwork from the singular, heroic male artist.

But so is the first painting you see in the show, Pollock's She - Wolf (1943), a strong Picasso - influenced painting although Picasso would most likely have defined the animal with a strong black outline which in the Pollock is obscured by a turbulent painterliness which prefigures Pollock's last works, which are also seen as off - brand (tragically so, instead of, as in She - Wolf, developmentally), although it suggests a move towards materiality, mass, and perhaps even an atavistic need to return to some form of representation, in a way which Guston was able to pursue, when he became dissatisfied with abstraction.

Although many different styles are encompassed by the term, there are certain underlying principles that define modernist art: A rejection of history and conservative values (such as realistic depiction of subjects); innovation and experimentation with form (the shapes, colours and lines that make up the work) with a tendency to abstraction; and an emphasis on materials, techniques and processes.

In painting, during the 1920s and the 1930s and the Great Depression, modernism is defined by Surrealism, late Cubism, Bauhaus, De Stijl, Dada, German Expressionism, and Modernist and masterful color painters like Henri Matisse and Pierre Bonnard as well as the abstractions of artists like Piet Mondrian and Wassily Kandinsky which characterized the European art scene.

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

ICA Miami's A+RC pilot semester will address how contemporary art production might contend with a world defined by ever - changing abstraction.

What's really of the moment about the work isn't its content as such, but its meta - abstraction — the treatment of figurative imagery and nonfigurative gestures as equal actors in an overall visual project defined by its mood rather than its meaning.

A few years after these actions got underway, a desire to gain freedom of expression «from overt racial presentation» took hold among African American artists whose art was defined by color and abstraction.

abstraction was defined in part by the «all - over» compositions of painter Norman Lewis.

Many of these painters were linked to the Color Field movement by the influential critic Clement Greenberg, who was the curator of the 1964 exhibition «Post Painterly Abstraction» that helped to define Color Field painting.

The abstract art by these nine artists is not simply defined by the artists» residence in Houston, it broadens the scope of gestural and geometric abstraction universally.

The first of these, Echo VIII, a late sculpture by Louise Bourgeois, from 2007, cast in bronze from her jumper, defined the First Movement, in being part body, part abstraction.

Coined by the French sculptor and writer Michel Tapié in his 1952 book «Un Art Autre,» it was one of several buzzwords used by critics (another being «Lyrical Abstraction») to define the formless abstract expressionist style which arose during this period, both in America and Europe.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

There's now an opportunity for a contemporary art space with a focus on minimalist art to offer Evelyn Reyes a solo exhibition, not only because she is defined by her minimalism more than her outsiderism, but because she exemplifies ideals of reductive abstraction while bringing forth essential insight about its true nature, origins, and purpose as a result of her distinct perspective.

He was one of five painters in The Shaped Canvas, the 1964 Guggenheim Museum exhibition curated by Lawrence Alloway, that helped define a key feature of 1960s abstraction.

Solomon has exhibited widely throughout the United States at museums, galleries, and art fairs and is currently included in the important exhibition, «Defining Abstraction» curated by Mark Ormond at the Ringling College of Art and Design, Sarasota, Florida.

Defined in general as a nineteenth century concept to push the boundaries of a Euro - centric imperialism, today the abstraction of «manifest destiny» is re-envisioned by six contemporary artist as they push the frontier of today's digital landscape.

The Paul J. Sachs Prints and Illustrated Books Galleries, second floor Since the early 20th century, abstraction has been associated with so many artistic movements, from Suprematism and Constructivism to Abstract Expressionism and Op art, that it can no longer be defined by any one style or tradition.

Different hard - to - classify movements materialised and were defined by Lucy Lippard as «Eccentric Abstraction», or, for instance, Post-minimalism and phenomenological and performative practices inclined towards ritualism, animism and the body.

On the painting's front, the imagery that defines Guernica — civilians and animals bombed during the Spanish Civil War — is replaced by an abstraction.

Third were the thematic issues — Issue 2.6 / Food and Issue 2.15 / Performance: The Body Politic — and the thematic features that unfolded over the course of the year: Bruno Fazzolari's conversation series investigating abstraction and the terms on which it is defined or negotiated in contemporary artistic practice; Elyse Mallouk's Landfill series, which triangulates with a print journal, quarterly subscription, and website, all of which archive and redistribute the materials produced by socially engaged artworks; and Zachary Royer Scholz's series about the historical and contemporary economic, political, technological, and cultural factors that shape the visual arts in the Bay Area and its possibilities for the future.

Innes» process, in which the controlled hand of the artist is balanced by the potential chaos of chance, has come to define a new and significant language of abstraction.

Early on, Gilliam, 82, distanced himself from his figurative roots and embraced abstraction defined by his deft relationship with color.

His abstract paintings of this period, such as Albuquerque No. 4 (1951), were stylistically rooted in the New York school; they were characterized by linear planes, which gave the impression of aerial landscape views, and by a fluid line that defined a type of biomorphic abstraction.

The Danish artist and COBRA co-founder's work ranges across a broad series of compositional techniques and practices that defined him as a founding voice of post-war abstraction, yet his reputation seems almost underemphasized by comparison to his stature in Europe.

Magdalena Abakanowicz's massive 1973 «Wheel with Rope», an aggressive sculpture made of found industrial materials, contrasts with defining 1970s «pour pieces» by Lynda Benglis, who solved the riddle of how to translate gestural abstraction into sculpture by engaging walls and floors in a suggestive violation of spatial conventions.