Sentences with phrase «especially as abstraction»

Not exact matches

In particular, the notion of events extending over other events was an abstraction, especially when the properties of events were called «objects» thought of as quasi-Platonic ideas «ingressing» into events.

Recently, advanced cognitive researchers have been especially focused on the capacities of abstraction, generalization, concretization / specialization and meta - reasoning which descriptions involve such concepts as beliefs, knowledge, desires, preferences and intentions of intelligent individuals / objects / agents / systems.

Thanks to the high degree of abstraction of AnNa, researchers have been able to conduct several studies of both the human skeleton and of the rest of terrestrial vertebrates, especially as regards the development and evolution of the skull.

Nevertheless, some new media and digital art treats computers as if they're mostly tools for creating shiny images and scrolling animations, especially when abstraction is added to the mix.

Both Woelffer and McChesney were using intuitive means to make their abstractions, and both were deeply influenced by indigenous art, especially works from Africa and the Americas, as well as improv - based musical forms, especially jazz — both men were drummers.

His interest for three - dimensionality and abstraction led him to incorporate into his works systems used by artists like Dan Flavin and Donald Judd, such as basic forms, grids and other superimpositions of materials, especially two - way mirrors.

As an encyclopedic museum, there are always a variety of exhibitions, but the current offerings are especially rich: The James Turrell retrospective on view through April 6 beats out last year's Guggenheim show for breadth of offerings and the survey «Calder and Abstraction» boasts exhibition design by Frank Gehry that includes curved walls that cast those mobiles and stabiles in a whole new light.

Abstraction dominates, as do canvas and other stretched fabrics, along with an air of studied nonchalance, especially in works by Michael Majerus, Michael Krebber, Blinky Palermo and Reena Spaulings (spots of red wine on a tablecloth — how daring).»

She defines her studio practice as rooted in an ongoing investigation of experience, memory, abstraction, present and future histories, especially those that address shifting definitions of landscape, character development, and the interconnectedness of formal processes.

Alex Katz emerged in the 1950s as a figurative painter in an age of abstraction, challenging critics who shunned imagery in art, especially the figure.

Titled A Gathering, the exhibition was praised in Art in America for its originality and breadth, a body of work that appears «especially fresh as it shifts from enigmatic figuration to nature - based abstraction.»

Despite these experiences, Tàpies was swiftly drawn to the lyrical abstraction known as art informel, especially after 1953, when he experienced the American equivalent, abstract expressionism, at the time of his first one - man show in New York.

If Anderson's paintings have contemporary affinities in practices (especially with that of Peter Doig, his former teacher), the theoretical contexts they summon are well - rooted — in particular those teleological forecasts about the relationship between his chosen genres as articulated by critics including Kenneth Clark and Clement Greenberg; the latter wrote, in 1949, of the evolutionary conundrum whereby French painting «was brought to the verge of abstraction in and by its very effort to transcribe visual experience with ever greater fidelity.»

«Hide / Seek» considers such themes as the role of sexual difference in depicting modern America; how artists explored the fluidity of sexuality and gender; how major themes in modern art — especially abstraction — were influenced by social marginalization; and how art reflected society's evolving and changing attitudes toward sexuality, desire, and romantic attachment.

During this time he became interested in the resurgence of geometric abstraction in Paris, especially in exhibitions such as Salon des Realites Nouvelles which included Max Bill, Auguste Herbin and Richard Lohse.

Warhol also used various programs of abstraction in his painting to mimic and comment on art of his era, especially abstract expressionism, as in Dance Diagram [3][«The Lindy Tuck - In Turn Man»], 1962, Rorschach, 1984, and Camouflage, 1986, or his famous Shadows, 1978 — 79, and the Oxidation series.

This relates specifically to the resurgence of abstraction, especially of the painterly variety, which we are currently witnessing, and which is often not largely poorly understood, as it is most often reduced to a redux or update of the canonical abstract painting of the 1960s and 1970s, such as that of Robert Ryman, Blinky Palermo, and Gerhard Richter.

Bell's balancing of the terms «abstraction» and «materials» is significant — especially with regard to the works from 1978 on display here — by differentiating the absolute thingness of these paintings from the allusions to the observational world that you find even in something as densely materialist as Richard Serra's black oil - stick drawings.