Sentences with phrase «histories of abstraction in»

By updating and fleshing out concepts and questions posed in the book, the exhibition presents more than 100 works by international artists, offering itself as a reinterpretation of the history of abstraction in the past six decades.

Not exact matches

In history, the field of «null» abstraction is the multiplicity of subjective interactions with indefinite spatial and temporal dimensions (i.e., the «experience of becoming»).

This is in a way the experience of the shepherds of the field, who are terrified at the realization that God is real, and his actions will not only change the course of history (as an abstraction), but their history.

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 occasionIn 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 occasionin 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 occasionin 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).

As Bultmann uses them, the former refers to an event so far as it is significant for human existence (e.g., the cross as the salvation - occurrence through which I understand myself as judged and forgiven by God), while the latter refers to an event considered in abstraction from such significance (e.g., the cross as an incident in the annals of ancient history).»

Flat, blank facades on buildings conceived as commodities — or just oddities — rather than works of civic art; flat modernist pictorial abstractions; the flattening of cultural history into pseudo-history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradition.

In the end, then, «Juan as such» is an abstraction, derived from a positively oceanic literary history, of which any distillate is necessarily only very partial.

Hegel's understanding of the forward progress of the will through the history of culture is richer than Kant's, but it leads to a notion of the completion of the will in «absolute knowledge,» a metaphysical abstraction which Hegel's critics, Ricoeur among them, find pretentious and impossible.

«At Waldorf, we are excited to see students in the high school singing the elements of the periodic table, staging plays in Spanish, drawing in Math, producing short videos for Shakespeare lessons and conveying, through abstraction, the history of language through circus arts and acrobatics.»

In this current exhibition, Favour creates lush and sensual abstractions of the leaves, flowers and reproductive systems of the figs and nasturtiums filtered through her imagination; yet, informed by a rich understanding of the history of botanical illustration.

«Generations of black abstract painters never seem to be celebrated,» says Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum Houston, where she recently organized «Black in the Abstract,» a two - part exhibition that focused on the history of African American painters working in abstraction.

It is through Courbet, the specific artist, the Harmonian demiurge, that all the figures partake of the life of this pictorial world, and all are related to his direct experience; they are not traditional, juiceless abstractions like Truth or Immortality, nor are they generalized platitudes like the Spirit of Electricity or the Nike of the Telegraph; it is, on the contrary, their concreteness which gives them credibility and conviction as tropes in a «real allegory,» as Courbet subtitled the work, and which, in addition, ties them indissolubly to a particular moment in history.

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.

On the other hand, though the group of painters represented here form a tight - knit «generation» (one constraint of the show is that all the artists were born between 1939 and 1949), and though the selected works originate from the same period and place, the works are aesthetically independent enough to resist any easy categorization according to style or aims... Rubinstein's curation in Reinventing Abstraction proposes something — an idea, a possible history — that may connect with others but which is, nevertheless, its own.

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.

The exhibition titled «Painting in Italy 1910s - 1950s: Futurism, Abstraction, Concrete Art,» presents works of Italian abstract art, bringing together fifty years of history over two floors.

Projected in chronological order these games are a history of both video game bowling and of graphic representation in the digital medium, from pixellated abstraction to realism.

The exhibition investigates the use of color in art through artistic movements and research that stand apart from canonical histories on color and abstraction, with multiple accounts relating to memory, politics, spirituality, storytelling, psychology and synesthesia.

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.

Drawn from the Guggenheim's holdings, Art of Another Kind: International Abstraction and the Guggenheim, 1949 — 1960 celebrates this vital period in the museum's history leading up to the inauguration of its Frank Lloyd Wright — designed building in October 1959.

Bringing much - needed attention to Lewis» output and significance in the history of American art, Procession is a milestone in Lewis scholarship and vital resource for future study of the artist and abstraction in his period.

But to tell it, we will have to turn away from the postmodernist obsession with the proclamation of the End of Painting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the readymade.3

On view at the National Museum of Women in the Arts in Washington, D.C., through Jan. 21, 2018, the show considers their work in context with each other and the larger history of abstraction.

«Abstraction in the 20th Century» looked back, with a textbook history of mostly American art, all but ending in the 1960s.

His work unmoors itself from the didacticism of American abstraction and self - reflexively seeks to picture the future while conjuring moments in the history of painting.

This gorgeous survey «adds to the history of postwar abstraction by providing a first glimpse of what a small group of Cuban artists were up to in the 1950s and early»60s, the tumultuous years leading up to, and just after, the revolution that brought Fidel Castro to power.»

Gesture, Emotion, Shape: Sources of Abstraction by Philip Dytko, Class of 2017, Pauline Lewis, Class of 2016, and Amalia Siegel, Class of 2016, Art History 71: The American Century - Modern Art in the United States, Winter 2015, Mary Coffey, Class Project, Israel Sack Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 14 - July 12, 2015.

The new paintings fuse, in Cranston's idiosyncratic way, her ongoing interest in color theory and how it functions within consumer culture vis - a-vis corporate marketing and branding strategies, as well as its relationship to personal and collective experience, with the aesthetics and history of high Modernist abstraction.

Diebenkorn pulled from the time - honored traditions of art history and recast them in an age of abstraction.

Even though I have a whole history of exploring figuration, I'm equally interested in abstraction.

The exhibition is certain to expand your vocabulary of early abstraction and modernism, the underlaying historical, literary and cultural factors that allowed for this new visual language to cement its position in history and help better understand later innovations by Mark Rothko, Joseph Albers, Chuck Close, Spencer Finch, Richard Serra, Julian Schnabel and others.

The last time MoMA mounted an overview of the history of abstraction (not counting the de Kooning retrospective) was in 2010 — 2011 when Ann Temkin brought us the expansive survey of Abstract Expressionism in New York — the mid century art movement that is largely synonymous with America in general and New York in particular.

The pattern seen is reminiscent of Arab - Islamic Art that has developed throughout history in the field of abstraction as religion forbade the representation of the human figure.

R. H. Quaytman infuses abstraction with the architecture, history, and poetics of the specific space, themes that appear in the monumental photographic works of Thomas Demand and Andreas Gursky.

Central to the exhibition are found images that «serve as bedrock for Pendleton's artistic practice and connect his form of abstraction with the history of the America Civil Rights Movement, the pre-war Avant - Garde, La Nouvelle Vague in film, and Minimalist and Conceptualist art practices of the 1960s.»

In the under - recognized field of Latin American geometric abstraction, it is important to note Sanín's contributions creating artwork reflective of the political, economic, and social realities in Latin American historIn the under - recognized field of Latin American geometric abstraction, it is important to note Sanín's contributions creating artwork reflective of the political, economic, and social realities in Latin American historin Latin American history.

Moreover, if one considers the alternate history of Schapiro's having continued to work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be worked even when flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.

LeWitt, Nevelson, Pendleton extends Pace's ongoing series of group exhibitions that initiate conversations between artists working across time periods, geography, and media, following such significant exhibitions as Blackness in Abstraction (2016), Sol LeWitt and Zhang Xiaogang (2016), Alfred Jensen / Sol LeWitt: Systems and Transformation (2012), Light, Time and Three Dimensions (2007), Dubuffet and Basquiat: Personal Histories (2006); and Grids: Format and Image in 20th - Century Art (1979).

Confronting the Canvas: Women of Abstraction does not attempt to rewrite history, but instead it identifies and gives prominence to emerging and mid-career women working in the field of gestural abstracAbstraction does not attempt to rewrite history, but instead it identifies and gives prominence to emerging and mid-career women working in the field of gestural abstractionabstraction today.

It doesn't matter if she hews to a feminist reading of history, self - consciously apes historical modes of abstraction, or engages in Warholian strategies, the «post -» artist will happily jettison aesthetic engagement for the opportunity to pontificate in the service of self.

Together, they present an argument for Báez as one of our most gifted and relevant young artists working today, one whose exquisite works - on - paper are set apart by their devotion to poetry and politics, abstraction and narrative, history and fantasy in equal measure.

This subjective, experiential exploration of landscape reveals her place in the lineage of American landscape painting as well as her compelling role in the history of postwar abstraction.»

Magnetic Fields: Expanding American Abstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in aAbstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in abstractionabstraction.

In Confronting the Canvas, one discovers the significant role of women painters in the contemporary history (or «her - story») of abstractioIn Confronting the Canvas, one discovers the significant role of women painters in the contemporary history (or «her - story») of abstractioin the contemporary history (or «her - story») of abstraction.

Gwen Chanzit: I first began thinking about this topic in 2008, when I saw Action / Abstraction at the Jewish Museum in New York and wondered about some of the «outlier» artists who still sit at the fringes of Abstract Expressionism's history.

In an interview with Black Art In America, Shrobe discusses the rich history of materials, and poetically defines abstraction as a process wherein the artist invites materials to tell their own story.3 In so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his workIn an interview with Black Art In America, Shrobe discusses the rich history of materials, and poetically defines abstraction as a process wherein the artist invites materials to tell their own story.3 In so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his workIn America, Shrobe discusses the rich history of materials, and poetically defines abstraction as a process wherein the artist invites materials to tell their own story.3 In so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his workIn so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his workin his works.

The paintings carry with them the aura of art history as well the intensity of Moran's physical process of painting, a process of reduction and abstraction that results in a state, experience or sensation.

Color informs and evades the actions of painting and removal in the final surfaces, which bedazzle and evoke patterns of abstraction from many histories.

They include issues concerning land and landscape (in Brooklyn and beyond); the body as nexus of cultural identity and depiction in imagined narratives; notions of history and memory; and abstraction.

Richter is an ideal point of entry into painting because, as you said, his work in many ways encompasses this entire history of the medium, from virtuoso realism to abstraction and the extreme minimalism of his mirror works.