Sentences with phrase «history of abstraction as»

Not exact matches

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.

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).&raquAs 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).&raquas 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).&raquas 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).&raquas 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).&raquas 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.

While a hypothetical stance allows us to perceive important aspects of the divine plan (e.g., the deificatio of man), it unfortunately requires a certain abstraction from the Jesus of history, from our own reality as sinful creatures, and from the salvation won for us upon the Cross.

Making sense of Christian history as a living resource, peopled not with venerated abstractions but men and women as alive and individual as you or I, seems critical at a time when storytelling and imitation are more the province of secular entertainment than sacred order.

Abstraction has strong publisher and first party relationships from its history of working on large adaptations, such as Angry Birds and Hotline Miami.

If abstraction is favored by undiscerning speculator collectors as well as museums hoping to advance a fast - forward chronology of art history, there is still no small amount of figurative work on the scene.

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.

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.

Adventures of the Black Square presents abstraction as not being estranged from social reality, that its concern with form, shape and colour throughout its history are intrinsically linked to politics and expressions of modern living.

Trudy Benson could be running through a brief history of abstraction, as fast as humanly possible.

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.

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.

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.»

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).

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.

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.

Best known for large - scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth - century abstraction, as well as other sources such as the comic book and the muralist tradition.

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 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.

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.

At the time, Andersson was not well known in the States, yet it was immediately clear that her paintings epitomized an approach to form that could be characterized in Ferguson's terms: Old dichotomies of abstraction and figuration had been erased, and art history had become available as a kind of stylistic smorgasbord to be drawn on at will.

[35] The Istanbul Biennial in 2011, instead of choosing a theory or theme as a unifying rubric, mounted five group shows around the main themes that inspired Gonzalez - Torres's work — love, death, abstraction, contested histories and territories.

And yet, though the early decades of 20th - century Russia have been firmly registered in today's art history as a time of radical social and artistic change, the uncompromising and often absurd ideas in Avant - Garde Museology appear alien to a contemporary art history that explains suprematism and constructivism in terms of formal abstraction.

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In Bloom consists of fifteen oil paintings whose style and process seem to reflect an ardently informed education in the history of post-war abstraction, also known as the New York School and Action Painting, heroically embodied by mythic rivals Jackson Pollack and Willem De Kooning.

She defines her studio practice, which is rooted in an ongoing investigation of experience, memory, abstraction, present and future histories - specifically shifting notions surrounding landscape - as cyclical rather than linear.

Robert Indiana distinguished himself as the «American Painter of Signs» as a way to emphasize his interest in exploring American identity, personal history, and the power of abstraction and language.

Central to Crowner's practice is research into the history of 20th century abstraction and modernist design, as well as an obvious penchant for textile production.

Charting such a variegated history makes room for von Wiegand's version of abstraction in 1945 and 1946, which bears directly on the art of the 1940s and 1950s and extends into the 1960s as an alternative art to the more famous Abstract Expressionism.

As the retrospective emphatically demonstrates, a new chapter urgently needs writing in the still - inconclusive history of postwar abstraction — its highs and its lows.

The show expands on the rich and significant history of Latin American conceptual abstraction and provides a contemporary view as it is practiced by a current generation — and contextualized -LSB-...]

Exploring techniques such as working additively, reductively, and often quite physically in pulp to build line, color and form, these artists build on the rich history of abstraction, allowing the processes unique to handmade paper to push boundaries in their work.

Dashper's work focuses on the histories, theories and more general or popular ideas of abstraction (in particular abstract painting), conceptualism and minimalism as a working methodology.

Installation view September 16 — October 11, 2008 Dashper's work focuses on the histories, theories and more general or popular ideas of abstraction, conceptualism, and minimalism as a working methodology.

Combining representation and abstraction, her work captures the frenetic pace of contemporary culture, broaching subjects as diverse as race, celebrity, religion, politics, sex, and art history.

And as a reward for such an impressive achievement, Carmen Herrera's name will go down in art history and her quiet but steady work will forever by a perfect example of a cross-cultural dialogue within the international history of modernist abstraction.

Excelling in foreign languages, journalism, art history, and psychoanalysis, she eventually settled in Greenwich Village, where she pursued a dual career as a journalist and a painter of biomorphic abstractions — a popular transatlantic style of the late 1930s.

These examples pre-date the term hardedge abstraction by Los Angeles Times art critic Jules Langsner, in 1959 but show an obvious significance to the cannon of art history to come as well as cementing her use of found materials painted black in her works to come.

With their thick impasto and shiny reflective surface, the tar creates a surface that visibly reflects the movement of the hand across the canvas, linking these works to Japanese calligraphy as well as to a history of gestural abstraction.

At the heart of this exhibition is Pendleton's continual engagement with an expanded history and definition of abstraction as it has developed and cross-pollinated in the visual and poetic arts.

Hilla Toony Navok's work explores themes of high Modernism and abstraction as they appear in consumer products, as a way of examining the ideological underpinnings of design and the assimilation of the history of Modernism in contemporary consumer culture.

Playful and engaged with the world and its technologies as it is, it also has a formal exactitude that deploys abstraction's constructivist history as much as the potential of architectural intervention.

His 2008 award - winning show for The Jewish Museum, Action / Abstraction: Pollock, De Kooning, and American Art, 1940 - 1976 is an example of his rethinking of art and cultural history as well as exhibition models.