Sentences with phrase «late modern abstraction»

Not exact matches

It is interesting to contrast Whitehead's extreme objectifying and abstractive position reflected here and stated concisely in Science and the Modern World that «Mathematics is thought moving in the sphere of complete abstraction» (SMW 21) with his later statement in Modes of Thought: «Hence the absolute generality of logic and mathematics vanish» (MT 98).

Late in his life, the painter of modern orientation attempted to re-introduce elements of abstraction into his new figurative style, a feat that can be seen in several of his works from 1980.

Also given prominent spaces are Channa Horowitz, who died last year, with large - scale, intricately constructed ink drawings on mylar that are reminiscent of Hanne Darboven's numeric abstractions, and leporellos — painted accordion - folding books — by Etel Adnan, the Lebanese - American writer and artist who participated in dOCUMENTA 13 and has an exhibition at the Arab Museum of Modern Art (aka Mathaf) in Doha coming up later in March.

Vierkant follows a late modern tradition, in which abstraction is not necessarily the spiritual, as it was for Wassily Kandinsky, but exactly what it is — a literalism that invites words while defying one to use them.

LATE LAST DECEMBER, halfway through the Museum of Modern Art's de Kooning retrospective, John Chamberlain's sculpture irresistibly sprang to mind — as if the Dutchman's extraordinary mid -»50s abstractions (Interchanged, 1955; Gotham News, 1955; The Time of the Fire, 1956) had conjured their three - dimensional counterparts made from the remnants of crushed automobiles.

Nuevas incorporaciones - Museu d'Art Contemporani de Barcelona - MACBA, Barcelona Days Lumberyard Studios - ACME Fine Art & Design, Boston, MA Great Impressions II - Dean Jensen Gallery, Milwaukee, WI Pollock's Mural and Modern Masterworks from the University of Iowa Museum of Art - Figge Art Museum, Davenport, IA Shaping Reality: Geometric Abstraction after 1960 - The Minneapolis Institute of Arts, Minneapolis, MN Layered / Boxed - Nohra Haime Gallery, New York City, NY International: 20th Century and Contemporary Masters - Hillsboro Fine Art, Dublin Pop to Present - Cantor Arts Center at Stanford University, Stanford, CA Grafik; Multiple & Plastik Der 60iger Und 70iger Jahre - Galerie Baal, Bielefeld Collected Visions - Bronx Museum of the Arts (BxMA), New York City, NY Modern Masters - Museum of Contemporary Art San Diego - MCASD Downtown, San Diego, CA 1968 - 69: 40 Years Later - Armand Bartos Fine Art, New York City, NY Action / Abstraction: Pollock, de Kooning, and American Art, 1940 — 1976 - Albright - Knox Art Gallery, Buffalo, NY The Third Mind: American Artists Contemplate Asia: 1860 - 1989 - Solomon R. Guggenheim Museum, New York City, NY Vivre l'art - collection Venet - Espace de l'art concret, Mouans Sartoux Gallery Selections - Hollis Taggart Galleries, New York City, NY Gallery Mixed Show - Bernard Jacobson Gallery, London, United Kingdom Made in America - Manny Silverman Gallery, Los Angeles, CA Synchronies: Undercurrents in Postwar European and American Abstraction — Hackett Freedman Gallery, San Francisco, CA (closed, 2009)

His subject matter was not chosen as particularly suitable for formal experiments in abstraction: in his late works «he continued to explore visual perception, natural phenomena, modern life, the course of history and the social and ethical contexts that determine the endeavours of mankind».

The late Uruguayan artist, the subject of a 2015 retrospective at the Museum of Modern Art in New York, is best known for his enigmatic abstractions that reconcile classical and modern notions of bModern Art in New York, is best known for his enigmatic abstractions that reconcile classical and modern notions of bmodern notions of beauty.

In the arts, a similar revolution was taking place; the realism of the early Modern period had been supplanted in the late 1950s by Abstraction and Pop Art.

MODERN ART Pre-Raphaelites (1848 on) Impressionistm (1870s on) Neo-Impressionism (1870s) Newlyn School (1880s) Art Nouveau (Late 19th C) Symbolism (Late 19th C) Post Impressionism (c. 1880s) Les Fauves (1898 - 1908) Expressionist Art (1900 on) Die Brucke (1905 - 11) Der Blaue Reiter (1911 - 14) Ashcan School (1892 - 1919) Cubism (1908 - 1920) Orphism (1912 - 16) Purism (1920s) Precisionism (1920s on) Collage (1912 on) Futurism (1909 - 1914) Rayonism (1910 - 20) Suprematism (1913 - 1920s) Constructivism (1917 - 21) Vorticism (1913 - 15) Dada Movement (1916 - 1924) De Stijl (1917 - 31) Bauhaus School (1919 - 1933) Neo-Plasticism (1920 - 40) Art Deco (1920s, 30s) Ecole de Paris (1900 on) Neue Sachlichkeit (1920s) Surrealism (1924 on) Magic Realism (1920s) Entartete Kunst (1930s) Social Realism (1920s, 30s) Socialist Realism (1929 on) St Ives School (1930s on) Neo-Romanticism: from 1930s Organic Abstraction (1940 - 65) Existential Art (1940s, 50s) Abstract Expressionism (c.1944 - 64) Art Informel (c.1946 - 60) Tachisme (1940s, 50s) Arte Nucleare (1951 - 60) Kitchen Sink Art (mid-1950s) Assemblage (1953 on) Neo-Dada (1950s on) Op - Art (Optical Art)(1960s) Pop Art (1958 - 72) New Realism (1960s) Post-Painterly Abstraction (1960s) Feminist Art (1960s on)

Ad Reinhardt's late series of black paintings from 1960 might serve as an apogee in modern art's march towards pure abstraction.

These established Synchromism as an influence in modern art well into the 1920s, [4] though followers of other abstract artists (principally, the Orphists Robert and Sonia Delaunay) were later to claim that the Synchromists had merely borrowed the principles of color abstraction from Orphism, a point vehemently disputed by Macdonald - Wright and Russell.

Organized by the Modern Art Museum of Fort Worth, the exhibition follows Guston's movement from figuration to abstraction, as well as his later, more controversial return to figuration and the grand still lifes and landscapes that occupied him throughout the 1970s.

«Inventing Abstraction» is so forcefully, lucidly, and persuasively wrongheaded that it achieves its own kind of intellectual glory, instantly recognizable as the latest in a great Museum of Modern Art tradition of shows that make arguments that practically beg to be contradicted.