Sentences with phrase «light on abstraction»

Anne Vieux's paintings and sculptures explore the optics of the computer screen and the implications of light on abstraction, through digital reproductions.

Anne Vieux's paintings and sculptures explore the optics of the computer screen and the implications of light on abstraction, through digital reproductions of material surfaces.

Riley has chosen a Raphael and an Andrea Mantegna from the collection to hang with several of her recent canvases — an unlikely context certain to shed new light on her abstraction.

Not exact matches

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Indie publisher Abstraction Games and developer Night Light Interactive have announced today their haunting, original adventure / horror game, Whispering Willows, will be coming to Xbox One, Google Play and the App Store on August 12!

Perhaps more influential than light, however, was Impressionist fracturing: the equity granted to light and shadow on the picture plane was extended to figure and ground, opening toward abstraction.

Pure abstractions, such as the two huge «Blushes» whose cascading streams of magenta dominate the gallery, refine photographic practice to the barest elements of light on paper.

With a deep and vivid palette and dynamic interchanges of light and dark, these paintings — always executed in oil on wooden panels — collapse the usual binary distinctions between abstraction and representation, narrative and pure sensation, past and present.

Hansa artists» works represented in the Grey show include Jane Wilson's Portrait of Jane Freilicher (1957), an oil on canvas merging abstraction with figuration, and Jean Follett's Many - Headed Creature (1958), a piece that recreates a fragmented body on a wood panel out of junk and found objects — a light switch, socket cooling coils, a window, a screen, nails, a faucet knob, mirror twine, cinders, a caster, springs, and rope.

On view will be a range of new paintings in which Wilson continues to translate color and light into luminous and flawlessly calibrated abstractions.

Casting a light on the diversity of contemporary approaches to abstraction, the works explore the artists» impact on the landscape of art and American culture, across generations and disciplines.

Other works such as the series Blushes 2000 - ongoing, made without a camera by manipulating the effects of light directly on photographic paper, show how the artist's work with abstraction continues to push the boundaries and definitions of the photographic form.

At first concerned with the logistics of light and form on a fundamental level, Bray's works expand to make visible their potential through abstraction.

One might start with a newcomer, Airplane, in a frame house on the western edge, where Andrea Burgay's light - toned abstraction and Shinya Watanabe's photographs of sunlight competed with ill - tempered robots from Tim Belknap and Peter Caine.

As well as following the rise of Constructivist art from its revolutionary beginnings amongst the avant - garde in Russia and Europe, the exhibition sheds new light on the evolution of geometric abstraction from continents across the globe including Asia, the US and Latin America.

At first blush, Annell Livingston's tightly gridded abstractions might appear to be successors to the Op Art frenzy of the 1960s, but on closer scrutiny her gently rippling canvases are not so much interested in playing visual tricks as in conveying the passage of light and a feeling of transience.

PURCHASE, NY - «Romare Bearden: Abstraction,» currently on view at SUNY Purchase's Neuberger Museum of Art in Westchester County, brings to light a sampling of work from an interesting moment in Bearden's long career, work that had been nudged aside by an enthusiastic embrace of his later collages.

His abstractions take as their inspiration fragments of observed reality: the way shadows on a stairwell establish their own staccato rhythm or afternoon light falling on an architectural detail creates random angles.

This juxtaposition of historic and contemporary work brings into critical focus the tremendous role Schapiro's femmages played in the reframing of craft and decoration, while shining a light on the way artists today, both distinguished and emerging, continue to approach the decorative as a language of abstraction tied to the personal and the political.

Focusing on simple, geometric forms of abstraction, Zobernig uses everyday materials such as cardboard, styrofoam, pressboard, linen and fluorescent lights.

Regarded for her «empty» images that border on painterly abstraction, the artist carefully renders blurred backgrounds, cropped frames and the natural qualities of light to capture incidental and fleeting moments, those which exist almost exclusively within our periphery.

Yet it also recalls the emphasis on line, form, light, and darkness in the black - and - white photographic abstractions of Aaron Siskind (1903 — 1991) and Harry Callahan (1912 — 1999), who Rauschenberg would come to know — and, in Siskind's case, befriend — when they taught at Black Mountain during summer 1951.

Tags: abstract, abstraction, colour, geometric art, lisa norris gallery, Lisa Staglich Posted in Exhibition, London Comments Off on Nicola Staglich — Light Space at the Lisa Norris Gallery (12 - Mar / 18 - Apr)

Academy of Fine Arts Vienna, Austria 2010 Eternal Tour festival: «From Abstraction to Activism,» Jerusalem and Ramallah, Palestine 2009 «Nostalgia Isn't What It Used To Be,» co-programmed by Brooke O'Harra and Sharon Hayes), Light Industry, Brooklyn, NY Artists on Artists Lecture Series: «Sharon Hayes on Merce Cunningham,» Dia Art Foundation, New York, NY, March 2, 2009 2008 «Nine Scripts from a Nation at War - In Conversation,» Conference with the 9 Scripts from a Nation at War artists Andrea Geyer, Sharon Hayes, Ashley Hunt, Katya Sander and David Thorne, The Courtauld Institute of Art, London, England, June 9, 2008 «Spheres of Interest,» San Francisco Art Institute, San Francisco, CA, May 2, 2008 «Looking Back Now.

Large Abstraction # 2, Oil on Canvas, 30 x 30 Inches, is a complex abstraction filled with light and brilliant color painted in a lush and fluid style which is the logical evolAbstraction # 2, Oil on Canvas, 30 x 30 Inches, is a complex abstraction filled with light and brilliant color painted in a lush and fluid style which is the logical evolabstraction filled with light and brilliant color painted in a lush and fluid style which is the logical evolution of...

Light, abstraction, transparency and glowing color come together to create works that offer a meditation on safety, separation and the deep familiarity of place.

Postmodernism deprived painting of originality and first - hand experience at the same time that Greenberg's disembodied abstraction, addressed to eyesight alone, collided with the desire on the part of some artists to retain the wholeness of the aesthetic experience made available by the old masters in their fusion of the haptic quality of sensuous painterly surfaces with the optical melding of colour and light.

Approximately 40 — 45 works will comprise this exhibition shedding light on Pelton's artistic contribution to American Modernism, while examining her practice against a broader, international framework of spiritual and esoteric abstraction.

Mostly Blue, Oil on Canvas, 30 x 30 Inches, is a complex abstraction filled with light and brilliant color painted in a lush and fluid style which is the logical evolution of the artist...

Humphries's lightbox paintings are made with fluorescent paint on translucent fabric, set within a lightbox, and lit with a black light — sneering X-ray abstractions.

The result is an exhibition where variety in scale, medium, and degree of abstraction is balanced by the strong continuity among all the works — a reliance on automatism, a juxtaposition of unexpected elements and conflicting temporalities, and the presence of organic forms — bringing to light the profound impact surrealism had on pre - and post-war American artists.

From Josef Albers's geometric abstraction, where grey on grey nonetheless implies light at the end of the tunnel, to Frank Stella's terrific all - black maze conjuring the urban grime of Harlem, monochrome becomes lyrical, poetic.

For many, Claude Monet's painting, especially his series investigating light on the Rouen Cathedral, announced abstraction in art.

Turn on the bright lights forefronts artists who work with abstraction to represent spaces that resist visibility.

Set aside in their own room, hung on white walls and carefully lit, the paintings walk the lines between painting and drawing, and representation and abstraction.

Additional rooms are dedicated to John Marin, one of the first Americans to embrace abstraction through color and line; the Washington Color School painters (Gene Davis, Thomas Downing, Morris Louis), who focused on the expressive power and optical effects of color; and contemporary artists (Tayo Heuser, Jorge Pardo, Kate Shepherd), who engage the eye in the experience of color and light.

Instead of human - machine interactions and a viewing pace hinged on proximity, here the dramatic encounter of two megaphones from opposite side of a hanging rail gradually approaching each other singing a duet of female and male voices and causing a pile of neon tubes to flare and extinguish until the two megaphones come to a stand - off midway, exploding into a thundering abstraction and dazzlingly white light as if the harmony is pixelated into fragments of destruction.

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.

2008 Text / Messages: Books by Artists - Walker Art Center, Minneapolis, MN Inspired by Literature: Art and Fine Books - Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ PEGGY GUGGENHEIM E LA NUOVA PITTURA AMERICANA - Peggy Guggenheim Collection, Venice Collector's Eye - Gana Art Gallery, Seoul Blake to Kahlo to Warhol: Masterworks from the Harry Ransom Center - El Paso Museum of Art (EPMA), El Paso, TX 1945 - 1949 Repartir à zéro, comme si la peinture n'avait jamais existé - Musée des Beaux - Arts de Lyon, Lyon Action / Abstraction - Saint Louis Art Museum, Saint Louis, MO Contemporary Masters: Print Selections - Amy Simon Fine Art, Westport, CT REFLECTIONS ON LIGHT - 30 years Galerie Bernd - Galerie Klüser, Munich Tilted Balance - Collectors Contemporary, Singapore From Abstract Expressionism to Pop Art: Johns, Rauschenberg and the Aesthetic of Indifference — Sonoma Valley Museum of Art, Sonoma Nuances of Printmaking - Koehnline Museum of Art, Des Plaines (IL) The sight of music - Mississippi Museum of Art MMA, Jackson, MS Abstraction: Summer 2008 - Thomas McCormick Gallery, Chicago, IL Philadelphia Collects: Works on Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far OuON LIGHT - 30 years Galerie Bernd - Galerie Klüser, Munich Tilted Balance - Collectors Contemporary, Singapore From Abstract Expressionism to Pop Art: Johns, Rauschenberg and the Aesthetic of Indifference — Sonoma Valley Museum of Art, Sonoma Nuances of Printmaking - Koehnline Museum of Art, Des Plaines (IL) The sight of music - Mississippi Museum of Art MMA, Jackson, MS Abstraction: Summer 2008 - Thomas McCormick Gallery, Chicago, IL Philadelphia Collects: Works on Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far OuON LIGHT - 30 years Galerie Bernd - Galerie Klüser, Munich Tilted Balance - Collectors Contemporary, Singapore From Abstract Expressionism to Pop Art: Johns, Rauschenberg and the Aesthetic of Indifference — Sonoma Valley Museum of Art, Sonoma Nuances of Printmaking - Koehnline Museum of Art, Des Plaines (IL) The sight of music - Mississippi Museum of Art MMA, Jackson, MS Abstraction: Summer 2008 - Thomas McCormick Gallery, Chicago, IL Philadelphia Collects: Works on Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Ouon Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Ouon Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Ouon Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Ouon Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far OuOn Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far OuOn Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Out!

The conventional narrative applied to Turner holds that the artist emerged from his roots in traditional landscape painting with a new style, suffusing form in light to create fields of color verging on abstraction, hence his connection with Modernism.

In brief, there was little knowledge about this American movement (interestingly enough, there was more information on Pop Art and Minimalism), and the whole perspective of looking at Abstract Expressionism was in the light of European postwar abstraction — Paris School, Lyrical Abstraction, New Realism, and L'informel — building on the tradition, vocabulary, and ideals of these trends that were naturally more accessible and familiar to manyabstraction — Paris School, Lyrical Abstraction, New Realism, and L'informel — building on the tradition, vocabulary, and ideals of these trends that were naturally more accessible and familiar to manyAbstraction, New Realism, and L'informel — building on the tradition, vocabulary, and ideals of these trends that were naturally more accessible and familiar to many Europeans.

The new gallery is on Grosvenor Hill in Mayfair and its double - height, day - lit spaces shows, from Saturday, the stirring paintings of Cy Twombly, an artist whose gestural abstraction — sometimes incorporating scribbles and scrawled text alongside powerful swirls of colour — has a singular place in post-war American art.

Dark, cinematic and spatially resonant, the images make use of geometry and abstraction to shed light on unseen elements of the nocturnal world.

These moody shots on film, with a blurred and deliberately out of focus lens, allow the day's light to re-sculpt the contours of this immense iron abstraction.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

The works on view use color, touch, music, spectacle, light, and darkness to confound expectations, flattening space through animation and abstraction, or heightening the illusion of three dimensions.

The various paintings on view offer the public a chance to follow the artist's growing interest in issues of light and abstraction offering an example of a dynamically changing artistic process.

Later on, when he did the very last picture and there's nothing but wall and light and it has an element of abstraction there, very strongly, very strongly.

He wound up creating some of the most astonishing nature paintings in the history of Western art, swirling effusions of light and color that flirted with abstraction, sharply divided the critics of his era and have been cited as strong influences on the Impressionists, Mark Rothko and contemporary light sculptor James Turrell.

And, in the adjacent gallery, Jasper Johns, now 87, is represented by over 30 years of his peripatetic late style, from «Between the Clock and the Bed» (1981), with its intimations of a figure and spreading light amid abstract hatch marks (its identically titled inspiration, by Edvard Munch, is on view at the Met Breuer) to «Regrets» (2013), a large, dark, dense work that circles back toward abstraction.