Drawing has long been at the root of her artistic practice, serving as
a means of abstract thinking.
Not exact matches
If we ask whether there could be a sort
of intellect that
abstracts without at least partially distorting, I
think Bergson would reply that we have no experience
of anything like that, and any such idea would be highly speculative and would risk missing the
meaning of the terms «intellect,» and «abstraction,» since these terms are employed based on an experience we really have.
In process -
thinking, certainly, the same is true — the
meaning of the concept
of God is not derived from
abstract theory but from observation
of the world and its concrete actuality.
One should not in this connection let himself be deceived by the observation that the
abstract thinking of the Greeks made it possible for them to understand in its purity the essence
of the spiritual, and that therefore mythological, anthropomorphic ideas
of God were abandoned by the Greeks, while in Judaism naïve mythological and anthropomorphic expressions about God, although they decrease, do not by any
means disappear.
In the last ten years
of his life, Wach was often mistakenly
thought to be in the camp
of the second approach to comparative religion at Chicago, which necessitated his stating repeatedly that while the philosophy
of religion applies an
abstract philosophical idea
of what religion is to the data
of empirical, historical studies, the history
of religions begins with the investigation
of religious phenomena, from which, it is hoped, a pattern
of «
meaning» will emerge.
The
abstract noun «conception»
means the act
of conceiving and / or the fact
of conceiving, i.e.,
of taking hold
of and holding something in the mind, and thus frequently also connotes «what» is so held — in this being synonymous with «concept,» or «
thought,» or «idea» in its modern usage.
They still speak
of light,
meaning an
abstract thought.
When I examine myself and my methods
of thought, I come to the conclusion that the gift
of fantasy has
meant more to me than any talent for
abstract, positive
thinking.
And perhaps most impressive
of all, before the telegraph could even be considered a
means of interpersonal communication, somebody — Samuel Morse — needed to
think up a system by which the infinite variety
of concrete,
abstract, and usually self - serving statements that a human being might wish to share with a species - mate could be reduced to pulses
of electricity.
- When I examine myself and my methods
of thought, I come to the conclusion that the gift
of fantasy has
meant more to me than any talent for
abstract, positive
thinking.
WW: I saw a talk with you and Thelma Golden, and something I
thought was interesting was you said, «I don't believe the rhetoric around
abstract painting,» which I took to
mean as you simplify interpretation
of your work as a way
of approaching it.
I find that
abstract works present an opportunity to encounter the beauty
of mystery in a search for
meaning beyond the limits
of thinking and language.
Where as a figurative work
of art might allow every viewer to engage with it on the same level by referencing some aspect
of history or life with which we are all familiar, an
abstract artwork requires that every viewer that sees it begins anew, using their
thoughts and feelings to arrive at some conclusion about what it could possibly
mean.
What this has
meant for Stella is that not only has he expanded upon his own historicized work
of the late»50s through the»70s — work that turned
abstract painting into «a thing in the world» rather than pictures or signs
of thoughts or emotions — but that he also opened for himself a new conceptual and visual space.
John, I don't
think the problems with painting are to do with greater competition — in fact I'm not sure there are that many good
abstract painters around anyway — but to a lack
of clarity about what making a properly
abstract painting really
means; whereas that seems to me to have not only clarified somewhat in
abstract sculpture, but also, paradoxically, broadened out.
Andrew has got at quite a lot
of my
meaning in his latest comment — I don't
think it is possible technically to seriously match the spaces Robin is raising as a comparison — and beating down other
abstract artists with — with the
means with which he limits
abstract painting, the
means by which
abstract painting, or at least a substantial tranche
of it has traditionally been limited.
He has made over the past couple
of years some
of the best
abstract art around, but I don't
think it would be quite right to call it «beautiful» — not in the aesthetic sense you
mean.
On the eve
of his survey at the Whitney, the eminent
abstract artist shares a few
thoughts on this moment in his career and what it
means (or doesn't) for a new generation
of abstract artists.
I
think the specificity that you seek (or lack
of it that you are critical
of) will only be revealed in work that responds to the challenges
of producing ambitious work that is confident in its purpose (the
abstract) but perhaps unsure as yet
of its route, (the
means) learning on the job I guess.