Sentences with phrase «modern abstraction into»

A new solo exhibition of Monir Farmanfarmaian's works at the Grand Rapids Art Museum showcases the Iranian artist's ability to synthesize Islamic tradition and modern abstraction into objects of great beauty and depth.

Not exact matches

In the words of Allen Tate: «The abstraction of the modern mind has obscured their way into the natural order.

But the clear insight into its meaning which is given by modern scientific philosophy shows that by its inherent nature and definitions it is but an abstraction and that, with all its great and ever - growing power, it can never represent the whole of existence.9

26 The tenth chapter of Science and the Modern World (New York: 1925), entitled «Abstraction, contains the detailed exposition of the relation of eternal objects to one another with respect to their possible ingression into the world of becoming.

Organized both thematically and chronologically, the show divides the works on view into two main chapters: the years from 1923 to 1933, a time when Torres - García was involved in early modern avant - garde movements such as Catalan Noucentismo to Cubism, Ultraism - Vibrationism, and Neo-Plasticism; and those from 1935 to 1943, a time in which he was fully committed to creating works in his unique style of synthetic abstraction.

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.

The works in 3 x Abstraction also bring into focus the role of modern and contemporary art in representing complex ideas.

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.

He has participated in numerous group exhibitions including the Venice Biennale in 1993 and 2003; Twentieth Century British Sculpture, Jeu de Paume, Paris, 1996; Extreme Abstraction, Albright Knox Art Gallery, Buffalo, 2005; Into Me / Out of Me, PS1 Contemporary Art Center, New York, 2006; Re-Object, Kunsthaus Bregenz, Bregenz, 2007; and Color Chart: Reinventing Color 1950 to Today, Museum of Modern Art, New York, 2008.

1910 is the official date given by Alfred Barr, founding director of New York's Museum of Modern Art, for the creation of the first abstract paintings, but Af Klint made her forays into abstraction four years earlier — in 1906.

For the pilot semester beginning October 3, and its theme of «New Social Abstractions,» leading artists - theorists Hito Steyerl, Simon Denny, Evan Calder Williams, and writer Ana Teixeira Pinto will lead an exploration into new levels of complexity that organize our modern world and discuss new kinds of artistic production that this development may demand

One room brings together the paintings of modern European colorists (Pierre Bonnard, Henri Matisse, Vincent van Gogh) who forayed into abstraction, while another showcases their American counterparts (Milton Avery, Arthur Dove, Albert Pinkham Ryder), revealing the artists» similar preoccupation with color and light yet different sensibilities.

Donald Kuspit, credits Manolis with starting a new abstract movement which he coined the «Miami School of Abstract Expressionism,» and also states, «Indeed, Manolis» color - saturated abstractions breathe fresh life — fresh feeling — into abstract expressionism... He's a modern master...» J. Steven is a prodigious talent.

Guyton's interest in the struggle of two materials interacting play perfectly into his new achievements stating: «I have become interested in when something starts as an accident and then becomes a template for other things, or reproduces itself and generates its own logic until something else intervenes to change it» (S. Rothkopf, «Modern Pictures,» Wade Guyton: Color, Power & Style, Cologne, 2006) Untitled, 2008, is an outstanding example of his exploration into the limitation of artistic language that abstraction still holds in the 21st century.

The impasto of modern and contemporary painters — particularly those moving into abstraction or creating fully abstract images, like Vincent van Gogh, Jackson Pollock, or Willem de Kooning — reflect an emphasis on gesture and the physical presence of paint itself.

Blending abstraction and figuration, Romanticism and psychedelia, von Wulffen's large - scale paintings wryly revisit and reprocess tactics and tropes of modern painting from German Expressionism onward, while recent series of drawings have tweaked the conventions of the children's book, the comic strip, and the storyboard, turning these formats into vehicles for her own psychologically charged narratives.

Building upon an established canon of geometrical abstraction, which began with Wassily Kandinsky's gestural works and Malevich's 1915 compositions, Scully's oeuvre gradually reinstates poetry into the modern practice of painting.

Von Wulffen's installations often exceed the boundaries of the canvas or page, extending into the exhibition space in the form of wall paintings and furniture that conjure images of bourgeois interiors and nod to modern art's longstanding pas de deux between abstraction and decoration.

Combining traditional techniques of her ancestry with modern industrial technology, Ando skillfully transforms sheets of burnished steel and anodized aluminum into ephemeral abstractions suffused with subtle gradations of color.

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.

In 1915, Kazimir Malevich changed the future of modern art when his experiments in painting led the Russian avant - garde into pure abstraction.

Recent group exhibitions include The Noise of Art, Soccer Club Club, Chicago (2016); Accumulations: 5,000 Years of Objects, Fictions, and Conversations, Mead Art Museum, Amherst College, Amherst, Massachusetts (2016); NEON: The Charged Line, Grundy Art Gallery, Blackpool, England (2016); Grafforists, Torrance Art Museum, California (2016); NO MAN»S LAND: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami (2015); Pretty Raw: After and Around Helen Frankenthaler, Rose Art Museum, Brandeis University, Waltham, Massachusetts (2015); The Forever Now: Contemporary Painting in an Atemporal World, Museum of Modern Art, New York (2014); and California Landscape into Abstraction, Orange County Museum of Art, Newport Beach, California (2014).

Nothing in Moderation Musée National des Beaux - Arts du Québec, Québec City (catalogue) 2016 Joan Mitchell: Drawing Into Painting Cheim & Read, New York 2015 Joan Mitchell - At The Harbor And In The Grand Vallée Edward Tyler Nahem Fine Art, New York Kunsthaus Bregenz, Bregenz (catalogue)(traveling to Museum Ludwig, Cologne, 2015) 2014 Joan Mitchell: Trees Cheim & Read, New York (catalogue) 2013 Galerie Max Hetzler, Berlin (catalogue) At Home in Poetry Poetry Foundation, Chicago An American Master Lehigh University Art Galleries, Bethlehem, Pennsylvania 2012 The Last Decade The Butler Institute of Contemporary Art, Youngstown The Last Paintings Hauser & Wirth, London 2011 The Last Paintings Cheim & Read, New York (catalogue) Paintings from the Fifties Lennon, Weinberg, Inc., New York 2010 The Last Decade Gagosian Gallery, Beverly Hills Inverleith House Royal Botanic Garden, Edinburgh (catalogue) Joan Mitchell in New Orleans: Paintings New Orleans Museum of Art Joan Mitchell in New Orleans: Prints Contemporary Arts Center, New Orleans Joan Mitchell in New Orleans: Works on Paper Newcomb Art Gallery, Tulane University The Roaring Fifties Galerie Thomas Modern, Munich 2009 Joan Mitchell: Drawings Kukje Gallery, Seoul (catalogue) Joan Mitchell: Sunflowers Hauser & Wirth, Zurich 2008 A Discovery of the New York School Musée des Impressionnismes, Giverny; traveled to: Palazzo Magnani, Reggio Emilia; Kunsthalle Emden, Emden (catalogue) Joan Mitchell: Sunflowers Cheim & Read, New York (catalogue) Joan Mitchell: Paintings and Pastels 1973 — 1983 Lennon, Weinberg, Inc., New York 2007 Leaving America Hauser & Wirth, London (catalogue) Joan Mitchell: Works on Paper 1956 — 1992 Cheim & Read, New York (catalogue) 2006 de Young Museum, San Francisco Joan Mitchell: A Survey 1952 — 1992 Kukje Gallery, Seoul (catalogue) 2005 Joan Mitchell: Prints from the Foundation Susan Sheehan Gallery, New York Joan Mitchell: The 1946 — 1952 Sketchbook Drawings and Related Works Pollock Gallery, Southern Methodist University, Dallas Joan Mitchell: Frémicourt Paintings 1960 — 62 Cheim & Read, New York (catalogue) Joan Mitchell Sketchbook 1949 — 51 Francis M. Naumann, New York 2002 Robert Miller Gallery, New York Petit Lennon, Weinberg, Inc., New York The Paintings of Joan Mitchell Whitney Museum of American Art, New York; traveled to: Birmingham Museum of Art, Birmingham, Alabama; Modern Art Museum of Fort Worth, Fort Worth; The Phillips Collection, Washington, D.C.; Des Moines Art Center, Iowa (catalogue) The Presence of Absence Cheim & Read, New York (catalogue) Memory Abstracted Edward Tyler Nahem Fine Art, New York Working with Poets: Joan Mitchell Tibor de Nagy, New York 1999 The Nature of Abstraction: Joan Mitchell Paintings, Drawings, and Prints Walker Art Center, Minneapolis 1998 From Nature to Abstraction Nave Museum, Victoria Paintings, 1950 — 1955 from the Estate of Joan Mitchell Robert Miller Gallery, New York 1997 IVAM Centre Julio González, Valencia Joan Mitchell: Selected Paintings Lennon, Weinberg, Inc., New York Galerie Won, Seoul Pastels by Joan Mitchell Phillips Collection, Washington, D.C. 1996 Joan Mitchell: Pastels Musée des Beaux - Arts de Rouen, Rouen Joan Mitchell: Paintings from 1956 to 1958 Robert Miller Gallery, New York (catalogue) 1995 Joan Mitchell: Tilleuls, 1978.

There had been a thin stream of Cubism merging into geometric abstraction, some of whose practitioners grouped together in «Exhibition I» in 1939, that other key year in modern Australian art.

He had followed a similar formal path in his own work moving from high modern abstraction, influenced by Arp, into figuration.