Sentences with phrase «modern abstraction with»

Not exact matches

The author shows that Brumbaugh deals with what is one of the central difficulties of modern pedigogy, what Whitehead calls the fallacy of misplaced concreteness, where abstractions or excerpted aspects of the fuller deeper occasions are treated as actual.

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).

Thinkers who have been more faithful to Thomistic Realism, with its a posteriori abstraction of the universal form, have rejected the idea that formality is a priori to observation in general but kept it as a priori to modern experimental observation.

Unlike Socrates or Plato, modern scientists tend to confuse impersonal abstractions — which can explain a lot — with the whole of reality, including human or personal reality.

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.

Both Michael Polanyi and Alfred North Whitehead have written important critiques of the modern obsession with abstraction and clarity.

It is not the case that modern biblical study refrains from abstractions and remains intimately engaged with the biblical text.

Modern network research is an extension of a long - established branch of theory that deals with a world of mathematical abstractions.

This is a project for A-level students starting with looking at Geometric Abstraction and the use of the colour «White» in the work of modern abstract artists.

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.

Georgetti synthesizes these supposed opposites by combining the utilitarian and decorative tendencies that underpin the generic conception of the word «folk» with the non-representational and non-functional attributes that we often associate with «modern» by painting geometric abstractions with use value.

This will be after taking in Robins sculpture, and Gary Wraggs paintings in Deal.Great that there are two shows of British Abstract Painting and Sculpture on at the moment.With Bill Tucker at Pangolin and Sams cracking show of 60s colour in Liverpool, Abstraction is far from a dead issue.Indeed there is a symposium by Matthew Macauley at a northern university [to be confirmed] coming up, with requests for papers.Two very good painters rang me to say go and see the Picasso show at Tate Modern, which I did.It was stunning and there were probably eight or so masterpieces in one room from one year!Tony and Sheila Caros show in Peterborough and Graham Boyd at the Cut, Frank Bowling in Dublin and Scully in Newcastle, Mali Morris at Women can't Paint at Turps Banana, loads to see, enjoy, think about and stimulate new work.I hope there are all those hungry [artistically] young Abstract Painters and Sculptors out there keen to extend the genre.!

Whether one considers these bold innovations or gimmicks by which to impress the art market, they had nothing to do with abstraction as such, with that ruthless subtractive process of whittling images down to their roots which so obsessed critics like Greenberg that they put it at the center of their story of what modern art even is.

By chance «Legends» coincides with the Museum of Modern Art's sweeping survey «Inventing Abstraction: 1910 - 1925,» which traces the development of a largely geometric form of abstraction, mostly by European and Russian artists who often worked in closely relaAbstraction: 1910 - 1925,» which traces the development of a largely geometric form of abstraction, mostly by European and Russian artists who often worked in closely relaabstraction, mostly by European and Russian artists who often worked in closely related styles.

Iva Gueorguieva adapts the visual language of modern abstraction to create tumultuous, energetic spaces on canvas; her process of building up paintings by layering torn cloth with pigment and color washes produces spontaneous, dynamic compositions rooted in personal stories.

His goal was not to document, but to capture their essence and the urban landscape in the graphic and abstract... to build upon their impact on the urban landscape as modern abstractions that have been filled with color, shapes and patterns.

McElheny's installation uses translucent projection cloth, mirrors and film to present a very contemporary take on abstraction, while Rodriguez's depiction of a tongue, with an acupuncturist's diagnoses scrawled over the image, explores society's obsession with health, and the competing claims of traditional and modern medicine.

Recent notable group exhibitions include «Geometries On and Off the Grid: Art from 1950 to the Present», The Warehouse, Dallas, Texas, USA (2015); «Geometric Perspectives on Japanese Abstraction», BTAP, Tokyo, Japan (2014); «Tokyo 1955 - 1970 New Advanced Guard», The Museum of Modern Art, New York, USA (2013); «The 70s in Japan, 1968 - 1982» The Museum of Modern Art, Saitama, Japan (2013); «Mono - ha Avantguard», Nakanoshima Design Museum, Oska, Japan (2012); «Depicting the Uncanny: Tricks and Humor», The Yokosuka Museum of Art, Kanagawa Japan (2011); «Japanese Art after 1945: Scream Against the Sky», Yokohama Museum of Art, Kanagawa, Japan; touring to Guggenheim Museum SoHo, New York, USA; San Francisco Museum of Modern Art in association with the Center for the Arts at Yerba Buena Gardens, San Francisco, USA (1994).

But geometric abstraction, with its play on modular units and grids, has proved to have vital relevance to the modern world and its accelerated programme of industrialisation and electrification.

However, beginning with Wassily Kandinsky's pioneering work in pure abstraction and his theorizing about «The Spiritual in Art,» many of the most spiritually ambitious visual artists of the modern age have found that their ambitions are best served by the stripped down, elemental language of abstraction.

After the second world war, as the US became a superpower, a new generation of artists made New York the centre of modern art, with a strange yet authoritative form of abstraction that was free from the influence of the still - living European modern masters.

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

Indistinct, marvelously enigmatic blobs of pooled ink and paint, blurred draftsmanship that obscures faces, and hazy horizons align with the endgame of MoMA's traditional agenda, as outlined by curator Alfred Barr in 1938 in a famous diagram tracking the progression in modern art toward abstraction.

In 1967, as his frustration with abstraction was reaching its maximum, the artist embraced representational approach once again, this time creating modern paintings in a rather personal, cartoonish manner.

Included in the massive show, which goes to London's Tate Modern after MoMA, are abstractions like the ghostly, white - streaked Untitled (2007), as well as the classic 1980s piece Watchtower with Geese (1988), with its totalitarian subject matter and its use of interlocking color and patterns on fabric — one of Polke's many experiments with materials other than plain old oil on canvas.

For some younger artists, though, abstraction may look more like an argument with modern art.

2010 Art of The Eighties, Nymphius Projekte, Berlin Re-Seeing the Contemporary: Selected from the Collection, Dallas Museum of Art, Dallas Psychedelic: Optical and Visionary Art Since 1960, San Antonio Museum of Art, TX (catalogue); travelled to Memorial Art Gallery, University of Rochester, NY; Telfair Museum of Art, Savannah, GA Inside, Outside, Upstairs, Downstairs: The Addison Anew, Addison Gallery of American Art, Andover, MA Art of the Eighties, Nymphius Projekte, Berlin Color and Form, Los Angeles County Museum of Art, Los Angeles Once Removed, The Apartment, Athens Masters of Impressionism and Modern Art, Heather James Fine Art, Jackson, WY VaXiNation, Xippas Gallery, Athens Global Art Show, The Columns, Seoul Track and Traces, Galleria in Arco, Turin, Italy Abstract Vision 2010, Art + Art Gallery, Moscow The 80s Revisited: The Bischofberger Collection, Kunsthalle Bielefeld, Bielefeld, Germany (catalogue) Painting Panel Exhibition, in conjunction with the College Art Association Annual Conference, Shane Campbell Gallery, Chicago, IL Personal Structures: Time — Space — Existence, Künstlerhaus Palais Thurn and Taxis BV: BKV, Bregenz, Austria Pictures about Pictures: Discursive Painting from Albers to Zobernig, Daimler Art Collection, Museum Moderner Kunst, Vienna España / America: The Redefined Abstraction, Galeria Max Estrella, Madrid (curated by Demetrio Paparoni)

Artists in both groups strove to place abstraction at the center of modern art, and both grew out of the needs of individuals who had been working with abstract art long before either group was established.

In his words, «sidestepping the sentimentality or bravura of pure expression associated with abstraction in Modern painting, [Andrea Medjesi - Jones] retains something of the quest to register external events in their mediated form, in a bold and satisfying way.

With the development of his pliage method firmly solidifying Hantaï's position as a celebrated leader in European abstraction, he went on to exhibit widely across Europe while American museums, such as the Museum of Modern Art and the Hirshhorn Museum and Sculpture Garden, acquired his work.

However, instead of trying to establish a pedigree that approximates the emergence and development of modern art in larger metropolitan areas like New York, Chicago, or Los Angeles, with its requisite local variations of welded steel sculpture and lyrical abstraction, the historic past proposed in this exhibition is one that is just as idiosyncratic as the present it influences.

It was a diverse scene that held out a hint of utopian promise at a time when Abstract Expressionism was waning and new categories had not yet hardened: It included many more women than the uptown art world; it was not completely white; abstraction and figuration jostled side by side (if not always comfortably), along with genre - bending sculpture; and the gloriously messy birth of modern performance art took place in the midst of it all.

Be sure to check out booths by Galerie Ernst Hilger from Vienna, representing the works of artists such as Erró and Mel Ramos, along with exponents of Austrian modernism from the 1960s onward and the main exponents of the most important international art movements of the 20th century; Galerie Lisa Kandlhofer from Vienna, representing emerging and mid career artists; Galerie Thaddaeus Ropac from London, Paris and Salzburg, specialised in international, contemporary art representing around 60 artists and a number of renowned estates; SUPPAN FINE ARTS from Vienna, focusing on international and modern as well as representatives of art after 1945; and PIFO Gallery from Beijing, representing a selection of Chinese and international artists with a core focus on minimalism and abstraction; among others.

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.

Drawing Surrealism is similar to Inventing Abstraction, a concurrent exhibition at the Museum of Modern Art, wherein a bevy of inescapable figures is peppered with local heroes, dark horses, and bit players known primarily, if at all, to specialists of the genre.

In «Meta - Modern» practice there is extension and deconstruction of formalism, which blurs lines between abstraction and figuration, and employs the use of non-traditional with traditional painting materials, which is found in much of Vernacular art.

In Slightly Ajar, her second exhibition with the gallery, Sharon Lawless continues to use found materials — discarded packaging, paint samples, wrapping paper and altered pages from auction catalogs — in her manipulation of two modern traditions, collage and geometric abstraction as she explores the tension between accident and control and how this tension effects perception.

Mira Schendel (1919 - 1988), a seminal figure in the Latin American modern art scene who formed her own approach to abstraction with influences from quantum physics to Zen Buddhism, attempted to reconcile the practices of painting and sculpture with these series.

With his impeccably poised hard - edge abstractions, on display at Fredericks & Freiser, Cary Smith does not snipe at the existing borders of Modern painting or endeavor to elevate its political nuance.

Shalala responds to the history of modern and postmodern abstraction that deals with «end game» painting.

(c. 1916 - 1917) Linoleum cut title page with watercolor & gouache additions from a portfolio of six linoleum cuts June 11 — August 18, 2008 This exhibition, which inaugurates a series of newly opened galleries on the Museum's second floor, surveys the widespread and recurring impulse toward geometric abstraction in modern and contemporary art.

She writes on modern and contemporary art with an emphasis on abstraction, painting, process, creativity, pedagogy, and American philosophy as it intersects with aesthetics and institutional discourses.

They deconstruct materials and unravel Modern abstraction to address figuration, embodiment, impermanence, transition, and imperfection with astute contemporary perception.

Sticking with modern art, Bailly Gallery's exhibition «Post War» (11 May — 11 June) looks at the disparate forms of art that emerged in the wake of the Second World War — from abstraction to kinetic and concrete art.

2007 Brooks, Amra, «Our Favorite Shows and Artifacts» LA Weekly, December 26, 2007 Brooks, Amra, Must See Art, LA Weekly, December 12, 2007 Bedford, Christopher, Critic's Picks, Artforum.com, 2007 Banai, Nuit «Introducing», Modern Painters December 2007 Huberman, Anthony, «I Heart Information», Afterall, Autumn / Winter 2007 Nickas, Bob, «Steven Parrino», Artforum, September 2007 Smith, Roberta, «In These Shows, the Material is the Message», The New York Times, August 10, 2007 Coburn, Tyler, «'' Build it High: Laying Bricks», Art Review, July and August 2007 Persman, Joanna, «In the Borderland Between Abstraction and Figuration», Svenska Dagbladet, June 2, 2007 Landes, Jennifer, «A Show With Chutzpah», The East Hampton Star, May 2007 Beasley, Mark, «Music is a Better Noise», Frieze, April 2007 Klein, Jennie, «Bunch Alliance and Dissolve», Art Papers, March / April 2007 Saltz, Jerry, «Non-Specific Objects» Modern Painters, March 2007 «Viva», Modern Painters, March 2007

Her areas of research and teaching interest span the modern Americas, with an emphasis on the art of twentieth - century Cuba and Puerto Rico, the transnational history of abstraction, and the postwar avant - garde.

They have obvious affinities with abstraction or color studies, like squares for Josef Albers, and Kim did appear a decade ago in «Color Chart» at the Museum of Modern Art.