Sentences with phrase «more about abstraction»

The show's argument is more about abstraction and society.

• For more about abstraction, see: Abstract Expressionist Painting.

• For more about abstraction in oils, see: Homepage.

Not exact matches

I do not argue that the reflexes of abstraction and generalization have no function at all, but we need to be more honest about their derivative quality and about the normalness of narrative or hortatory genres as good theology.

I will say more later about how he shows approximation to this in his «Method of Extensive Abstraction» when we get on to how he tries to bound events.

DE: What continually bothers me is that he brings in far more abstraction than he allows for, when he talks about what is given in awareness.

Whitehead would meet this contention through having a hierarchy from sense objects to perceptual objects, to physical objects, to scientific objects, with more and more abstraction and interpretation, at each stage and he can only get away with what he says about pure sense objects if he makes them far more primitive than one normally thinks sense objects are.

Whitehead experiments for a while with deliberations about the various theories of the world with regard to the degree to which they abstract from the world, and about adjusting a sequence of more or less abstract perspectives on the world, oriented at the level of abstraction attainable in the mathematized natural sciences.

It was not a mystical, Wordsworthian communion with nature as a personified abstraction, but a more common, everyday appreciation of natural beauty and awareness of the life about him.

«A clock is a symbol of continuity; one that lasts a really long time might give people a sense of perspective, help them think about the year 3000 as more than just an abstraction,» Hillis says.

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

Jose Angel Vincench «The Weight of Words: Golden Irony» March 9 — April 1, 2017 My abstraction starts with testimony of the violent actions on the dissidents, but more than a political statement I prefer to talk about the silence in the civil society and art.

«Making Space: Women Artists and Postwar Abstraction» features about 100 works by more than 50 artists.

Thinking about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated with Greenberg and Fried.

Dickinson opens with a statement about abstraction, which leads to a discussion about different definitions, Grosse saying» I am not an abstract painter any more» where abstraction is understood to be «abstracting from or generating a residue of something seen».

With such a variety of influences feeding his work, one might think that Brischler is engaged in an intentional critique of abstraction, but to my eye his paintings seem more about an unabashed love of paint.

Matthew Higgs believes in one, and it makes an impressive group show, just a year after a slew of summer group shows about abstraction, with more to come this summer.

Hesse, Chicago and Benglis all featured in Susan L. Stoops» 1996 exhibition «More Than Minimal: Feminism and Abstraction in the»70s», which signalled the returns to be gained from thinking about the use of abstraction to explore gender as both subject and sociAbstraction in the»70s», which signalled the returns to be gained from thinking about the use of abstraction to explore gender as both subject and sociabstraction to explore gender as both subject and social context.

«Insight, inspiration and influence from one of modern America's true artistic visionaries... For many, it's almost incomprehensible to imagine art after World War II in a world in which Stella never existed... This book charts his extraordinary career... The detail is fantastic, the insight never seen before, and the presentation is a masterpiece in itself... A great entry point for anyone wanting to learn more about Stella or minimalism and post-painterly abstraction in general... A perfect compilation [and] something that both a hardcore aficionado an a keen modern art student would get a lot out of... This book is big, bold and beautifully laid out.»

As Pollock developed from his early abstractions to the «drip» paintings for which he is known, his work fell more into Greenberg's ideal — painting about space and color and, above all, about painting itself.

Writing about D'Hollander's paintings in The New York Times in 2016, the critic Roberta Smith commented that «They share some common ground with Belgian painters like Raoul de Keyser and Luc Tuymans, but their softened geometries are more open, accommodating suggestions of landscape, seashore and weather as well as abstraction.»

Pat Hearn died last year, and her gallery is offering a several - part tribute, starting with her years over past Avenue C. I can not promise that I care any more today about George Condo cartoons or Phillip Taaffe's psychedelic abstraction.

To read more about the Tour, click here: Ille Arts Hosts an Artists Studio Tour Featuring Contemporary Abstraction on Sept. 9, 2017

To discover more about the artists and details on the tour, visit www.haubrichart.com and click on «Abstraction Today.»

The exhibition brings together more than 100 works created by more than 20 artists from France, Spain, Belgium, Switzerland, Germany, Great Britain and the United States from the «20s to the «50s, rebalancing the traditional views about Surrealist sculpture by placing equal emphasis on organic abstraction which originated in the whimsical reliefs of Jean Arp, and the of found - object assemblage, which originated in the Assisted Readymades of Marcel Duchamp and became a surrealist passion.

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.

While we may speak about the common factor between these two exhibitions as being abstraction or, more precisely, abstract painting, there are some interesting differences between the two.

Looking at the work of younger women artists today, we find glimpses of naked body parts and even genitalia in Cecily Brown's sexy abstractions, for example, but her imagery is more about hide - and - seek amid gorgeous brushwork than putting the male body center stage.

They're small, they're more sketchlike in a way... One of the ways I'm talking about painting now is trying to talk about these little casual abstractions that look like something a painter could do when they can find a few hours in the studio when they can actually perform the role of the painter, instead of the residency - runner or the blog - poster.

Gina began making abstractions in the studio and I began making large collages in acrylics; the colors I added became less about enhancing the colors in the subject and more about making new relationships emerge from the field — in this sense I see myself going back to the way I worked in «Night», although now including work from observation (I start the collages with painting outdoors).

Don't miss, among others, Jessica Dickinson's crudely elegant abstractions at Altman Siegel... on the same floor at 49 Geary St., Fraenkel Gallery's presentation of «Six New Animations,» ingeniously constructed by Christian Marclay from photographs of the sidewalk on strolls about town... more video, the best work in an exhibition by Argentine Mexican performance art master Miguel Angel Rios at Gallery Wendi Norris... «Teresita Fernández: Small American Fires,» burning intensely at Anthony Meier Fine Arts... and the small but museum - class retrospective of the optically challenging, intellectually exciting paintings of Bridget Riley at John Berggruen Gallery.

There's now an opportunity for a contemporary art space with a focus on minimalist art to offer Evelyn Reyes a solo exhibition, not only because she is defined by her minimalism more than her outsiderism, but because she exemplifies ideals of reductive abstraction while bringing forth essential insight about its true nature, origins, and purpose as a result of her distinct perspective.

They added, «This exhibition is intended to be a platform to further their visibility, as well as to generate more inclusive conversations about the history of American abstraction that consider the accomplishments and contributions of women artists of color going forward.»

Patrick Heron's seminal review of the first showing of the Abstract Expressionists in London in 1956 at the Tate Gallery singles out Rothko for especial praise, while raising doubts about the others, and there is no doubt, despite his protestations to the contrary, that this show marked a decisive shift in his art towards abstraction, and Rothko in particular, though he rapidly turned the influence in the direction of a more European sensibility, less nuanced, a more immediate and direct attack, and an asymmetric compositional style more akin to the early Multiforms, which Heron insists he had not seen.

During our visit we talked about his Dedalus Foundation exhibition, «The Humanism of Abstraction,» which also includes work by... read more... «Studio visit: John Zinsser»

• For more about Irish abstraction, see: Abstract Artists: Ireland.

«This exhibition is intended to be a platform to further their visibility, as well as to generate more inclusive conversations about the history of American abstraction that consider the accomplishments and contributions of women artists of color going forward.»

For more about this kind of organic abstraction in Britain, see also: Modern British Sculpture 1930 - 70.

While Mukherjee seems indebted to this vein of midcentury abstraction, what's more interesting (and surprising) about his newest paintings are their intensely filmic — as opposed to cinematic — qualities.

CB Perhaps you mean that in jest, but I do think artists — often those who deal to some extent with abstraction — are becoming more forthright about the relationship of their working process to metaphysical concerns or even spirituality.

Think of the abstractions being done around Europe at that time, many of them small and even clumsy and half - hearted or half - assed in their approach to pure abstraction — I'm talking about you Robert Delaunay — and I am bringing this up because when MoMA organized their 2012 survey exhibition, Inventing Abstraction: 1910 - 1925, they included Delaunay, but not Klint, of which exclusion abstraction — I'm talking about you Robert Delaunay — and I am bringing this up because when MoMA organized their 2012 survey exhibition, Inventing Abstraction: 1910 - 1925, they included Delaunay, but not Klint, of which exclusion Abstraction: 1910 - 1925, they included Delaunay, but not Klint, of which exclusion more later.

He was probably expecting something about irony, given the date of the story (1986,) and may have pointed out that abstraction can no more be ironic than can music.

We are more apologetic about abstraction today, we tend not to believe in it any more than in figuration, so both may appear equally in need of re-assimilation.

It is my fear that until François Morellet carries the same force of conviction for American audiences as Frank Stella, until Hélio Oiticica looms as large as Donald Judd, and until McLaughlin stills the heart has much as Newman, we may still have more to learn about abstraction than we already know.

While continuing the dance between abstraction and figuration found in her previous decade of works, the new pieces move away from a more direct narrative to a more abstract, open language about painting itself.