Yet I do think that abstract expressionism and the movements that reacted to it in the 60s attracted far more attention from the general public than the equally significant work of representational artists who were painting during that period, creating work that evolved naturally from earlier tradition where AbEx and other later movements appeared to be
more radical leaps.
Not exact matches
The Alberta NDP's climate change plan defies supporters of the much - maligned
LEAP Manifesto, which was spearheaded by
more radical elements of the federal NDP at that party's recent convention in Edmonton.
Even if we accept their claim that engineering graduates are over-represented in the ranks of violent
radicals from the Islamic world, it's quite a
leap to then assert that «engineers are
more likely to have... personality traits that make
radical Islamism
more attractive».
The new episodes don't represent another
radical leap forward in style or quality the way season two was, but whatever's lost from the shock of the new (nothing here is quite as weird or surprising as the cavewoman prologue or «International Assassin,» though a joke in the second episode and a party sequence in the fifth come close) is gained in how much
more we know all the characters at this point, and how aware they are of their proximity to their story's end.
Even after a century of abstract art nothing seems quite so
radical as this dazzlingly simple form —
more parallelogram than square —
leaping into scarlet life out of pure white space, tilting eagerly forwards.