Sentences with phrase «nature of abstraction»

Contemporary American artist Jessica Hartley effortlessly conquers the challenging nature of abstraction with her energetic panels that break free of the boundaries of their two - dimensional forms and confront the viewer with their bold colors, expressive paint application, and incredibly dynamic shapes.

As the Academy celebrates the American master, painter Ian McKeever RA explores Richard Diebenkorn's profound inquiry into the nature of abstraction.

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.

So this is an exhibition about the nature of abstraction — about where it meets the stuff of life.

The paintings emphasize color and the profound nature of abstraction, Ouillette said.

We think that is unfortunate, because the open nature of abstraction is valuable in troubled times.

Conceived as the companion to Black in the Abstract, Part 1: Epistrophy, which explored the fragmentation of the figurative as well as the loose and expansive nature of abstraction, this section chronicles the history of black artists whose work relies on the drama of restraint.

I understood perfectly the nature of abstraction philosophically.

Taken together as a whole, this collection encompasses five artists whose works create a conversation about the nature of abstraction, the line between abstraction and representation and the inextricability of the natural world from art.

Though there may be a physical referent or memory on which an abstract painting is based — as for instance with Elaine de Kooning's Bullfight (1959), which is inspired by bullfights the artist saw in Mexico — the gestural and corporeal nature of abstraction ensures that the image is inextricably tied to the artist's hand, body, and mind.

Golding writes that «It says a lot about the nature of abstraction that it was the vision of these artists and not their natural gifts that enabled them to turn themselves into great artists.»

Through the abstract canvases in his latest exhibition, «Waterhome» (2012), Krone investigated the nature of abstraction.

2013 Barbara Mathes Gallery, «California Group Exhibition», New York, New York Peter Blake Gallery, «The Nature of Abstraction», Laguna, California Art 1307, «7 Magnifici Anni», Napoli, Italy Ochi Gallery, «Value of a Line», Sun Valley, Idaho

Thomas Taubert and Fred Mann are delighted to present a group show exploring the contemporary nature of abstraction.

1999 The Nature of Abstraction: Joan Mitchell Paintings, Drawings, and Prints, Walker Art Center, Minneapolis, Minnesota (November 14, 1999 — May 28, 2000)

Not exact matches

Here again Aron avoids abstractions of a sort that dangerously misunderstand the competitive nature of international relations as well as an amoral realism that obliterates any space for ethical restraint and reflection.

The suggestion that the three abstractions noted may be interpreted as disguised idealizations leads to a much larger question concerning the identity of relations in the context of Whitehead's conceptions of nature.

In considering passage Whitehead assumes that a structure of events «provides the framework of the externality of nature within which objects are located» (PNK 80) and that «space and time are abstractions expressive of certain qualities of the structure» (PNK 80).

In the primordial nature, taken in abstraction from acts of becoming... eternal objects have togetherness but not gradations of importance.»

To try to talk of what is human in separation from the rest of nature and God is to speak of an abstraction.

We must remember, however, that covering law explanations are abstractions from nature, and we must not expect every feature of nature to be derivable from them.

In light of Mays's remarks it is astonishing to find that he devotes a mere ten pages to the method of extensive abstraction (PW 109-18/115 -25), and these do not begin to offer any clarification of the exact nature of this metaphysical scheme.

We should emphasize the unity of God and see the «natures» as abstractions, descriptions from particular viewpoints of how God as a whole functions in relation to the world and to the eternal objects.

In order to grasp more vividly the way in which the fallacy of mistaking abstractions for concrete realities has inclined thought in this direction, observe the following «rough» breakdown of nature's hierarchical structure: 16 i.e.

An alternative route of abstraction, by thinking away all energy that sets up physical relations, and thinking this away by having substances too dense to release radiation, also leads to a space concept that may be approximated somewhere in nature.

Back in the early seventeenth century Francis Bacon, the first modern philosopher of science, recognised that the developmental nature of modern scientific methodology provided a truer vision of how human knowing arrives at formality than the scholastic theory of abstraction.

In the theory we are offering, since knowledge is by intuition and perception, not by abstraction of only part of the singular real, this ultimate universalism of the nature as sort or species, is said to be a singular real and also a concept defined within a distinct limit of formal variability, both as real, and also as concept.

First, the primordial or eternal nature of God as the principal of abstraction or originality and the source of the initial aim, and second, the consequent or temporal nature of God in which God, as part of reality, interacts with the rest of reality.

Flat, blank facades on buildings conceived as commodities — or just oddities — rather than works of civic art; flat modernist pictorial abstractions; the flattening of cultural history into pseudo-history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradition.

Whitehead's Major Change in the Primordial Nature of God: God as the Principle of Abstraction or Originality (God is the source of the initial aim.)

Hence the primordial nature now had two major functions: to the principle of concretion or limitation he added the principle of abstraction or originality.

How are the abstractions of physics related to the philosophical abstractions of natures attained through Aristotle's senses?

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

And, since laws of nature are abstractions from environmental order, the inference provides a context for inferring predictions about entities in the environment E as well.

Since laws of nature are abstractions from an environmental order, one can deduce predictions as to behavior and properties of the actualities of ae2; the actualities of ae2 will conform to the laws expressing the dominant order of environment E.

Form provides the intelligible principle which can be grasped in universal abstractions, while matter indicates the principle of individuality, what makes natures this or that particular instance of a species or genus.

Through the many differences that distinguish conflicting views of the divine nature in the Bible, one common strand of idea runs — God is in earnest, he cares, he is no metaphysical abstraction but a living being with purposes, devotions, and affections.

More often than not philosophers of nature take the abstractions of science and secondary perception as the bed - rock of their speculations.

In the latter book it is explicitly recognized that the primordial nature of God is an abstraction from God as actual entity, (PR 50.)

Hence, by virtue of this doctrine of physical purpose, Whitehead can maintain that there is mentality in all actual entities and yet agree that this can be ignored without loss when one is concerned with certain abstractions from the full reality of nature.

Whitehead's «method of extensive abstraction» is used not only in his early writings in the philosophy of natural science but also in his later, more metaphysical, writings to abstract from the complexity of the relations which comprise the datum of sense - perception and to isolate by a conceptual analysis those relations which express a uniform metric structure, that is, to «exhibit» a basis of uniformity in nature.21 It is the sense in which this uniformity is «required» that is the crucial point for further investigation.

Similarly, Voskuil contests Oomen's claim that the unity of God is determined by a single divine aim arising out of the non-temporal valuation of the divine primordial nature: «a constant aim is only an abstraction from actual aims, not an actual aim itself.

By understanding presence as something more than «mere appearances,» Dillenberger has come to consider abstraction the pictorial procedure by which artists penetrate beneath the visible surfaces of nature in search of a subject's «essence» or deeper truth.

Thus, «forms of abstraction» become «the way in which the forces and vitalities of nature [are] set before us as positive mysteries, echoing something about nature and about ourselves.»

The primordial nature has no aim, nor can it exist by itself, because it is abstract, and abstractions are only characteristics of concretes» (134).

There is a parallel here to Northrop's method, for Hartshorne also builds on the combination of necessary postulates in the realm of abstraction and the intuition into the presence and nature of divine power.

DE: I have been saying that events are abstractions, and what is concrete is the passage of nature.

The passage of nature also contains properties which we notice in sense - awareness, and we then go on to form abstractions about these, which are perfectly legitimate for their purposes.

Events are abstractions, and what is concrete is the passage of nature.

If we follow the doctrine as developed in the text, neither physical objects nor scientific objects will meet this requirement of transcendence; physical objects are discriminated within nature as are, for that matter, scientific objects which are defined as the last stage in a series of abstractions (PNK 188).