Sentences with phrase «number of abstract forms»

Not exact matches

A steadily increasing number of people will want to get in on the «new Bitcoin,» a bizarre paradox given that gold is as old as time, and will soon realize that gold possesses virtues Bitcoin does not, given that it is real, not digital and abstract; that owners can personally possess and store it in physical form; that it will survive any kind of electric grid or Internet disruption that might occur; that it can not ever be hacked; that it is the epitome of private, quiet wealth; that it is actually quite beautiful to behold; and that it was not and can not be made by man, only by God, who does not appear to have any interest in making any more of it.

Later in chapter five, statements about variables and numbers, such as algebraic equations, are called algebraic forms, which Whitehead does not define because «the conception of form is so general that it is difficult to characterize it in abstract terms» (TM 45).

He provides an abundance of statistics in essays on capitalism and public policy (though some would benefit from updated numbers), and he undertakes a more abstract form of analysis in contemplating Europe's decline and the roots of American liberty.

So he uses the familiar thin plate to define drag, and a similarly abstract «body» forms the basis for a discussion of viscosity in the lead - up to the definition of the Reynolds number.

The exhibition will present a number of large, heavily textured and abstract paintings, forming a contextual backdrop to the ceramic and bronze works which have played a crucial role in the artist's practice since the mid-1990s.

Featuring more than 100 works spanning from the early 1980s to the present, including a number of new and never - before - seen pieces, the exhibition juxtaposes graphic patterns with abstracted, figurative paintings, creating a fully immersive environment that underscores the artist's systematic dismantling of the hierarchy between design and fine art, and between three - dimensional form and two - dimensional representation.

Number three in the series is currently hanging in Victoria Miro's Mayfair gallery, as part of a deep dive into the women artists in contemporary abstract painting who art history has ignored — in the form of an exhibition titled Surface Work.

The Chinese artworks relate to a number of areas of special interest of the Daimler Art Collection, among others especially in terms of abstract and conceptual art tendencies as well as in new media forms.

The glass works in the gallery show the infinite number of colours, forms and textures these pieces of art can take — and objects range from practical bowls and vases through to ornamental objects and large abstract sculptures.

In the work «Eröffnung (Opening)» (2010), the number of pictograms has been reduced; it really is an abstract work of art, possibly suggesting the reductive forms of Suprematism.

The first perhaps marked a satisfactory conclusion to the inward logic of the monochrome and took the form of two sculptural pieces made of panes of glass and painted grey on one side, Richter's second breakthrough of 1977 was the development of a substantial number of colourful abstract works he described simply as «Abstraktes Bild».

Number three in the series is currently hanging in Victoria Miro's Wharf Road gallery, as part of a deep dive into the women artists in contemporary abstract painting who art history has ignored — in the form of an exhibition titled Surface Work.

Although the number of abstract painters increased substantially from the late 1900s onwards - in the form of Cubists, Suprematists, the De Stijl movement, Abstract Expressionism and the Minimalists - figurative artists continued to develop new techniques and methods.

In Mullican's large wall pieces, grids of letters, numbers, and childlike pictures are combined with abstract forms to create a fictive cosmology.

Unlike the pair of Marsden Hartley canvases that greet you as the elevator doors open on the gloriously sunlit eighth floor, «Painting, Number 5» (1914 - 1915) and «Forms Abstracted» (1913), whose bright colors and crisp forms feel like a clarion call for the Modern Age, the story of the seventh floor begins with a chapter called «The Circus,» after Alexander Calder's fanciful diorama of 1926 Forms Abstracted» (1913), whose bright colors and crisp forms feel like a clarion call for the Modern Age, the story of the seventh floor begins with a chapter called «The Circus,» after Alexander Calder's fanciful diorama of 1926 forms feel like a clarion call for the Modern Age, the story of the seventh floor begins with a chapter called «The Circus,» after Alexander Calder's fanciful diorama of 1926 - 31.

ZERO formed by Heinz Mack with Otto Piene, later joined by Günther Uecker, which came to number among many others Yves Klein and Jesús Rafael Soto as members, argued that art should be void of colour, emotion and individual expression, thus placing itself in direct opposition to abstract expressionism, and anathema in the USA.

Inspired by his fascination with the materiality of the photographic surface and the occurrence of abstract forms in daily life, at the dawn of the millennium he began a full exploration into the abstract potential of photography, with a number of non-representational series that lyrically transcend the divide between painting and photography.

These were followed during the 1950s by linear, quasi abstract works depicting boxes, still life, goal posts, cables, scaffolding, including a number of paintings with which the artist represented Ireland at the XXX Venice Biennale in 1960, such as the reductive forms of women bearing boxes and bunches of twigs on their heads.

They include one of Barnett Newman's «zip» paintings, «Onement II,» with its vertical brick - red stripe slicing through a scarlet field; Mark Rothko's 1949 «Untitled,» an arrangement of abstract forms that foreshadows his iconic imagery of the 1950s; and Clyfford Still's «Number 5,» a vivid yellow canvas with splashes of color that seem to leap off its surface.

In 1936, a number of New York abstract painters and sculptors formed a group known as American Abstract Artists, to exhibit and promote their work, especially to American institutions like the Museum of Modern Art (MoMA) which tended to favour European works.

Drawing on any number of figurative and abstract histories of painting the world around us, Crowner's work is a refreshingly nuanced interpretation, one that draws similar graceful curvatures and natural forms from cut and sewn canvases.