Sentences with phrase «of abstract forms at»

This is evident in the drawings that excite the vocabulary of abstract forms at the border with figuration.

Not exact matches

The book is presented in standard medical form, with an abstract of the problem at the outset, and then a series of case histories of patients (Bolivia, Poland, Russia and so on) that he and his team have carved up with varying degrees of success.

The next came in the form of an abstract from researchers at New York - Presbyterian / Weill Cornell Medical Center.

Susan Hespos, a co-author of the study, and associate professor of psychology at Northwestern's Weinberg College of Arts and Sciences said, «We show that infants can form abstract relations before they learn the words that describe relations, meaning that relational learning in humans does not require language and is a fundamental human skill of its own.»

The research was released at the American Association for Cancer Research meeting here in the form of an abstract.

Parts of this study were presented in abstract form at the 20th International Congress of Nutrition, Granada, Spain, 15 — 20 September 2013.

Whether it's as direct as a Māori Dennis the Menace — type kid (Julian Dennison) bonding with a reluctant white father (Sam Neill) in Hunt for the Wilderpeople (2016) or as abstract as the outsider experience of Wellington's long - standing vampire society delineated in What We Do in the Shadows (2014), Waititi's movies exist at the nexus of native and colonizer cultures, the dichotomy that forms the basis of modern postcolonial theory.

The following are common characteristics of gifted children, although not all will necessarily apply to every gifted child: • Has an extensive and detailed memory, particularly in a specific area of interest • Has advanced vocabulary for his or her age; uses precocious language • Has communication skills advanced for his or her age and is able to express ideas and feelings • Asks intelligent and complex questions • Is able to identify the important characteristics of new concepts and problems • Learns information quickly • Uses logic in arriving at common sense answers • Has a broad base of knowledge; a large quantity of information • Understands abstract ideas and complex concepts • Uses analogical thinking, problem solving, or reasoning • Observes relationships and sees connections • Finds and solves difficult and unusual problems • Understands principles, forms generalizations, and uses them in new situations • Wants to learn and is curious • Works conscientiously and has a high degree of concentration in areas of interest • Understands and uses various symbol systems • Is reflective about learning • Is enraptured by a specific subject • Has reading comprehension skills advanced for his or her age • Has advanced writing abilities for his or her age • Has strong artistic or musical abilities • Concentrates intensely for long periods of time, particularly in a specific area of interest • Is more aware, stimulated, and affected by surroundings • Experiences extreme positive or negative feelings • Experiences a strong physical reaction to emotion • Has a strong affective memory, re-living or re-feeling things long after the triggering event

But the idea of elegance, at least in its abstract form, is far from my transom as I maneuver the Velar down a jagged off - road course through a glaciated Norwegian valley near the Wagnerian Trollstigen Pass.

By pairing the first - an abstract painting whose flat forms are schematic and derived from markings observed on a soccer field with the second - a silkscreened canvas depicting a nearly identical painting photographed at an angle, Uglow creates a visual experience charged with the potential of both abstraction and representation.

There are two modes: standing forms comprising unstable towers of orthogonal cubes that seem to be at the point of collapse, and bodies at rest which have lost their orthogonal qualities and are transformed into abstract matrices.

They start as abstract forms and it becomes this intuitive, primitive, dance — a dance in the dark,» Jules De Balincourt tells me in a warm office at the back of Victoria Miro Gallery in Mayfair.

John Newman's recent colorful abstract sculptures resembling biomechanical life - forms from a planet with laughing gas atmosphere (at Tibor de Nagy) provide comic relief from the overall ambience of high - minded seriousness.

In a way, each of Gallace's paintings is somehow two paintings at once: rigorously abstract (not in the sense that an abstract painting is abstract, but in the sense that a syllogism is abstract — a form or template whose particular contents can be filled in) and generic, yet also haunted by feelings, memories, and reverberations that may be profoundly subjective and therefore private and in part incommunicable.

-LSB-...] «Painting Too, at Harrington Mill Studios, forms part - two of a duo of shows about abstract painting, demonstrating that, to quote its curator David Manley: «current abstraction is in rude good health».

She resolved this, very cleverly by re-asserting a more personal response to her subject by returning to a more naturalistic style and applied a great deal of what she had learnt of abstract forms to decorative work, at the Omega Workshops, and her house Charleston in Sussex.

1 Stella's Moby Dick (1988 - 1993) captures the confrontation with nature experienced at sea; the abstract forms evoking the destructive potential of the sea and the whale.

What shocks us in part is the fact that it is a sculpture at all — it looks like an abstract painting created under the influence of, say, free - form jazz.

Contributed by Sharon Butler / What you can't see clearly in online images of Carrie Moyer's new paintings, on view at Mary Boone (in conjunction with DC Moore) through April 21, is the remarkable fusion of flat, opaque abstract form with a masterful illusion of three - dimensionality.

Then the show turns to work by the second group, an imposing cadre of trained artists working in Los Angeles like Betye Saar, John Outterbridge, Senga Nengudi and Noah Purifoy, who worked for decades at the margins of the mainstream, exploring aspects of assemblage and found materials as well as political expression in often abstract forms.

These material experiments eventually led to her breakthrough series Samurai (1981 — 83), first shown at Phyllis Kind (1983) and recently on view at JTT Gallery, New York (November 13, 2016 — January 15, 2017), one of three galleries that currently represent the artist.4 Haunted by the memory of a scene from Akira Kurosawa's epic film Kagemusha (1980), in particular the armor worn by samurai during a ceremonial gathering, Simpson abstracted the cascading arcs and linear folds of the warriors» skirts into free - form structures.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

If works of abstract art like Ellsworth Kelly's Blue Black, Richard Serra's Joe and Cy Twombly's Hero and Leander — previously exhibited at the Pulitzer — are notable for giving form to the interior life of the individual, the reconstructed house in the Pulitzer stands as a visible form addressing the interior life of the city.

JMcK: The teaching of drawing has occupied an important place in your career as an artist specifically teaching life drawing at a time when abstract art and conceptual forms of art were in the ascendancy.

We can say that it is abstract, non-objective, about colour and form and our perception of those things, but we live in an age of plastic, so much more baggage to look at paintings with.

At Wharf Road, Hernández is showing abstract paintings that continue his investigation into gesture and form while extending the innovative techniques of accumulation and...

At a time when we are immersed in a cacophony of media images and sounds, and live in a climate of anxiety often provoked by invisible and abstract adversaries, the four fundamental expressive art forms — painting, sculpture, installation and performance — are amalgamated over the course of the exhibition, with contributions from Philippe Parreno, Adel Abdessemed, Roni Horn, David Hammons, Mark Grotjahn, Marlene Dumas and many more.

It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms painted in threatening and seductive tones that were hot and violent or deep and dark — seizing on the dynamism of these classical scenes and often transforming them into contemporary allegorical nightmares.

Artists such as Phil Dike, Rex Brandt, George Post, Nick Brigante, and others experimented with abstract form, reflecting many of the larger changes taking place at that time in the art world, most notably the rise of Abstract Expressionism.

Using the skills they acquired at the College, each artist moved beyond a realist interpretation of the landscape to create abstract forms rooted in nature and geometry.

Coined in April of last year by critic Walter Robinson and echoed by our own Jerry Saltz, the term refers to a loose, gormless, novelty - seeking form of abstract painting that hedges every bet at relevance.

At once bizarre and ambiguous, Craig - Martin's images at Hyde Park Village are exemplary of her ongoing interest in abstract forms of fashion portraiturAt once bizarre and ambiguous, Craig - Martin's images at Hyde Park Village are exemplary of her ongoing interest in abstract forms of fashion portraiturat Hyde Park Village are exemplary of her ongoing interest in abstract forms of fashion portraiture.

At a time when the world is increasingly abstract, Borremans submits his paintings as evidence that this particular form of painterly expression retains its validity.

The works on view at the exhibition evokes conversations between abstract forms and a variety of human or animal protagonists, as locations strike up to have a conversation with the people, recognizable images chat with paint smears while looping gestures address spectators within his imageries.

Striking for their hot, vivid, deep colors, pierced and jagged forms, and pulsating energy, these wax - resist paintings on paper, done at the height of abstract expressionism's ascendancy, captivated Jackson Pollock and Lee Krasner and inspired Jean Dubuffet to write his only monographic study on Ossorio.

Bringing together three painters with distinct oeuvres — that have been, at times, linked to the legacy of German painting, or even of Albert Oehlen himself — the panel will consider abstract painting in relation to other contemporary manifestations of abstraction in economics (market speculation), philosophy (anti-essentialist thought, questions around the structure of time, semiotics), digital culture (sampling, rendering), and aesthetics more generally (considerations of form, the notion of style).

Ursula von Rydingsvard's Shadows Remain is a selection of cedar sculptures including monumental freestanding floor pieces that are at once abstract and referential, evoking forces of nature, anthropomorphic forms and utilitarian objects.

«I am not what you would describe as a strictly «abstract» painter, I am looking at organic forms, repeating and conjuring the minute parts of nature again and again.»

Formed in collaboration with Otto Piene, a fellow student at the Kunstakademie Düsseldorf, the ZERO movement departed from the gestural language of European abstract expressionism and sought to reclaim an artistic purity from the ravages of the Second World War.

Richard Deacon's voluptuous abstract forms have placed him at the forefront of British sculpture since the 1980s and, hugely influential, his works are visible in major public commissions around the world.

While the paintings of Wendell Gladstone's «Fever Pitch» at Shulamit Nazarian in Los Angeles are figurative in form, the ambiguity of the narratives they propose leans more in the direction of the abstract.

Forming Nature: Dansaekhwa Korean Abstract Art, a selling exhibition of contemporary Korean art at Christieâ $ ™ s West Gallery in New York City, Oct. 8 - 23, features works by several of Korea's most renowned modern abstract artists.

Another influential aspect of de Kooning's work over the decades has been his ability to explore abstract forms in some works while, at the same time, exploring frankly figurative or landscape motifs in other works.

Reeder also pokes fun at minimalist and conceptual artists with abstract, crumpled forms rendered in aluminum that dot the floor of the gallery — evocative of John Chamberlain or Frank Gehry's sculptures — entitled Bad Ideas.

Since then she has remained at the forefront of developments in contemporary painting, making highly distinctive works which seek to articulate an abstract language in which relations of color and form generate visual sensations.

An early 20th - century school of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail, stressing abstract form at the expense of other pictorial elements largely by use of intersecting often transparent cubes and cones.

Other well know names represented include Cy Twombly and Richard Diebenkorn at Susan Sheehan Gallery, a Jim Dine solo show at Pace Gallery, Sam Francis at Manny Silverman Gallery and lastly Michael DeLucia, a former assistant to Jeff Koons, whose sculptural work is engaged with appropriation and the exploitation of objects of mass production in the search of a final abstract form, who is in a two person show with Al Held at the Van Doren Waxter / Eleven booth.

Highlights this year range from Barbara Hepworth's polished abstract sculpture Six Forms on a Circle (1967) at Osborne Samuel (the modernist sculptor is the subject of a major retrospective at Tate Britain this June) and On Kawara's I WENT at mfc - michèle didier — a great example of the obsessive conceptual cataloguing for which the artist is famous.

For her second solo exhibition at Sundaram Tagore New York, Denise Green presented abstract work that reverberated with buoyancy in color, exuberance with gravity defying forms and majestic glimpses of nature photographs.

These pieces conflate two things once antithetical — Rothko's classic abstract forms with some of the most recognizable emblems of 20th century American consumer culture — with results that invite play and subvert expectations all at once.