The development
of the radical abstraction within his work is most visible on the series of geometric abstraction in white and black.
Hessie: Soft résistance at La Verrière / Fondation d'entreprise Hermès is the second exhibition in the Ballistic Poetry series, devoted to exploration of the disconnection between intention and intuition in certain forms
of radical abstraction.
Encompassing examples
of radical abstraction, conceptual restraint, and psychological exploration, these artworks capture the creative possibilities of drawing.
Not exact matches
In their extreme forms,
of pure naturalism and pure salvationism, the two types are violently contrasted; though here as in most other current classifications, the
radical extremes are somewhat ideal
abstractions, and the concrete human beings whom we oftenest meet are intermediate varieties and mixtures.
For example, the hydrogen bonding interaction between the phenolic — OH and the o - methoxy groups in curcumin influences the O - H bond energy and H atom
abstraction by free
radicals, thus making it a better scavenger
of free
radicals compared to other curcuminoids such as BDMC.
By the way, Jimmy - Given what Chris Roberts says here about not liking video game
abstractions like lives / score counters, that really, really puts the combat sim intro
of Wing Commander in perspective - must have seemed like a
radical move at the time!
Spearheading this movement, Robert Irwin began to take ideas from philosophical inquiries into the nature
of human experience and
radical advances in perceptual psychology and combine them with the immersive
abstraction that had been pioneered by artists such as Jackson Pollock, Mark Rothko, and Barnett Newman.
As the market trend in painting favors non-compositional process
abstraction (somewhat reductively classified as Zombie Formalism), the return to New Image Painting or Bad Painting or simply the art
of making pictures becomes a
radical refusal
of the passive blankness
of art made as an easy commodity.
3:45 — 4:45 pm Madness
of the Present:
Abstraction's Radical Possibilities: A conversation between Adam Pendleton and Adrienne Edwards Focusing on Adam Pendleton's art of the past two years, from his installation for the Belgian Pavilion at the 2015 Venice Biennale to his recent suite of paintings entitled Untitled (A Victim of American Democracy), Pendleton and curator Adrienne Edwards explore abstraction as a platform for revolutionary possibilities in art an
Abstraction's
Radical Possibilities: A conversation between Adam Pendleton and Adrienne Edwards Focusing on Adam Pendleton's art
of the past two years, from his installation for the Belgian Pavilion at the 2015 Venice Biennale to his recent suite
of paintings entitled Untitled (A Victim
of American Democracy), Pendleton and curator Adrienne Edwards explore
abstraction as a platform for revolutionary possibilities in art an
abstraction as a platform for revolutionary possibilities in art and politics.
The exhibition focuses on the extraordinary breadth
of motion achieved by Calder from the moment he turned to
radical abstraction in 1930 and continuing throughout the subsequent decades
of his career.
«Lygia Pape: A Multitude
of Forms» on the female Brazilian artist just opened at the Met Breur; «Making Space: Women Artists and Postwar
Abstraction» opens April 15th at MoMA; and «We Wanted a Revolution: Black
Radical Women, 1965 - 85 «opens at the Brooklyn Museum on April 21st.
The development
of Cuban geometric
abstraction and the formation
of Los Diez Pintores Concretos (Ten Concrete Painters) coincided with the
radical cultural shifts that raged throughout the country in the 1950s.
In 1915, O'Keeffe leaped into
abstraction with a group
of charcoal drawings that were among the most
radical creations produced in the United States at that time.
By bringing together all parts
of her
radical production, the exhibition seeks to reintroduce her into current discourses
of abstraction, participation, and a therapeutic art practice.
Equal parts balancing act between art and design and
radical reclamation
of all aspects
of visual expression, the studio is grounded in the lasting potential
of the graphic arts, while exploring the physical and conceptual friction between
abstraction and communication.Their work has been exhibited in the United States, China, and Europe with recent exhibitions at the Arts Club
of Chicago, Vebikus Kunsthalle Schaffhausen (Switzerland), and Texas State University.
That may seem like a simple statement, but given the state
of contemporary art — with its endless carnival
of art fairs peddling vacuous
abstraction, celebrity - hyped artists, and conceptualism - light — the fact that Borremans paints the kinds
of pictures he does is actually a
radical proposition.
They are both invested in art's revolutionary possibilities for social change as evinced in Rainer's anti-war protest dances in the 1970s and the feminist dimensions
of her
radical choreographic style and films, as well as in Pendleton's Black Lives Matter flag for the Belgian Pavilion in the 2015 Venice Biennial and his latest series
of paintings entitled Untitled (A Victim
of American Democracy), which debuted this past summer as part
of Edwards» Blackness in
Abstraction exhibition at Pace Gallery and are now on display in Pendleton's first show with Galerie Eva Presenhuber, Zurich named Midnight in America.
Some would argue that painting had its heyday back when making gigantic
abstractions was still considered a
radical form
of art - making.
2017 Third Space: Shifting Conversations about Contemporary Art, Birmingham Museum
of Art, Birmingham, AL We Wanted a Revolution: Black
Radical Women, 1965 — 85, Brooklyn Museum, Brooklyn, NY; California African American Museum, Los Angeles, CA; Albright - Knox Art Gallery, Buffalo, NY; Institute
of Contemporary Art, Boston, MA Magnetic Fields: Conversations in
Abstraction by Black Women Artists 1960 - Present, Kemper Museum
of Contemporary Art, Kansas City, MO; National Museum
of Women in the Arts, Washington, DC; Museum
of Fine Arts, St. Petersburg, St. Petersburg, FL Approaching
Abstraction: African American Art from the Permanent Collection, La Salle University Art Museum, Philadelphia, PA 20/20: The Studio Museum in Harlem and Carnegie Museum
of Art, Carnegie Museum
of Art, Carnegie Institute, Pittsburgh, PA Making Space: Women Artists and Postwar
Abstraction, The Museum
of Modern Art, New York, NY The Time Is N ♀ w, Michael Rosenfeld Gallery LLC, New York, NY MIDTOWN, Salon 94 at Lever House, New York, NY
During the 10 - year period on which this exhibition focuses — from 1971 to 1981 — Ramberg's
radical, enigmatic, and accomplished paintings moved towards increasing
abstraction of the human figure.
Meanwhile, as a reaction against the subjectivism
of Abstract expressionism, other forms
of Geometric
abstraction began to appear in artist studios and in
radical avant - garde circles.
Hales Project Room put the spotlight on rarely seen, richly stained
abstractions created in the 1970s by American painter Virginia Jaramillo, whose practice has recently been rediscovered through important group shows such as Soul
of a Nation: Art in the Age
of Black Power and We Wanted A Revolution: Black
Radical Women, 1965 - 85.
The exhibition will give a rounded view
of Neel's career, showing her to be a
radical painter in the figurative tradition — which was unjustly eclipsed in a period
of high
abstraction.
Always working in a breadth
of mediums, Armleder's creations encompass everything from geometric
abstraction drawings to «sculptural furniture» to
radical performances to photographic prints.
Often cited as the father
of contemporary art in the United Arab Emirates, Sharif began making art in the 1970s, but soon departed from his region's dominant art form
of calligraphic
abstraction and embraced the
radical approaches
of avant - garde movements such as Fluxism and British Constructivism.
In abstract painting during the 1950s and 1960s several new directions like hard - edge painting and other forms
of geometric
abstraction began to appear in artist studios and in
radical avant - garde circles as a reaction against the subjectivism
of abstract expressionism.
The continuation
of abstract expressionism, color field painting, lyrical
abstraction, geometric
abstraction, minimalism, abstract illusionism, process art, pop art, postminimalism, and other late 20th - century Modernist movements in both painting and sculpture continued through the first decade
of the 21st century and constitute
radical new directions in those mediums.
It was an extension
of the vanguard artistic activity happening in New York City around
abstraction, which constituted a
radical re-definition
of art.
And yet, though the early decades
of 20th - century Russia have been firmly registered in today's art history as a time
of radical social and artistic change, the uncompromising and often absurd ideas in Avant - Garde Museology appear alien to a contemporary art history that explains suprematism and constructivism in terms
of formal
abstraction.
By 1975, Baer had moved to Ireland and abandoned
abstraction, opting instead for what she called «
radical figuration» — a dreamy, surrealistic mode
of painting.
Gilliam established himself at the forefront
of American
abstraction while working in Washington, D.C. in the 1960s, when his experiments with paint application and his
radical transformation
of the canvas support profoundly expanded the possibilities for the future
of abstract painting.
2004
Radicals and Conservatives:
Abstraction 1945 to the Present, Pennsylvania Academy
of the Fine Arts, Philadelphia, PA
Works that expressed a personal or political viewpoint through figuration were considered to be retrograde in comparison to the
radical abstractions created by the great American painters
of the forties and fifties.
Throughout the exhibition, McElheny suggests that
abstraction seen through the lens
of the body might be a path for returning to a conversation about the
radical hopes and ideals originally associated with this mode
of seeing.
It also came just as the organizer
of Radical Presence, Contemporary Arts Museum Houston senior curator Valerie Cassel Oliver, was preparing to open the first installment
of Black in the Abstract, a two - part exploration
of abstract painting by black artists, as part
of CAMH's six - exhibition, two - installment
abstraction extravaganza, Outside the Lines.
Later influential groups were Los Once and Diez Pintores Concretos — two
radical groups
of the 1950s and early 1960s who delved into geometric
abstraction, hard - edged painting and kinetic sculptures.
The development
of Cuban geometric
abstraction and, specifically, the formation
of Los Diez, coincided with the
radical political and cultural shifts that raged throughout the country in the 1950s.
In abstract painting during the 1950s and 1960s several new directions like Hard - edge painting and other forms
of Geometric
abstraction like the work
of Frank Stella popped up, as a reaction against the subjectivism
of Abstract expressionism began to appear in artist studios and in
radical avant - garde circles.
In this period, Frankenthaler drew upon Cubism, the
abstractions of Arshile Gorky and, especially, those
of Jackson Pollock, whose
radical technique inspired her to reject easel painting.
Whitechapel Gallery, London, 15 January — 6 April 2015 The RA's show
of South American abstract art, «
Radical Geometry», examined how geometric
abstraction travelled diagonally across the Atlantic from Europe, taking compelling new forms inspired by local political and social circumstances.
By the 1930s, European and American Modernism was making slow but steady inroads into Texas through a few well traveled and educated early converts to
radical art forms
of abstraction.
This is a period
of radical innovation and the moment when O'Keeffe's commitment to
abstraction is firmly established.
While all
of these objects share clear references to Minimalism and
abstraction, their twarting
of this art historical tradition could not be more
radical.
It's as if he led his students to their own
radical critiques, and then went on to the next step with such paintings as «P73 # 5» (1973), a geometric
abstraction featuring skewed planes and a beguiling sense
of perspective.
A more rigorous engagement with «pure
Abstraction» was left to Mondrian, but this involved the suppression
of the space - making properties
of colour, entrapping primary colour
of minimal sensuosity within a prison
of black bars, and a commitment to a
radical «flatness».
In reality, the
radical abstractions from 1947 to 1950 had opened possibilities for thinking
of things in new ways.
Most recently, Pindell's work appeared in: We Wanted a Revolution: Black
Radical Women, 1965 — 1985 (2017, the Brooklyn Museum, New York), Energy / Experimentation: Black Artists and
Abstraction, 1964 — 1980 (2006, The Studio Museum in Harlem), High Times, Hard Times: New York Painting, 1967 — 1975 (2006, Weatherspoon Art Museum, University
of North Carolina, Greensboro), WACK!
This show
of vintage sewn and stained paintings demonstrated that Al Loving, who died in 2005, was not only one
of the most
radical painter - deconstructionists but also the one who most fully embraced the sensual potential
of off - the - stretcher
abstraction.
In Post-war British art
radical work tended towards various styles influenced by the modern art
of Paris and New York such as Surrealism,
abstraction and Pop Art.
Setting out from figuration and colour, he quickly steered his work in the direction
of abstraction and was able to almost seamlessly achieve this highly logical and
radical transformation.