Sentences with phrase «pictorial abstraction in»

This exhibition proposes a new reading, emphasizing that the achievements of her training in the field of abstract painting did not disappear when her work turned to textiles, and that the artist addressed pictorial abstraction in a unique way, manifesting itself very quickly through an openness to spatial concerns.

Not exact matches

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.

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.

It is through Courbet, the specific artist, the Harmonian demiurge, that all the figures partake of the life of this pictorial world, and all are related to his direct experience; they are not traditional, juiceless abstractions like Truth or Immortality, nor are they generalized platitudes like the Spirit of Electricity or the Nike of the Telegraph; it is, on the contrary, their concreteness which gives them credibility and conviction as tropes in a «real allegory,» as Courbet subtitled the work, and which, in addition, ties them indissolubly to a particular moment in history.

Haynes» work is clearly «abstract», and participates in a relatively minimal pictorial economy that is often seen as one of abstraction's disadvantages compared to figuration.

The large scale Water Lily Paintings verge on abstraction and are unsurpassed in their pioneering efforts at creating viable pictorial structure from color, surface, luminosity, value, hue and chromatic shifts.

[34] Lyrical Abstraction is a type of freewheeling abstract painting that emerged in the mid-1960s when abstract painters returned to various forms of painterly, pictorial, expressionism with a predominate focus on process, gestalt and repetitive compositional strategies in general.

Through an over-investment in pictorial signature (which in another time would have ultimately expunged the figure and led to abstraction), in these works the «sitter,» or «figure» is still stuck in there anyway, lingering like a squatting tenant after the eviction notice has long been served.

A majority of the works in the show are hard - edge geometric abstractions, many of their forms and their relation to pictorial space arrived at with the help of early computer programming and projection techniques.

His artistic attitude is embodied in audaciously scaled and shaped paintings, incorporating classical pictorial elements, oscillating between figuration and abstraction.

The «swarm» pictorial economy, developed by Cézanne, who gave the Impressionist dab motility, has been enormously influential in abstraction, especially in the gestural branch of Abstract Expressionism whose lingering influence is legible in Diebenkorn's Berkeley series.

Her richly layered pictorial works often evoke the forms and imagery of Russian Constructivism but also draw on her own contemporary lexicon of mass - culture motifs and abstraction to reflect on changes in the artist's home city of Moscow since the collapse of the Soviet Union.

Following the developments of Cubist and Futurist painting — in which the natural world was translated into a stark pictorial language of shapes, lines, and angles — Russia was one of the primary breeding grounds of pure abstraction, with Wassily Kandinsky doing much to popularize geometric art before gravitating to the gestural camp in later years.

The first works in the series were debuted in Douglas's 2016 Hasselblad Award solo exhibition at the Hasselblad Center in Gothenburg, Sweden, and the compositions that will be on view in this exhibition represent a more expansive and nuanced investigation into pictorial abstraction as well as the complex relationship between technology and image making.

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The 13 works on view highlight the formal similarities between the artists» work and illustrate a parallel shift in their conception of pictorial space — from a figural abstraction to a new sense of openness and expansiveness.

Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line, stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in reverse, adapting abstract aesthetics to carnal representation.

Much like her paintings in the past two iterations of NDA, the artist's new series of geometric abstraction becomes even more architectural as she continues her study of visually defining «place», giving the viewer a sense of being able to walk into and inhabit the pictorial «space».

Haines actively examines his position as an artist who makes pictorial and textual narratives in the wake of abstraction, conceptual art and photography.

Distinctions between drawing and painting, figuration and abstraction, internal and external worlds are erased in works that do not obey convention but invent their own pictorial logic.

In their final forms, these works present a record of the processes employed while outlining new directions in pictorial abstractioIn their final forms, these works present a record of the processes employed while outlining new directions in pictorial abstractioin pictorial abstraction.

In 1965, as he moved more towards abstraction, he wrote:» All that interests me,» Richter is quoted in the catalogue as stating, «is the gray areas, the passages and tonal sequences, the pictorial spaces, overlaps and interlockingIn 1965, as he moved more towards abstraction, he wrote:» All that interests me,» Richter is quoted in the catalogue as stating, «is the gray areas, the passages and tonal sequences, the pictorial spaces, overlaps and interlockingin the catalogue as stating, «is the gray areas, the passages and tonal sequences, the pictorial spaces, overlaps and interlockings.

In between fluid abstraction and sculptural figuration, these works become three - dimensional pictorial spaces with a potential for image making.

Albers famously dubbed her tapestries that resulted from these experiences as «pictorial weaving»: intricate woven abstractions that evidenced her belief in thread as a «carrier of meaning,» as Gardner Troy points out in her essay.

In my recent paintings, I've been transforming snippets of conversation, argument and dialogue, using abstraction and graphic design to both confuse the original function of the words and phrases, and elevate them to a pictorial object.

The Swiss artist Paul Klee also responded to this challenge: the almost 10,000 works he created in the course of his career include exciting examples of the development of abstract pictorial worlds and of the processes of abstraction in painting.

Dunham has built his pictorial vocabulary over three decades of grappling with the past century's rich heritage of painterly possibilities (including abstraction, which he practiced exclusively for many years); today one can detect traces of Léger, Guston and the various twists and turns of New York painting in the 1980s, when he began making abstractions on wood veneer.

Each artist cultivated their own personal influences to achieve a clear individual style, all rejecting overt representational form in favor of an international pictorial language of abstraction that to this day expresses strong emotional content.

Painting in Italy 1910s - 1950s: Futurism, Abstraction, Concrete Art relays a complex historical account of the fraught relationship between art and politics in Italy during the interwar and postwar period, attesting to the bumps, curves, utopias and traumas experienced by an eclectic group of artists working to assert a new pictorial language by challenging the dominant tenets of their culture.

We can now see his earlier pieces in a new way; if each brush stroke is both abstract (in form and idea) and representational (of a stroke, of «painting»), could there be a space of «pictorial abstraction» in which the duality can persist?

By reducing the obligatory details, especially the background, in favor of speed of execution on a large - scale format (which he gleaned from Abstract Expressionist painting), and by maintaining simplicity of form (distilled by the artist for the sake of observational necessity long before the emergence of minimalism), Katz was able to bring abstraction and observation, simplicity and speed into his singular pictorial language.

Suprematism's few followers were active in Russia alongside the Constructivists, who also championed geometric abstraction; El Lissitzky claimed membership in both groups and brought their radically new pictorial language to the West, where it would become hugely influential among avant - garde circles, particularly the Bauhaus in Germany.

Possessing many technical skills, Taaffe has moved decisively between unique pictorial inventions and appropriations, as well as overlaying divergent modes of representation, through cultural patterns found in ornament, and biomorphic abstraction.

Since 1977, Julian Schnabel (b. 1951) has captured people's imagination with paintings that speak to his incessant appetite for sculptural physicality, material diversity, and pictorial symbolism that have resulted in ever more audaciously scaled paintings that oscillate between abstraction and...

Pictorial space and illusion have often parted ways in the time of abstraction, only to be reunited by clever topologists like McNeil, who twist and toy with our perceptions in ways that never cease to delight.

Hans - Ju ̈rgen Hafner, 2016 commented: The impressive thing about Rainer is how unconventional, and above all how quickly he covers the scope of what is possible in painting, and reorganises it for himself alongside local tradition and connection with the international Modern Movement, anti-academicism and outsiderhood, pictorial symbol and the act of painting, conceptualisation and phenomenology, surrealism and abstraction»

His artistic attitude is embodied in audaciously scaled and shaped paintings, incorporating classical pictorial elements, oscillating between abstraction and figuration.

«Grotjahn's abstractions are, in relation to traditional pictorial modes, a matter of having your cake and eating it too, of experiencing vertiginous spatial illusions only to be brought back to the level ground of modernist flatness - only then to have the picture plane once again yield to the probing eye,» curator Robert Storr wrote in LA Push - Pull / Po - Mo - Stop - Go.

This example was executed during an extraordinarily fecund period in the 1980s when Richter developed pictorial abstraction to a heightened pitch.

For Hartigan, abstraction and figuration were not mutually exclusive; pictorial structures in her work are vehicles for emotion, and are handled in a painterly, expressionist manner.

My point is that the «defeat of objecthood» — and therefore the achievement of abstraction, which is the same as the achievement of pictorial quality — is never secure but always unstable, and this instability expresses the fact that the defeat of objecthood (and therefore the achievement of abstraction) is not and can not be a quality that is predicated (once and for all) of things in the world (like color, shape, weight and so on).

Included are nine medium - sized paintings — in oil on canvas or linen, from the last five years — that attest to Ayhens's command of her pictorial means: elastic or distorted space, a distinctive palette, and a willingness to allow realism to dissolve into pure abstraction.

In her catalogue essay, Poddar provided partial explanation for suggestive pictorial elements in Gaitonde's abstractions by citing a specialist in South Asian art, critic Richard Bartholomew, who maintained that traditional Indian miniatures were not purely figurative, but were composed of literary and abstract elements.4 Gaitonde then might have been alluding to our necessity to «see» something in the picture, even when there is nothing objective or graphic there because, intuitively, we attempt to make sense out of unfamiliar patterns trying to connect them with what we already knoIn her catalogue essay, Poddar provided partial explanation for suggestive pictorial elements in Gaitonde's abstractions by citing a specialist in South Asian art, critic Richard Bartholomew, who maintained that traditional Indian miniatures were not purely figurative, but were composed of literary and abstract elements.4 Gaitonde then might have been alluding to our necessity to «see» something in the picture, even when there is nothing objective or graphic there because, intuitively, we attempt to make sense out of unfamiliar patterns trying to connect them with what we already knoin Gaitonde's abstractions by citing a specialist in South Asian art, critic Richard Bartholomew, who maintained that traditional Indian miniatures were not purely figurative, but were composed of literary and abstract elements.4 Gaitonde then might have been alluding to our necessity to «see» something in the picture, even when there is nothing objective or graphic there because, intuitively, we attempt to make sense out of unfamiliar patterns trying to connect them with what we already knoin South Asian art, critic Richard Bartholomew, who maintained that traditional Indian miniatures were not purely figurative, but were composed of literary and abstract elements.4 Gaitonde then might have been alluding to our necessity to «see» something in the picture, even when there is nothing objective or graphic there because, intuitively, we attempt to make sense out of unfamiliar patterns trying to connect them with what we already knoin the picture, even when there is nothing objective or graphic there because, intuitively, we attempt to make sense out of unfamiliar patterns trying to connect them with what we already know.

A woman painting during a period when realist art - dependent on narrative and pictorial illusion - was seen in modernist circles as retrograde, she had her work drowned under a welter of high - minded, essentially male, abstraction.

If Stella's call for a new sense of space tends too quickly towards a literal - minded interpretation, the problem with Peter Halley's Neo-Geo abstraction was that it moved painting into a philosophical, theoretical, and technological / conceptual space which was literal or literalizing in its very own way (e.g., as geometric abstractions came to serve as the pictorial ««models» of intellectual concepts»).

In his quietly dazzling New York solo debut, painter Ryan Crotty demonstrates that the same is true of a certain strain of process - oriented abstraction, in which a refined (if idiosyncratic) technique is indispensable to the pictorial outcomIn his quietly dazzling New York solo debut, painter Ryan Crotty demonstrates that the same is true of a certain strain of process - oriented abstraction, in which a refined (if idiosyncratic) technique is indispensable to the pictorial outcomin which a refined (if idiosyncratic) technique is indispensable to the pictorial outcome.