Sentences with phrase «radical abstraction in»

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.

Not exact matches

On the other hand, from the empirical side, Whitehead and his colleagues in radical empiricism, William James, Henri Bergson, and John Dewey, have insisted that cognition is only an abstraction from the more fundamental physical experience, and that to treat the cognizable as the more real is — with a truly Cartesian forgetfulness — to put the wagon before the horse.

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 mixtureIn 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 mixturein 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 anAbstraction'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 anabstraction as a platform for revolutionary possibilities in art and politics.

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 timIn 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 timin the United States at that time.

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.

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.

Just this last year saw «Women in Abstraction» at MoMA and «Black Radical Women» from the past in Brooklyn, with Latin American «Radical Women» coming up.

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

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.

Opheim focused his energies on abstraction for more than two decades, but in 2010 his work took a radical shift.

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 expressionisIn 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 expressionisin artist studios and in radical avant - garde circles as a reaction against the subjectivism of abstract expressionisin 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.

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.

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.

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.

Moving seamlessly from figuration to abstraction — and at times working simultaneously in both — de Kooning's work underwent radical stylistic shifts from decade to decade, continuously evolving and refining.

Moving from figuration to abstraction — and at times working simultaneously in both, de Kooning's work underwent radical stylistic shifts from decade to decade.

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.

A leader in the New Queer Abstraction, Loren Britton takes sentimental moments and infuses them with radical politics.

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 circleIn 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 circlein artist studios and in radical avant - garde circlein 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.

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.

In reality, the radical abstractions from 1947 to 1950 had opened possibilities for thinking of things in new wayIn reality, the radical abstractions from 1947 to 1950 had opened possibilities for thinking of things in new wayin 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.

The development of the radical abstraction within his work is most visible on the series of geometric abstraction in white and black.

For these artists, who were in their 30s and 40s during the 1980s, it was not a question of a «return to painting,» but, rather, of finding a bridge between the radical, deconstructive abstraction of the late 1960s and 1970s (which many of them had been marked by) with a larger painting history and more subjective approaches.

This once - in - a lifetime survey of one of art history's greatest radicals traces his evolution towards abstraction's degree zero — the iconic Black Square — and beyond, including his famed costumes for the modernist opera, Victory Over The Sun.

For a brief period, the synergy between vanguard aesthetics and politics found its heights in the work of artists eager to bring the radical reductions and geometries of abstraction to bear on their work; strong angles, extreme perspectives, and disorienting compositions evoked the overwhelming monumentality of this new world.

Challenging official accounts of the decade, which tend to ignore the individualistic abstraction exemplified by these painters in favor of more easily identifiable movements and styles, Rubinstein chronicles how, around 1980, a generation of New York painters embraced elements that had been largely excluded from the radical, deconstructive abstraction of the late 1960s and 1970s, which had influenced many of them.

In 2013, while preparing his retrospective exhibition in the Palacio de Velázquez of the Museo Nacional Centro de Arte Reina Sofia in Madrid, he said: «Initially I painted wildly, in all imaginable styles, but later on I settled on radical geometric abstraction as my preferred techniquIn 2013, while preparing his retrospective exhibition in the Palacio de Velázquez of the Museo Nacional Centro de Arte Reina Sofia in Madrid, he said: «Initially I painted wildly, in all imaginable styles, but later on I settled on radical geometric abstraction as my preferred techniquin the Palacio de Velázquez of the Museo Nacional Centro de Arte Reina Sofia in Madrid, he said: «Initially I painted wildly, in all imaginable styles, but later on I settled on radical geometric abstraction as my preferred techniquin Madrid, he said: «Initially I painted wildly, in all imaginable styles, but later on I settled on radical geometric abstraction as my preferred techniquin all imaginable styles, but later on I settled on radical geometric abstraction as my preferred technique.

Formally, she does this in a rather radical way, for abstraction is pushed to the limits of its own artificiality — whether it concerns the works» comprehension, matter or shape.

In the catalog essay to Reinventing Abstraction, Rubinstein puts it this way: «Around 1980, a generation of artists who had been involved in the radical strategies of the»70s rediscovered the possibilities of painting on stretched canvas, and working with oil paint... applying paint with a brush instead of spraying or folding or pouring or staininIn the catalog essay to Reinventing Abstraction, Rubinstein puts it this way: «Around 1980, a generation of artists who had been involved in the radical strategies of the»70s rediscovered the possibilities of painting on stretched canvas, and working with oil paint... applying paint with a brush instead of spraying or folding or pouring or staininin the radical strategies of the»70s rediscovered the possibilities of painting on stretched canvas, and working with oil paint... applying paint with a brush instead of spraying or folding or pouring or staining.

To explore the story of these radical shifts and their legacy, «Revolution in the Making» unfolds as a thematic historical survey that is international in scope and fundamentally revisionist, making women artists central to the history of sculpture by tracing the legacy of studio - based organic abstraction.

Working in almost total isolation, first in New York State, later in Oakland, California, Still had arrived by 1943, at a style that was more radical in its abstraction, and more sweeping in scale, than the work of any New York School artists of that time.

In the decades since, art that critiques modernist abstraction has become a seemingly permanent fixture, always finding new adherents (not unlike pop music subcultures such as hardcore punk that devolved from radical statements to stylistic options), while Neo Geo, the movement that brought Halley to prominence, has been installed in nearly every art historical account of the perioIn the decades since, art that critiques modernist abstraction has become a seemingly permanent fixture, always finding new adherents (not unlike pop music subcultures such as hardcore punk that devolved from radical statements to stylistic options), while Neo Geo, the movement that brought Halley to prominence, has been installed in nearly every art historical account of the perioin nearly every art historical account of the period.