Sentences with phrase «serving as abstraction»

Ultimately serving as abstraction in some of its purest forms, the works on display in Düsseldorf pull from all aspects of life, allowing its combinations to exist as images of their own.

The collection of badges, collars, buttons, and mask - like forms serve as abstractions that point toward the body and promote the viewer to question the complicated process of identify - building.

Not exact matches

This will, Solzhenitsyn argues, can not find happiness in serving any abstraction, even one so grandiose as heaven on earth.

It also serves as an underlying subversive streak, a unique and nagging abstraction about current war time politics, sandwiched into genre in the glorious tradition of horror films from days past.

With Frazee's beautiful illustrations, it tackles abstractions that can serve as a great conversation starter.

Serving as an overdue affirmation of Hoyland's significance within the field of abstraction, they provide fascinating new insights into the artist's practice, and through it, the object of painting itself.

Central to the exhibition are found images that «serve as bedrock for Pendleton's artistic practice and connect his form of abstraction with the history of the America Civil Rights Movement, the pre-war Avant - Garde, La Nouvelle Vague in film, and Minimalist and Conceptualist art practices of the 1960s.»

Therefore, it is fitting that her work be accompanied by the exhibition American Abstraction, 1930 - 1945, featuring members of the Transcendental Painting Group (TPG) and the American Abstract Artists (AAA), an organization von Wiegand joined in the 1940s and served as president of from 1951 to 1953.

This play with naturalness and artificiality serves as a continuous sounding out and exploration of the boundary between abstraction and representation.

ABSTRACTION AND THE DREAMING: ABORIGINAL PAINTINGS FROM AUSTRALIA»S WESTERN DESERT (1971 - PRESENT) Tjukurrpa, or «the dreaming,» a belief that land and human laws were formed by ancestors, serves as the guiding principle for paintings by Aboriginal artists.

Continuing the art historical quest to locate the unknown within material form, his portraits and abstractions serve as poignant evocations of the sublime.

It cites «Abstraction in Photography» when it comes to Barbara Morgan and Gertrude Altschul, «The Responsive Eye» when it comes to Bridget Riley and Op Art, and «Wall Hangings» when it comes to Sheila Hicks and Anni Albers — who had served as acting director of the weaving workshop at the Bauhaus.

But his body of work completed over many decades, the artist died in 1993 at the age of 71, includes many figurative, landscape and still lives that served as a foundation for his large scale abstractions.

He forged close friendships with the European Surrealists and other intellectuals over his interests in poetry and philosophy, and as such served as a vital link between the pre-war avant - garde in Europe and its post-war counterpart in New York, establishing automatism and psychoanalysis as central concerns of American abstraction.

If, then, in its broad definition, abstraction serves to reveal the unseen, for both DeFeo and Grotjahn, it perversely serves as a material diary of intense meditations whose specific revelations remain as impenetrable as their characteristically opaque surface marks.

The exhibition is a portrait of a giant of modernist abstraction from a particularly intimate and revealing point of view,» said Karen Wilkin, who served as guest curator along with Marcelle Polednik, MOCA's former executive director.

American Abstraction features works by members of the Transcendental Painting Group (TPG) and the American Abstract Artists (AAA), an organization von Wiegand joined in the 1940s and served as president of from 1951 to 1953.

Much of it works perfectly well as abstraction, including tondos, or round paintings, that might serve as bundling for characters unseen.

«The capsule serves both as an icon and as a vehicle for abstraction, through which changing color and pattern combinations unfold.

Figurative elements are always present, but often seem to serve more as vehicles for painterly abstraction than for specific narrative.

Her inspiration comes from a passion for plein air painting as well as classic paintings of the renaissance and other periods that serve as a springboard for her conceptual abstractions.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

If, as Harry Gaugh first demonstrated, Nijinsky could reliably serve Kline as a surrogate in self - portraiture during the 1930s and 1940s, including in his breakthrough to abstraction, the historical and artistic figure of Charles Meryon could arguably fulfil a similar function in Meryon in 1960, albeit under different circumstances.41 Meryon was, like Nijinsky, celebrated as a virtuoso by his contemporaries and famously plagued by mental illness, dying in an asylum at Charenton in 1868 at only forty - seven years of age.

Ad Reinhardt's late series of black paintings from 1960 might serve as an apogee in modern art's march towards pure abstraction.

Through layers of paint, plaster, chalk, and addition of gravel and collage, these heavily textured abstractions serve as urban artifacts preserving the elements of artist's life.

In Minneapolis, Canterbury served as curator for a number of exhibitions held at the Minneapolis Institute of Arts including Noble Dreams & Simple Pleasures: American Masterworks from Minnesota Collections, Beauford Delaney: From New York to Paris, Georgia O'Keeffe: Circling Around Abstraction, and Villa America: American Moderns 1900 — 1950.

Still, there is a strong relationship between the patterns that served as the settings for figures in her previous work and her recent abstractions.

Abstraction serves as a vehicle for faith: in «Park,» a gridded arrangement of green and blue panes, done around 1924, there's one pink box containing a Christian cross.

By 1921, having first served, then rejected the new Bolshevik regime, he had returned to Germany and was teaching at the Bauhaus where, with works such as On White II (1923) and Development in Brown (1933) he continued his exploration of the transcendental nature of geometric abstraction.

The resulting abstraction serves as a metaphor for memory.

The refusal to title her works served as a citation of modernist abstraction in general and Minimalists like Donald Judd and Dan Flavin in particular.

Serving as an overdue affirmation of Hoyland's significance within the field of abstraction, they provide fascinating insights into the artist's practice, and through it, the object of painting itself.

From 2010 to 2013, Deitch served as Director of the Museum of Contemporary Art Los Angeles, where he organized major solo exhibitions of work by Urs Fischer, Weegee, and Kenneth Anger and curated seminal group shows including «The Painting Factory: Abstraction After Warhol» and «Art in the Streets», which had the highest attendance in the museum's history.

He was known for his paintings that served as a lyrical abstraction that paved the way for newer generations of artists to express their own techniques.

At the same time, as if you were in a Museum, Negrón sculptures serve as literal benches to sit and contemplate his cardboard abstractions.

He uses abstraction as part of a larger vocabulary, in which installation, sculpture, painting and photography serve as touchstones for experience.

Serving as a window into the painter's early work and artistic roots, Düsseldorf: Paintings from the early 90's is a collection of paintings never before shown in the U.S. Shown in Cologne and Munich during 1991 and 1995, these paintings posses a bold approach to abstraction, with their provocative aesthetic strength and impressive historical awareness.

Serra's plates function as units of mass and structure much the way Kelly's monochrome panels serve as quotients of pictorial abstraction.

Each completed observational drawing serves as a new starting point where I continue (in the same drawing) to use the observed visual information to inform what ultimately becomes gestural 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»).