Sentences with phrase «show about abstraction»

I was just asked to be involved in a group show about abstraction from Chicago which will be at Nebraska Wesleyan University in Lincoln this October and has a killer lineup of artists that I'm honored to be listed among.

Matthew Higgs believes in one, and it makes an impressive group show, just a year after a slew of summer group shows about abstraction, with more to come this summer.

In the last five years especially there has been so many shows about abstraction, culminating in the Forever Now show at MoMa.

«Invisible Adversaries» was a show about abstractions — that is to say, general ideas not based on any particular real persons, things, or situations.

Not exact matches

Those are handy scientific abstractions, but even if they were provable in the terms science allows, it would not show that no broader set of truths about the universe would not render these proofs a special case of themselves.

I will say more later about how he shows approximation to this in his «Method of Extensive Abstraction» when we get on to how he tries to bound events.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Joan Waltemath talks with Raphael Rubinstein about the exhibition Reinventing Abstraction: New York Painting in the 1980s, a show he curated at Cheim & Read, New York, on view through August 30, 2013.

-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».

This will be after taking in Robins sculpture, and Gary Wraggs paintings in Deal.Great that there are two shows of British Abstract Painting and Sculpture on at the moment.With Bill Tucker at Pangolin and Sams cracking show of 60s colour in Liverpool, Abstraction is far from a dead issue.Indeed there is a symposium by Matthew Macauley at a northern university [to be confirmed] coming up, with requests for papers.Two very good painters rang me to say go and see the Picasso show at Tate Modern, which I did.It was stunning and there were probably eight or so masterpieces in one room from one year!Tony and Sheila Caros show in Peterborough and Graham Boyd at the Cut, Frank Bowling in Dublin and Scully in Newcastle, Mali Morris at Women can't Paint at Turps Banana, loads to see, enjoy, think about and stimulate new work.I hope there are all those hungry [artistically] young Abstract Painters and Sculptors out there keen to extend the genre.!

With a focus on works from the period between their first meeting in 1955 until their separation in 1979, the exhibition shows how Mitchell and Riopelle, who lived together in Paris, then in Vétheuil in the Seine valley, developed unique but related bodies of work while they were engaging in a vigorous exchange about abstraction and painting.

Stated succinctly in a talk given by critic Brooks Adams at the opening of this masterfully executed exhibition on Madison Avenue, «This show is a proposal about Post-War abstraction.»

Works by Leo Hurzlmeir, Richard Schur & Brent Hallard (l to r) March 12 — May 2, 2009 Exhibiting artists: Kasarian Dane, Stephan Fritsch, Brent Hallard, Leo Hurzlmeir, Robin McDonnell, Mel Prest, Richard Schur, Nancy White, John Zurier Pharmaka is pleased to present «TRANS: formal» the Los Angeles manifestation in a series of traveling shows by nine artists from Germany, Japan and the United States who are all engaged in a dialogue about Abstraction -LSB-...]

2010 Art of The Eighties, Nymphius Projekte, Berlin Re-Seeing the Contemporary: Selected from the Collection, Dallas Museum of Art, Dallas Psychedelic: Optical and Visionary Art Since 1960, San Antonio Museum of Art, TX (catalogue); travelled to Memorial Art Gallery, University of Rochester, NY; Telfair Museum of Art, Savannah, GA Inside, Outside, Upstairs, Downstairs: The Addison Anew, Addison Gallery of American Art, Andover, MA Art of the Eighties, Nymphius Projekte, Berlin Color and Form, Los Angeles County Museum of Art, Los Angeles Once Removed, The Apartment, Athens Masters of Impressionism and Modern Art, Heather James Fine Art, Jackson, WY VaXiNation, Xippas Gallery, Athens Global Art Show, The Columns, Seoul Track and Traces, Galleria in Arco, Turin, Italy Abstract Vision 2010, Art + Art Gallery, Moscow The 80s Revisited: The Bischofberger Collection, Kunsthalle Bielefeld, Bielefeld, Germany (catalogue) Painting Panel Exhibition, in conjunction with the College Art Association Annual Conference, Shane Campbell Gallery, Chicago, IL Personal Structures: Time — Space — Existence, Künstlerhaus Palais Thurn and Taxis BV: BKV, Bregenz, Austria Pictures about Pictures: Discursive Painting from Albers to Zobernig, Daimler Art Collection, Museum Moderner Kunst, Vienna España / America: The Redefined Abstraction, Galeria Max Estrella, Madrid (curated by Demetrio Paparoni)

Guest, Barbara, «Reviews and Previews», Art News (New York), April, volume 53, no. 2, p. 54 Devree, Howard, «About Art and Artists: Moderate Abstractions Make a Lively Exhibition at the City Center Gallery», New York Times, 8 April, p. 25 Newbill, Al, «Fortnight in Review: A Contrasting Trio», Art Digest (New York), 15 April, volume 28, no. 14, p. 20 «Coast - to - Coast: Guggenheim to Show and Buy «Younger» Painters», Art Digest (New York), 1 October, volume 28, no. 1, p. 14 McBride, Henry, «Americans looking east, looking west», Art News (New York), May, volume 53, no. 3, pp.32 - 33 & pp.54 - 56 Devree, Howard, «About Art and Artists: Display of Work by «Younger Americans» Brought Together by J.J. Sweeney», New York Times, 12 May, p. 36 Hunter, Sam, «Guggenheim Sampler: Abstract painting comes of age in a museum exhibition of fifty - four younger Americans», Art Digest (New York), 15 May, volume 28, no. 16, pp. 9 & 31 Devree, Howard, «Americans Today: Selection of Work From East to West Opens at Guggenheim Museum», New York Times, 16 May, section 2, p. 1 - Fremantle, Christopher E, «New York Commentary», Studio (New York), October, volume 148, no. 739, pp. 124 - 126 Arnason, H.H, Reality and Fantasy: 1900 - 1954, catalogue, Walker Art Center, Minneapolis Sweeney, James Johnson, Younger American Painters: A Selection, catalogue, Solomon R. Guggenheim Museum, New York 61st American Exhibition: Paintings and Sculpture, catalogue, Art Institute of Chicago Goodrich, Lloyd, «Whitney's Battle for U.S. Art», Art News (New York), November, volume 53, no. 7, pp.38 - 40 & 70 - 73

I mean the whole group of works from Chromafesto, my first solo show at Canada in 2003, was about seeing if the audience could «read» political content in abstraction.

In my recent interview with Brian O'Doherty, we talked about the success of the Reinhardt show at the David Zwirner gallery, which would never have happened before — I mean showing all aspects of his work, the severe black abstractions, the political cartoons, the slide lectures, all at once.

Young, who also appeared in a show about the persistence of abstraction, starts minimally enough in 1963, with small paintings, dense patterns, and thick stretchers.

Outsourcing production, Reyle, who also shows at Gagosian, fashions himself a conceptual artist concerned with notions about abstraction and consumer culture.

On May 5, Joan Waltemath met with Raphael Rubinstein at his loft in TriBeCa to talk about Reinventing Abstraction: New York Painting in the 1980s, a show he curated at Cheim & Read (June 27 — August 30).

The Abstract Expressionists never really saw themselves as a group — they never wrote a manifesto — and one of the good things about this Royal Academy show is that it embraces a variety of approaches to abstraction.

The LACMA show gathers about 70 of his paintings and drawings: bulbous, erotic abstractions (along with plenty of not - so - abstractions that are NSFW).

The show brings together eight artists, with works spanning fifty years, to think about how abstraction can move us.

Patrick Heron's seminal review of the first showing of the Abstract Expressionists in London in 1956 at the Tate Gallery singles out Rothko for especial praise, while raising doubts about the others, and there is no doubt, despite his protestations to the contrary, that this show marked a decisive shift in his art towards abstraction, and Rothko in particular, though he rapidly turned the influence in the direction of a more European sensibility, less nuanced, a more immediate and direct attack, and an asymmetric compositional style more akin to the early Multiforms, which Heron insists he had not seen.

After seeing a 2008 show at New York's Jewish Museum about the circle of artists orbiting the mid-century critics Clement Greenberg and Harold Rosenberg, Chanzit had the notion to hone in on painters who had been excised from mainstream histories of abstraction.

It announced that Ad would show 1,000 color slides and talk about «THE KOOTZANDJANIS KIDS» (referring to the art dealers Sam Kootz and Sidney Janis) in a pun on the comic strip of the Katzandjammer Kids), as well as «MOMAISM» and «POP - ABSTRACTION.»

Jackson tells me that she first encountered new ways to think about the historic role of abstraction during her undergraduate tenure at Cooper Union, where several artist teachers, including Walid Raad, Dore Ashton, and Doug Ashford, showed her that artists could be part of critical, public political theory.

He said that he felt no compunction about making post-painterly abstraction during the aftermath of the Civil Rights era, only that «it was hard getting [the work] shown.»

The show groups together twenty seminal paintings, dating from 1977 — 1985, which attest to the origins of Lasker's methodology, and ideas about abstraction, figuration and language.

His lucky break finally came in 2013 when revered Chicago dealer Kavi Gupta saw his work and immediately wanted to show his abstractions from the 70s — a show that brought about sales and serious acclaim.

Our half - hour conversation regrettably did not include enough time to talk about Wilkin's curatorial projects, which over the years have included many shows and monographs about mid-century Modernists and contemporary abstraction.

There is a widely accepted view of Jasper Johns's first exhibition that goes like this: with his «flags,» «targets,» «numerals» and «alphabets,» he integrated representation and abstraction, as well as made art about art (the flag, like a painting, is flat and two - dimensional), showing his peers a way to bypass Abstract Expressionism.

As for this particular solo show, NIL reflects the faith that Jago places in his viewer — «this tension is what is beautiful about abstraction; the image that one person interprets as a depiction of humankind's conquest of nature may appear to another as a depiction of nature's triumph.

The show's argument is more about abstraction and society.

The Geometric Abstractions show at G262 Sofie Van de Velde featuring Charlotte Posenenske (who exhibited at Art Berlin Contemporary, read about it in the ABC 2014 article), Ilse D'Hollander and Svenja Deininger is a must see for those that appreciate abstract painterly work while the gorgeous photography work of Veronika Pot and Daisuke Yakota both look very tempting on the Contemporary Photography Route and finally the Vivian Maier — Who are You Vivian?

I remember something I said when I gave a talk for a show I was in about ornament and abstraction in contemporary painting... I said that I wanted to make a painting with the seduction of a pink angora sweater and the power of a Barnet Newman.

On May 5, Joan Waltemath met with Raphael Rubinstein at his loft in TriBeCa, where he lives with his wife, artist Elena Berriolo, and their two daughters, to talk about Reinventing Abstraction: New York Painting in the 1980s, a show he curated at Cheim & Read (June 27 — August 30).

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».

Pharmaka is pleased to present «TRANS: formal» the Los Angeles manifestation in a series of traveling shows by nine artists from Germany, Japan and the United States who are all engaged in a dialogue about Abstraction in painting.