Sentences with phrase «showing of abstract forms»

Not exact matches

It's the difference between writing «We further showed that X is dependent on Y» and writing «Paramagnetic bipolar tolography revealed that X was dependent on Y.» This section should form the bulk of the abstract, so cram as many key words as possible in there, as the five or so key words that journals allow you to specify as such will soon get used up.

Susan Hespos, a co-author of the study, and associate professor of psychology at Northwestern's Weinberg College of Arts and Sciences said, «We show that infants can form abstract relations before they learn the words that describe relations, meaning that relational learning in humans does not require language and is a fundamental human skill of its own.»

Children learn about the main forms of abstract art and then go on to express themselves in a feelings iceberg (to show how they feel on the surface and underneath in different situations) This was an outstanding lesson in year 5 All images either authors own or sourced from PIXABAY.

The exhibition shows the nuanced relationships between the forms and motifs of these monuments and the artist's abstract works.

For 2015 BOS I've invited two dear painter friends, Scott Robinson and Meredith Hoffheins, to show new paintings with me in a presentation we've titled, Land Ausländer (which roughly translates to «foreign country» or «land alien»), because the three of us each incorporate abstract forms into a physical or imagined environment in our work.

-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».

Then the show turns to work by the second group, an imposing cadre of trained artists working in Los Angeles like Betye Saar, John Outterbridge, Senga Nengudi and Noah Purifoy, who worked for decades at the margins of the mainstream, exploring aspects of assemblage and found materials as well as political expression in often abstract forms.

Although a critical force within the group, the artist's contributions to Memphis — in the form of graphic patterns — were only a small segment of her career; as the ICA show makes clear, Du Pasquier is a multifaceted artist, and she became particularly interested in abstract and figurative painting.

These material experiments eventually led to her breakthrough series Samurai (1981 — 83), first shown at Phyllis Kind (1983) and recently on view at JTT Gallery, New York (November 13, 2016 — January 15, 2017), one of three galleries that currently represent the artist.4 Haunted by the memory of a scene from Akira Kurosawa's epic film Kagemusha (1980), in particular the armor worn by samurai during a ceremonial gathering, Simpson abstracted the cascading arcs and linear folds of the warriors» skirts into free - form structures.

At Wharf Road, Hernández is showing abstract paintings that continue his investigation into gesture and form while extending the innovative techniques of accumulation and...

The sculpture in this show furthers the artist's use of vernacular craft forms and materials in abstract yet iconic objects.

The expressionistic, abstract gestures that motivate many paintings take new form in works such as Norman Bluhm's drawing that combines the physical properties of ink and gouache to show the drips, stains, and flow of abstract - expressionist gesture.

Work in the show is linked not only geographically, but also by the aesthetic of fragmented, abstract forms.

Also on show is Etel Adnan's Champs de Petrol (2013), a two - metre tapestry that uses brightly coloured abstract forms in the form of a map to suggest a sequence of oilfields, while Iman Issa imagines a shimmering and fragile glass monument for Tahrir Square in Cairo with Proposal for a Crystal Building (2014).

The abstract sculptures in the show by artists such as Ann Christopher, Robert Adams, and Bernar Venet explore the material properties of different metals, line, and form.

Other well know names represented include Cy Twombly and Richard Diebenkorn at Susan Sheehan Gallery, a Jim Dine solo show at Pace Gallery, Sam Francis at Manny Silverman Gallery and lastly Michael DeLucia, a former assistant to Jeff Koons, whose sculptural work is engaged with appropriation and the exploitation of objects of mass production in the search of a final abstract form, who is in a two person show with Al Held at the Van Doren Waxter / Eleven booth.

Several paintings from this time are of almost abstract forms repeated across the canvas, oriented only by the title, such as «Baumstamm — dithyrambisch» («Tree Trunk — dithyrambic», 1996), which shows what appears to be a tree trunk cut in quarters, painted in stark colours with distemper.

In the Armory Show he exhibited two paintings and five etchings and took away new influences, the colorful palette of the Fauves and the stylized drawing of emerging abstract painters who were emphasizing form and line over objective three - dimensional reality.

The concept and title of the show were developed by graffiti artist and curator, Poesia, who is also the editor of Graffufuturism.com and the cultural instigator at the center of the growing interest in abstract, progressive and hybrid Graffiti art forms.

While the dense hang downstairs is successful — the individual historical works hold their own against neighbours, the clutter lending the show itself a certain abstract quality in which form and colour between compositions seem to overlap — this device of overfilling the space falls apart upstairs.

It was through this exhibition that he first showed his «fake sculptures», a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

The concept and title of the show were developed by graffiti artist, Poesia, who is also the editor of Graffuturism.com and the cultural instigator at the center of the growing interest in abstract, progressive and hybrid Graffiti art forms.

From one hand, Soviet Union and other communist regimes of the East showed lack of understanding for the art practices of Modernism, interpreting non-representative forms of art as incomprehensible for the proletariat, while United States» government through funding and organization directly supported rise of abstract art to show progressive and liberating character of capitalist society.

The new soloshow of Marc Bijl at Upstream Gallery will be the last show where dark symbolism will meet up with abstract forms.

The glass works in the gallery show the infinite number of colours, forms and textures these pieces of art can take — and objects range from practical bowls and vases through to ornamental objects and large abstract sculptures.

In «Beyond the Black», exhibited last autumn at Victoria Miro in London, he showed a series of large canvases with snatches from Nietzsche hand - stamped in black paint, forming abstract shapes against their shimmering slate backgrounds.

Very bright and almost overwhelming, this is an awesome and almost abstract work that is highly decorative and shows the artist at the top of his form.

Alongside the video Hanson will be showing abstract sculptural forms reminiscent of shard minerals and icebergs.

Entomological Specimen # 6 (1987 - 91) is from this series and shows the insect's form, at one time wholly precise and used for taxonomic purposes, abstracted by the deterioration of time and handling.

The show's excellence is in how the pieces collectively exemplify an understanding and variety of abstract form and juxtapositions, reaching out to the viewer with an unusual display of creativity...»

Sculptures are displayed in pairs to show the objects in two separate states of being, while their dimensional forms are abstracted, flattened, and reflected in accompanying drawings.

The show presents her large - scale abstract paintings inspired by Brazilian and European Modernism, Baroque forms, popular culture, and the decorations of Carnival.

The theme of the show marries the often sacred and sensual traditional use of the human back to represent form with the more abstract concept of what it means to be «back to back».

There, Pascali showed his Fake sculptures, a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

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.

In his solo show, Giehl will also exhibit bold abstract paintings that present balanced compositions of rhythmic forms.

At Wharf Road, Hernández is showing abstract paintings that continue his investigation into gesture and form while extending the innovative techniques of accumulation and removal for which he has become widely known.

Joshua Mittleman, for his first exhibition at castillo / corrales, will show a series of works based on the 8 - page inventory of the torture tapes, a new development in his work that looks at the politics of surveillance and government through abstract and minimal forms.

The artist's serial depiction of these objects, shown variously arranged in irregular configurations and tightly compacted so as to layer, abut, and obfuscate the shapes of adjacent forms, elaborate Morandi's credo that «Nothing is more abstract than reality.»

At Wharf Road, Hernández will show abstract paintings that continue his investigation into gesture and form while extending the innovative techniques of accumulation and removal for which he has become widely known.

So here we are in 2015, with a group of abstract artists in a show that, contrary to those early embattled years of the American Abstract Artists, seems to embrace the messiness, even as the singular form of the circle has been forwarded by curator Rachel Nackman as the organizing principle for the exhibition.

Dominating the lower portion of a four - panel, untitled piece (the show's largest, at over 8 feet square) are crude renderings of abstracted flowers and other organic forms, plus collaged paper rectangles with black - and - white polka dots.

By looking at examples of how context and politics are communicated through abstract and formalist art practices, Rakes shows how abstract forms can be used to represent lived experience.

Castor Gallery's first official exhibition will open January 15th, with a two person show by Heath West, whose algorithmic paintings combine digitally - inspired patterns with abstract traditions; and Elizabeth Winnel, whose self - portraits take the form of sumptuous, juicy lips.

Adams's amalgamation of structure, line, and color places her in the strain of abstract painting that seems to have originated in New York in the mid-1980s, when Mary Heilmann began showing again after a long hiatus, and dates back earlier to Lee Krasner's paintings with floral forms.

This body of work shows the advances of abstract color and form that put Prendergast at the forefront of American modernism.

With presentation by Gilles Fuchs, Harrois brought her abstract, figural and color - based explorations of survival and subtraction to Premier Regard of Paris, France in the form of a solo show during June 2014.

At Victoria Miro, Wharf Road, where Something Curated met with the artist, Hernández is showing abstract works that continue his investigation into gesture and form while extending the innovative techniques of accumulation and removal for which he has become widely known.

A couple of weeks ago opened A Major Minority, an amazing group show featuring the work of contemporary urban artists from around the world curated by graffiti artist and curator Poesia, who is also the editor of Graffuturism.com and the cultural instigator at the center of the growing interest in abstract, progressive and hybrid Graffiti art forms.

The Scottish Modern Art Gallery's new retrospective is his first UK show in two decades, and begins spectacularly in the grounds, where the bright yellow - painted bronze «Declination» (2004), a huge bottle form metamorphosed in combination with other vessels into an abstract push - and - pull dynamic, echoes the twisting energy - plus - elegance of Charles Jencks's permanent landscape spiral.