Sentences with phrase «thing as abstraction»

Indeed, he claimed that «there is no such thing as abstraction as differentiated from reality — all abstraction is based on reality and is reality.»

Not exact matches

The notion of an empirical fact, however, as pointing to the present alone, is an abstraction, existing only in the mind or to common sense, for all things in time can not be thought of apart from their futures.

Useful as it may be to abstract types of things from the welter of everyday experience, we must not commit what Whitehead called the «fallacy of misplaced concreteness» whereby these abstractions are treated as if they were the actual realities under consideration.

To become aware of a thing or being means, in general, to experience it, in all concreteness, as a whole, yet without abridging abstractions.

Suppose, to make this abstraction concrete, that I, as a member of a particular religious community — in my case, as I have said, the communion of Anglican Christians — find myself in contact with a Gelukpa Tibetan Buddhist who, so far as I can tell, believes and teaches things that I think are incompatible with what I believe and teach.

The doctrine (widely held until recently) that «matter» itself is fully real (rather than an abstraction, derived from intellectual analysis of concrete really - existing things, as Aristotle held), and that such self - subsistent «matter» is intrinsically inert (as opposed to self - organizing), arguably reached its full flower in the late Renaissance.18 Part of contemporary divergence between theistic and naturalistic approaches may be understood to arise from overly complete internalization (by both naturalists and theists) of the cosmology that emerged from the scientific revolution of the seventeenth century — the cosmology in which «matter» was full real, but intrinsically inert.

Thus, the thing - concept of reality is rejected as superficial because Whitehead thought he was able to show that the thing - concept of reality corresponded to a high grade of abstraction and represented a late derivative concept.

In his early research into the child's world - view, Piaget showed that the thing - concept, as Whitehead criticized it, actually appears rather late in a child's development and represents an abstraction from earlier and more concrete perceptions (RME) Not until around ten years of age does the child come to see «things» in reality in the way the adult sees «things» in reality and uses the thing - concept consciously, that is argumentatively.

The thing - concept is then the left - over product of such a separating process; it is, as Whitehead contended, a late abstraction.

The putatively unique «I» of a singular psyche, conceived as a dynamic sequence of private acts of representing, is in any case only a sequence of abstractions — there is no such thing as a whole and completed «now» of an isolated Self.

It would be high abstraction to inquire whether a certain thing is or is not properly regarded as an actual entity, apart from consideration of the interaction of that entity with others.

Hence «knowledge» above all means «abstraction» of the forms of these things in the world from matter and from its individuating conditions, so as to possess them in their universality.

As mentioned above, abstraction is that direction which determines the nature of mathematics and insures the existence and independence of the mathematical ideas as against the things of naturAs mentioned above, abstraction is that direction which determines the nature of mathematics and insures the existence and independence of the mathematical ideas as against the things of naturas against the things of nature.

But as E.J. McMahon of the Empire Center points out, the fight over the surplus versus deficit isn't an abstraction, considering Cuomo wants to do real things with the extra money:

As long as many of the ingredients of ordinary things were too scarce to be identified by any known method, the notion of a universe composed of atoms was still an abstractioAs long as many of the ingredients of ordinary things were too scarce to be identified by any known method, the notion of a universe composed of atoms was still an abstractioas many of the ingredients of ordinary things were too scarce to be identified by any known method, the notion of a universe composed of atoms was still an abstraction.

As property became first a thing of importance in itself, and then an abstraction of powers, privileges and immunities, so the likelihood of developing more equitable and sustainable means to harness nature diminished.

So, yes, some things that may appear realistic from afar morph into abstraction as they come near - Chuck Close is a master at this, as are Goya and Turner.

MNML Thing came out of my interest in minimalism and abstraction, as well as exploring how different colours work together.

We were talking about the political implications of continuing to work in abstraction, and she said a very similar thing as you just did, in that it's not necessarily about representing politics, but rather affecting the politics of vision.

The work he created led American art away from abstraction and personal expression and towards a more objective art that featured recognizable images such as targets, maps, and the American flag — «things the mind already knows,» as he describe them.

And as early as 1943 the principal tenet that was to distinguish the new abstraction from earlier, pre-war abstract art was clearly formed, as evidenced in a brief «manifesto» of the rising movement crafted by Mark Rothko, Adolph Gottlieb, and Barnett Newman for The New York Times in response to a negative review of the new style: «There is no such thing as good painting about nothing.

They raise questions like, Is there such a thing as black abstraction?

Paper — its role as support, its propensity to effacement, to abstraction and inscription — provides the model for such a thing as will be written, and read, out of existence.

Is there such a thing as simply abstraction, despite place, time, artist, and culture?

Davis developed a unique form of abstraction with which he could render, as he is often quoted, «the many beauties in the common things in our environment.»

Some artists work may be a more literal representation of this subject, suggestive of such things as mathematics, space, time, technology, abstraction, pattern, or repetition, while others have chosen to address the opposite or «finite», such as fragility, mortality, the temporary, and even doomsday scenarios.

Editorial Personal Profile: Beatrice Riese, by Peter Pinchbeck The Dilemma of Contemporary Abstraction, by Robert C. Morgan Reality, by Katinka Mann Matters of Choice, by Peter Stroud Abstract Dilemmas: A Monologue, by Edwin Ruda Abstraction — A Midlife Crisis, by Phillis Ideal On the Interface of Abstraction and Landscape, by Hearne Pardee Further Desistance / I'm Late, I'm Late, by Marthe Keller The Symbol and the Search, by Jeanne C. Wilkinson Volumetric Abstraction, by Peter Pinchbeck Dilemma, by Mac Wells Finding Meaning in Form, by Cecily Kahn Abstract Dilemmas Pop Quiz, by Don Voisine Merely Painting or Getting the Thing in Itself Wrong Again, by Saul Ostrow Three Racoons and A Garage Are Not Art, by Richard Timperio On the Question of Relevance and Meaning in Recent Abstract Painting, by James Little Leo Rabkin — Statement, by Leo Rabkin The Depths of Abstraction, by Tom Evans Engineering Tranquility, by James Juszczyk Painting as Mediation, by Stephanie Demanuelle Abstraction Resignified: Some Remarks on the Fate of Abstract Painting, by Corey Postiglione Abstract Painting Versus New Media, by Joe Walentini The Margins of Seeing, by Gail Gregg In Memoriam: Jeanne Miles 1908 - 1999, by Peter Pinchbeck Jeanne Miles: A Reminiscence, by James Gross

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

De Kooning never believed that there was any such thing as «pure» or non-objective abstraction, an art based simply on form and colour.

As she once stated, «The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint.»

2010 Fiduccia, Joanna & Holte, Michael Ned, «New Abstract Painting», Kaleidoscope, Winter, 2010 Lehrer - Graiwer, Sarah, «Richard Aldrich», Artforum, November, 2010 Knight, Christopher, LA Times, October 1, 2010 Haddad, Natalie, «Focus: Richard Aldrich», Frieze, October, 2010 Smith, Roberta, «Le Tableau: French Abstraction and Its Affinities», The New York Times, June 2, 2010 Buchmaier, Barbara, «Ready - Made Painting», Spike Art Quarterly, Summer, 2010 Busta, Caroline, «Besides, With, Against, and Yet: Abstraction and the Ready - Made Gesture» May, Issue 03, 2010 Graw, Isabelle & Hochdorfer, Achim, «There Is No Such Thing as «Painting»», Texte Zur Kunst, Issue 77, March, 2010 Falconer, Morgan, «Besides, With, Against, and Yet», Frieze, March, 2010 Saltz, Jerry, «Change We Can Believe In» New York Magazine, March 8, 2010 Meade, Fionn, «Whitney Biennial 2010», Whitney / Yale, 2010 Hudson, Suzanne, «Besides, With, Against, and Yet», Artforum, February, 2010 «MicroTate» Tate Etc., Issue 18 - Spring, 2010

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.

We can't help but agree with critics who compare him to Benglis, Tuttle, and Rauschenberg and describe his work as a «rare brand of abstraction that feels convincingly organic: neither secretly symbolic nor aspiringly decorative; capable of drawing true poetic meaning from the conscientious arrangement of things in themselves.»

Initiated by Sol LeWitt's «structures» and Dan Flavin's radically simple and transformative light installations, these artists embraced such things as simple structures, monochrome abstraction, elementary geometry, and the straight line as part of a new and incisive language of pure form.

Wall texts lay out his basic themes and motifs, from strange meditations on Donald Duck and the «tent paintings» in the 1960s to later works that took up symbols from Germany's Nazi past, and repurposed them as surreal «dithyrambs,» a term borrowed from Greek poetry but reinvented by Lüpertz as a catchall for his not - quite - abstract forays into abstraction and not - quite - figurative exercises in drawing real things in the world.

While it may have been the objective of some American Minimalist artists to recast their works as the Ding an sich (the thing in itself), «pure» abstraction absent of all representation, Broodthaers was aware at a very early stage that representation never entirely disappears from art.

Guyton's interest in the struggle of two materials interacting play perfectly into his new achievements stating: «I have become interested in when something starts as an accident and then becomes a template for other things, or reproduces itself and generates its own logic until something else intervenes to change it» (S. Rothkopf, «Modern Pictures,» Wade Guyton: Color, Power & Style, Cologne, 2006) Untitled, 2008, is an outstanding example of his exploration into the limitation of artistic language that abstraction still holds in the 21st century.

DOROTHY SECKLER: I think it's rather phenomenal the success and the critical attention paid the show in the middle of a season in which most offerings were either geometric abstraction, Op art, Minimal, Pop or sort of things in which the artist would be working much more conceptually as opposed to intuitively and in which the forms would be, in most cases, more geometric.

For a show that promised to reveal to the public the most current developments in black aesthetics, as English remarked at the talk, Robert Doty, the white curator of Contemporary Black Artists in America, «placed the stress on abstraction in a show full, [of] a motley crew of things.»

These faces are meant to be open to interpretation; as a being, thing, landscape, abstraction, or even just paint.

Morris's work also related, closely or more obliquely, to diverse things happening concurrently in American art, such as Philip Guston's absurdist figuration; Tom Nozkowski's or Ron Gorchov's allusive abstraction; Vija Celmins's single - image paintings; Richard Artschwager's psychological minimalism.

The work can be viewed as bold abstractions, there is grandeur of design, a sense that in spite or even because there is disintegration and dissolution, there is also an order to things, that time and place exists in a continuum.

Thinking of abstraction as the taking away of material things or the theft of reality, the artist works towards the extraction of representation or «things».

(Flat - footed, as in an intentional awkwardness to the handling of the medium best exemplified by Philip Guston's return to figurative abstraction — his thick, deliberate marks forced critics to talk about things like «the speed» of his paint as they tried to understand his aesthetic decisions.)

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).

Yeah, but I'm not interested in gestural abstraction as a thing.

The New York School, having seen how resolutely the world crushed their aspirations, redefined abstraction as a conduit for interiority — as a forum for primordial longings, universal symbols, that sort of thing.

I still think it's not a factor with the Tintoretto (I don't get the drawing thing), and I can no longer see it as integral to abstract painting — «abstraction», yes, but not proper «abstract».

I was always making abstractions but I saw them as symbols, or things, or networks, or air, or star constellations.

Rubinstein: Another thing running through my mind as I formulated Reinventing Abstraction was the fact that many painters I really admire are not at all engaged with what I've called «provisional painting,» which has preoccupied me over the last few years.