Sentences with phrase «thinking about abstraction»

But I'm also trying to make something that is relevant now, a different way of thinking about abstraction.

I had made landscape paintings for ten years, but I started thinking about abstraction.

«I've been thinking about abstraction alongside many of the artists in the exhibition for many years,» adds Puleo, «specifically, we've been in conversation about an idea of what «queer abstraction» is and can be.

Thinking about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated with Greenberg and Fried.

I was introduced to their work in a Performance Art History course in college and they completely changed the way I thought about abstraction, the body, and space.

Not exact matches

«My impression is that so much of the literature that has really dominated our thinking about the church derives from generalized abstractions about what the church ought to be or about what the evils of the church are by theologians who are at best uncomfortable in trying to apply that to particular congregations.

Indeed, Whitehead claims that thinking emerges Out of feeling, because thoughts about eternal objects are abstractions from our feelings of actual entities (Process 229 - 30).

Whitehead would meet this contention through having a hierarchy from sense objects to perceptual objects, to physical objects, to scientific objects, with more and more abstraction and interpretation, at each stage and he can only get away with what he says about pure sense objects if he makes them far more primitive than one normally thinks sense objects are.

«School children can enjoy abstractions, provided they be of the proper order; and it is a poor compliment to their rational appetite to think that anecdotes about little Tommies and little Jennies are the only kind of things their minds can digest.»

For me, that offers one of the key perspectives on understanding societies, and it is a way of thinking about politics that shifts it away from the great theories and abstractions of political philosophers, who often can not speak with reference to everyday life.

While I am very sympathetic to this sudden interest in mutualism, I think you are right to enter a cautionary note about the level of abstraction at which the discussion is sometimes pitched - the detail is crucial.

«Thinking involves abstraction of reality, and the currency of these cells is abstract information about what already has been seen,» he says.

«A clock is a symbol of continuity; one that lasts a really long time might give people a sense of perspective, help them think about the year 3000 as more than just an abstraction,» Hillis says.

Think about it for a moment: Abstract Expressionism makes room for Helen Frankenthaler, Joan Mitchell and Lee Krasner; Minimalist abstraction, Agnes Martin; Post-Minimalism, Eva Hesse; video art, Joan Jonas, among many others.

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.!

Gwen Chanzit: I first began thinking about this topic in 2008, when I saw Action / Abstraction at the Jewish Museum in New York and wondered about some of the «outlier» artists who still sit at the fringes of Abstract Expressionism's history.

With such a variety of influences feeding his work, one might think that Brischler is engaged in an intentional critique of abstraction, but to my eye his paintings seem more about an unabashed love of paint.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

Curator Norman L. Kleeblatt explains how the exhibition came about: «I had been thinking for a long time about an exhibition that began with the idea of abstraction and the postwar period.

Hesse, Chicago and Benglis all featured in Susan L. Stoops» 1996 exhibition «More Than Minimal: Feminism and Abstraction in the»70s», which signalled the returns to be gained from thinking about the use of abstraction to explore gender as both subject and sociAbstraction in the»70s», which signalled the returns to be gained from thinking about the use of abstraction to explore gender as both subject and sociabstraction to explore gender as both subject and social context.

I've been thinking a lot about cosmological orgies, about matter being created — they look like these messy sex scenes happening in space, but they're really just abstractions.

The exhibition uses this series, Wynter's «IMOOS», to think about how abstraction can move us.

CD: Two years ago, I started making these yellow inflated abstractions, and it occurred to me that thinking of them as the birth of the universe was a way to get crazy about scale.

Kirsch writes «like abstraction, for which music was both inspiration and justification, Picasso's interest in negative space grew out of thinking about music; not musical form and language, but music production.»

And other than Paul Behnke, I can't think offhand of an American painter who is strongly curious about the history of British abstraction.

As a teacher at Black Mountain College and a pioneer of Abstraction, Albers discussed these notions with his students, who happened to also be writers thinking about how to redefine language with a sociopolitical purpose, to push the boundaries of the classical, and to move into postwar experimentation.

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

«I think when people talk about abstraction, what they mean is materials that only refer to themselves.

The work of Meyer Shapiro was fundamental to her thinking about modern art and her interest in «social questions, urban issues, and the way in which abstraction could be understood as a machine aesthetic».

Alex Hubbard was sitting next to me, and I could only think to ask how he felt about being categorized as an artist whose paintings and silkscreens have become associated with the «new abstraction.»

The exhibitions and their ambitious joint catalog present a sometimes perplexing, always fascinating artist who makes us ponder the boundaries between abstraction and reference, and think hard about the very nature of painting itself.

It helps me... because most of my trouble begins when I think too much about the balance between abstraction and figuration... and feel too conscious about resolving the problem rather than let the work be itself.

I think abstraction is impossible actually — even paintings that we talk about as being abstract.

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.

After the first half of the unit we began thinking about how certain kinds of approaches such as exaggeration, simplification, and rearrangement of certain elements, can be ways of utilizing abstraction.

I saw the de Koonings and the Pollocks, the Klines and Newmans, and I thought, this is a whole world that I don't know anything about, and it seems so interesting and exciting, and that was the first thing that made abstraction kind of a possibility.

My initial thoughts were about American gestural abstraction — I've admired it from afar, periodically hoping my gestalt could morph into the cosmic, mystical place of a fermenting soul.

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

I thought about how Process Geomorphology might relate to how you think about a landscape, abstraction or the erosion of the film as the needle scrapes it.

This exhibition of recent works by Martha Jones features oil paintings based on a consistent set of elements that call on the viewer to think about issues of color, scale, and abstraction within an artistic tradition.

Many art historians and scholars of the 1940s believed that Surrealism and abstraction constituted two different ways of thinking about representation that were aligned with either an American or European sensibility.

«To me the distinction between abstraction and representation is less interesting than thinking about the politics of visibility, who is depicted and why,» says Nisenbaum, whose works deeply consider the interactions and proximity among artist, sitter, and viewer.

CB Perhaps you mean that in jest, but I do think artists — often those who deal to some extent with abstraction — are becoming more forthright about the relationship of their working process to metaphysical concerns or even spirituality.

I was thinking about the level of abstraction I see in your work and was wondering if the confusion between fact and fiction is similar.

In this regard, her use of disparate patterns, prefab decorations and a variety of framing devices point toward abstraction's forbidden pleasures, and in so doing, her paintings ask us to examine how we think about the production of aesthetic difference.

«If you think about the contemporary landscape, you see a lot of younger artists experimenting with this sort of deconstructivist style of abstraction, which is considered sort of post-canvas and about prying apart the physical elements of the canvas,» DiQuinzio says.

If you think about Gerhard Richter, he balances out abstraction and representation.

At the time I was thinking about both contemporary figurative painting and gestural abstraction, and these solidify in Linhares's work with a rare conviction.

Think of the abstractions being done around Europe at that time, many of them small and even clumsy and half - hearted or half - assed in their approach to pure abstraction — I'm talking about you Robert Delaunay — and I am bringing this up because when MoMA organized their 2012 survey exhibition, Inventing Abstraction: 1910 - 1925, they included Delaunay, but not Klint, of which exclusion abstraction — I'm talking about you Robert Delaunay — and I am bringing this up because when MoMA organized their 2012 survey exhibition, Inventing Abstraction: 1910 - 1925, they included Delaunay, but not Klint, of which exclusion Abstraction: 1910 - 1925, they included Delaunay, but not Klint, of which exclusion more later.

In a gallery where we are thinking about what resistance looked like to different artist of that moment it seemed interesting, if not crucial, to include abstraction in that argument and to think about Reinhardt in that context.