Sentences with phrase «viewed as abstractions»

And he suggests that analyses of concrescence must finally be viewed as abstractions of the intellect.

Not exact matches

Although at times Hartshorne has spoken as though his account of experience rested on some intuition of its essence as exhibited in his own experience, 2 his predominant view and his philosophical practice advance a concept of experience that is generated by dialectical argument rather than by appeal to direct introspection or intuition: «The philosopher, as Whitehead says, is the «critic of abstractions.»

Similarly, if one accepts the view current at Hegel's time that mathematical abstraction, and axiomatic method in general, is limited to the quantitative, one will be driven, as was Hegel, and Kant before him, to posit a mental element to hold such disparate units together in a unity.

In other words, there is a complete paradox if we attempt to look at the ordinary physicist's view of time as anything more than an abstraction.

He kept the view that human nature is entirely sinful, but he regarded human nature in this sense as an abstraction from real human beings.

For Bergson, like many process thinkers (Peirce, James and Dewey come particularly to mind), the entire concept of «necessity» only makes sense when applied internally to abstractions the intellect has already devised.11 Of course, one can tell an evolutionary story about how the human intellect came to be a separable function of consciousness that emphasizes abstraction (indeed, that is what Bergson does in Creative Evolution), but if one were to say that the course of development described in that story had to occur (i.e., necessarily) as it did, then one would be very far from Bergson's view (CE 218, 236, 270).

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.

Though Bergson did not develop an elaborate theory of extensive abstraction, it is not surprising that he should have viewed Whitehead's The Concept of Nature, in which this theory is given its classic formulation, as «one of the most profound (works) ever «written on the philosophy of nature» (DS 62n).

Organized both thematically and chronologically, the show divides the works on view into two main chapters: the years from 1923 to 1933, a time when Torres - García was involved in early modern avant - garde movements such as Catalan Noucentismo to Cubism, Ultraism - Vibrationism, and Neo-Plasticism; and those from 1935 to 1943, a time in which he was fully committed to creating works in his unique style of synthetic abstraction.

Whether on the scale of a big canvas such as «Flower Offerings» (2014) or the small untitled one on view, Tran gives a convincing account of abstraction as free - wheeling performance, a possibility supposedly played out 60 - odd years ago, certainly no later than the deaths of greats such as Joan Mitchell (1925 - 1992) and Nicholas Carone (1917 - 2010).

Artists like Helen Frankenthaler, Sam Francis, Richard Diebenkorn, Jules Olitski, and Kenneth Noland were of a slightly younger generation, or in the case of Morris Louis esthetically aligned with that generation's point of view; that started out as Abstract Expressionists but quickly moved to Post-Painterly Abstraction.

Approximately half of the canvases on view employ a typographical element, acting as a visual counterforce to their abstraction.

I view it as an artwork less to do with the ideas evident in modernist abstraction, even though the deconstructed language of democracy and freedom (Neoplasticism) and a meditative and immersive void (Color Field Painting) hovers on the surface.

It's difficult to ever view a Joan Mitchell painting as pure abstraction.

But the deep purple hues and gestural anomalies within Negative Value I, II and III, 1982 are not the result of the swashbuckling brushwork typical of abstraction; more accurately, they might be viewed as the divine accident in triplicate.

But it was Kazimir Malevich who today is often viewed as the forefather of geometric abstraction, beginning with his seminal 1915 paintings of black shapes — a circle, a square — on a white ground, and his legendary white - square - on - white - canvas 1919 monochrome.

The first works in the series were debuted in Douglas's 2016 Hasselblad Award solo exhibition at the Hasselblad Center in Gothenburg, Sweden, and the compositions that will be on view in this exhibition represent a more expansive and nuanced investigation into pictorial abstraction as well as the complex relationship between technology and image making.

As with many abstract painters of the 1940's and 1950's, think Rothko and his Subway Series, the path to abstraction for Richard Diebenkorn lay in taking familiar objects and views and finding new ways of interpreting them.

Bradford's monumental painting My Grandmother Felt the Color, 2016, is currently on view at the BMA in a gallery dedicated to social abstraction, alongside other artists who have turned to abstract imagery to convey the humanity, complexity, and ongoing impact of specific cultural experiences, such as Jack Whitten and Ross Bleckner.

It may broaden one's view of abstraction, in case one had missed the role of such African American artists as Odili Donald Odita.

Whether in service to narrative or as the departure point for abstraction, visual expression drawn from nature is the inescapable DNA of the works on view.

People were viewed as not part of the struggle if they were doing abstraction.»

the meticulously painted designs are geometric abstractions of the views of cities from around the world, as visualized through the aerial view of google earth.

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.

Reengaging with the iconography of previous bodies of work, the new paintings on view mark Osborne's return back to figurative painting after a period of total abstraction — utilzing bookcases, her studio painting storage, and windows as a point of departure for further play with blocks of color within the paintings.

At once exquisitely realistic and surreal — they recall the paintings of Domenico Gnoli — Halvorson's canvases also become opportunities for her to explore abstraction, with the artist viewing each part of the composition as equally important.

The show expands on the rich and significant history of Latin American conceptual abstraction and provides a contemporary view as it is practiced by a current generation — and contextualized -LSB-...]

Selected from the artist's estate and public as well as private collections, this exhibition provides the first occasion to view Rothko's contribution to early American modernism as a precursor to his unprecedented transition into abstraction.

Installation view September 16 — October 11, 2008 Dashper's work focuses on the histories, theories and more general or popular ideas of abstraction, conceptualism, and minimalism as a working methodology.

Instead of human - machine interactions and a viewing pace hinged on proximity, here the dramatic encounter of two megaphones from opposite side of a hanging rail gradually approaching each other singing a duet of female and male voices and causing a pile of neon tubes to flare and extinguish until the two megaphones come to a stand - off midway, exploding into a thundering abstraction and dazzlingly white light as if the harmony is pixelated into fragments of destruction.

Auerbach interweaves disorder and order, readability and abstraction, permeability and solidity — phenomena that are usually viewed as incompatible — into unified surfaces and volumes.»

Lucas Reiner will have images of trees altered by power lines and Los Angeles traffic, Derek Buckner will have birds - eye views of dense Brooklyn life, Katia Santibanez will show abstractions based on observation of plant forms, Zoe Pettijohn will show textural conflations of pattern and figure, and Louise Belcourt her sweeping views of the North Atlantic as seen through a coastline of sculptural hedges.

As an encyclopedic museum, there are always a variety of exhibitions, but the current offerings are especially rich: The James Turrell retrospective on view through April 6 beats out last year's Guggenheim show for breadth of offerings and the survey «Calder and Abstraction» boasts exhibition design by Frank Gehry that includes curved walls that cast those mobiles and stabiles in a whole new light.

McVeigh's works in «Elegy to Nature,» which she views as symbolic human landscapes, sit between painting and drawing, abstraction and figuration.

This decision would prove indispensable as his philosophical training would go on to inform not only his art but also his views on abstraction in general throughout his life as an artist.

Works tha t cross the flowing boundary between abstraction and nature in multifarious ways are also on view, as seen in the works of Gabriel Orozco, Yayoi Kusama, Beatriz Milhazes, Matthew Ritchie, Franz Ackermann, Franz Gertsch, Nan Goldin, Thomas Ruff, Oscar Tuazon, and Sue Williams.

The works on view therefore defy easy categorization, as each one appears to vacillate between overt abstraction and coded figuration, between traditional painting and comic illustration.

David Moxon posts about Zig Zag: deliberations in construction, sequence and colour, on view at Charlie Dutton Gallery, London through July 2, 2011, an «innovative and diverse exhibition of new developments in abstraction... These artists have developed an understanding for the possibility of an «internal logic» in their work,» as well as «ideas of «colour interaction» and «colour juxtaposition».»

There is a palpable sense of the «not seen,» in part achieved with a working methodology that involves reduction and restraint, where seemingly straightforward imagery is all but ushered away from the conventions of representation, reconfigured as ostensible abstraction, to create an elliptical viewing experience in which fixed perspectives are destabilized.

On view through October 29 is «Innovation and Abstraction: Women Artists and Atelier 17,» featuring experimental graphics by prominent artists such as Louise Nevelson, Louise Bourgeois, and Dorothy Dehner, who worked in master printmaker Stanley William Hayter's legendary Atelier 17 studio.

If viewed as an autobiographical account of Kline's breakthrough, Meryon differed in its emphasis on the continued importance of illustration to his abstraction and offered in place of Willem de Kooning another figure of inspiration for his breakthrough.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL BelvederAs Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvederas it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL BelvederAs Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvederas it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL BelvederAs Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvederas the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

The show expands on the rich and significant history of Latin American conceptual abstraction and provides a contemporary view as it is practiced by a current generation — and contextualized by a small selection of works by the late Mira Schendel (1919 — 1988), whose work will be part of a 2 - person retrospective at MoMA in spring 2009.

Ostensibly an homage to Whistler's «Nocturnes,» Hodgkin's work flips back and forth between figuration and abstraction, as the bright, sumptuous lines and dark framing device hint at a distant seashore viewed from a shadowy interior.

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.

Michelle Grabner, the Biennial co-curator who selected Allen for the show, views his work as «an offspring of Brancusi and early - 20th - century abstraction,» which she feels embodies Allen's imagination while underscoring physical properties of the materials he carves.

The latter view dominates the subject matter of her work in Seen and Unseen, beginning with early forays into abstraction such as The Mallow Gatherers (1958) and Blue and Green Abstractabstraction such as The Mallow Gatherers (1958) and Blue and Green AbstractionAbstraction (1960).

The best of the drawings on view — by no means does everything here belong on the A list — remind us that the pentimenti of the «Ocean Park» abstractions incorporate figure drawing as well as self - referential formalities.

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.

The thinning of the picture plane produced abstractions that appear to thicken as they pour, spin, and explode into view.