Sentences with phrase «which histories of abstraction»

But to tell it, we will have to turn away from the postmodernist obsession with the proclamation of the End of Painting.2 We also need to move away from the period's own «return» of painting in an abstract mode, the 1980s developments variously baptized «neo-geo» or «simulationism,» in which histories of abstraction were programmatically subjected to the strategies of appropriation or the readymade.3

Not exact matches

As Bultmann uses them, the former refers to an event so far as it is significant for human existence (e.g., the cross as the salvation - occurrence through which I understand myself as judged and forgiven by God), while the latter refers to an event considered in abstraction from such significance (e.g., the cross as an incident in the annals of ancient history).»

In the end, then, «Juan as such» is an abstraction, derived from a positively oceanic literary history, of which any distillate is necessarily only very partial.

Hegel's understanding of the forward progress of the will through the history of culture is richer than Kant's, but it leads to a notion of the completion of the will in «absolute knowledge,» a metaphysical abstraction which Hegel's critics, Ricoeur among them, find pretentious and impossible.

It is through Courbet, the specific artist, the Harmonian demiurge, that all the figures partake of the life of this pictorial world, and all are related to his direct experience; they are not traditional, juiceless abstractions like Truth or Immortality, nor are they generalized platitudes like the Spirit of Electricity or the Nike of the Telegraph; it is, on the contrary, their concreteness which gives them credibility and conviction as tropes in a «real allegory,» as Courbet subtitled the work, and which, in addition, ties them indissolubly to a particular moment in history.

On the other hand, though the group of painters represented here form a tight - knit «generation» (one constraint of the show is that all the artists were born between 1939 and 1949), and though the selected works originate from the same period and place, the works are aesthetically independent enough to resist any easy categorization according to style or aims... Rubinstein's curation in Reinventing Abstraction proposes something — an idea, a possible history — that may connect with others but which is, nevertheless, its own.

While Johnson's works are grounded in a dialogue with modern and contemporary art history, specifically abstraction and appropriation, they also give voice to an Afro - futurist narrative in which the artist commingles references to experimental musician Sun Ra, jazz great Miles Davis, and rap group Public Enemy, to name just a few, with various symbols including that of Sigma Pi Phi (also known as the Boulé), the first African American Greek - letter organization, and writings by civil rights activist W. E. B. Du Bois, among others.

There is a great article by Linda Besemer, «Abstraction: Politics and Possibilities,» which tells a history of activist artists who make abstract work.

Moreover, if one considers the alternate history of Schapiro's having continued to work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be worked even when flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.

Color informs and evades the actions of painting and removal in the final surfaces, which bedazzle and evoke patterns of abstraction from many histories.

Joined by the neuroscientific study lab, which will interact with visitors during the show, the exhibition investigates the use of color in art through artistic movements and research that stand apart from canonical histories on color and abstraction.

She defines her studio practice, which is rooted in an ongoing investigation of experience, memory, abstraction, present and future histories - specifically shifting notions surrounding landscape - as cyclical rather than linear.

Charting such a variegated history makes room for von Wiegand's version of abstraction in 1945 and 1946, which bears directly on the art of the 1940s and 1950s and extends into the 1960s as an alternative art to the more famous Abstract Expressionism.

Exemplifying Bradford's «social abstraction,» Helter Skelter I is a masterpiece that references a chilling period in Los Angeles history — cult leader Charles Manson's malevolent obsession with inciting a race war in the late 1960s, which he called «Helter Skelter,»» Joanne Heyler, founding director and chief curator of The Broad, said in a statement.

Each work becomes its own re-telling of the history of abstraction, addressing the breakdown in communication between artist and viewer, and instead creating a new means through which an understanding of Modern art can be reached.

The political weight of these viruses rubs against the formally expressive character of the final works, which seem to engage more with the history of abstraction and the cool, detached vocabulary of formalism than the language of computer code.

Much like her previous work, they are further expansions (and revolutions waged) upon the bounds and rules set by the history of painting, in which abstraction stretches toward representation, image and non-image indecipherably integrate, and where the distinction between image and object dissolve.»

Ligon, who based his ongoing «Stranger» series around this essay, documents the smudges of paint, oil stains, and fingerprints that have accumulated on his copy throughout his career, which he considers a «palimpsest of accumulated personal histories that suggests... a new strategy in his ongoing exploration of the interplay between language and abstraction,» according to a press release.

In 2015 curator, Adrienne Edwards wrote «Blackness in Abstraction» in Art in America, an essay that cogently explores Adam Pendleton's recent «Black Dada» works and outlines a history of contemporary artists» conceptual visual ruminations, which have presented blackness in multitudes since the early 1940s.

«I have attempted to invent a personal and idiosyncratic visual language in which consideration of both the history of Abstraction, and the traditions of Figural Painting are of equal and essential concern.

Conceived as the companion to Black in the Abstract, Part 1: Epistrophy, which explored the fragmentation of the figurative as well as the loose and expansive nature of abstraction, this section chronicles the history of black artists whose work relies on the drama of restraint.

Her paintings of the 1960s, which feature square formats, grids, penciled lines drawn on canvas, as well as compositions with subtle variations in shade and hue, marked a crossroads in the history of abstraction.

Rebecca Salter's delicate, spectral abstractions connect with two rich traditions: the history of Japanese art and craft, of which she has in - depth knowledge, and post-war minimalist painting, exemplified best perhaps by Agnes Martin, the American artist to which she is sometimes compared.

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 Belvedere.

The results have something - but not quite enough - of the investigative tenor of Gerhard Richter's late abstractions, which treat paint as if all of its expressive potential lay embedded in the material itself and the cultural history of responses to it.

For these artists, who were in their 30s and 40s during the 1980s, it was not a question of a «return to painting,» but, rather, of finding a bridge between the radical, deconstructive abstraction of the late 1960s and 1970s (which many of them had been marked by) with a larger painting history and more subjective approaches.

The artist's oeuvre, which deals with both abstraction and representation, is based upon the history of the two central pillars of 20th - century American art: one being abstract and minimal painting and sculpture, the other being the use of imagery to express language, communication and humour.

Created during the years of the artist's initial rise to fame in the early 2000s, But You Better Not Get Old is an exceptional example of Bradford's innovative and intuitive process, which results in textured abstractions that serve to both obscure and obviate the artist's personal history and his recognition and perception of the histories of his surrounds.

It also offers a chance to shatter our pre-existing notions about what photography is, what defines abstraction, and which artists were and are truly responsible for shaping the history of abstract art.

She defines her studio practice, which is rooted in an ongoing investigation of experience, memory, abstraction, present and future histories - specifically shifting notions surrounding landscape, character development and formal processes, as cyclical rather than linear.

His new commission Pleasant Places #S006.201 is a computer - generated animation based on 3D - scanned natural scenery in southern France which pays homage to the tradition of landscape painting, while also alluding to a pivotal moment within its history when representation began to verge on abstraction.

Her studio practice underscores a playful and imaginative setting in which many moods, techniques and art history can coexist, referencing the vastness of the operations of abstraction.

Both bodies of work address the bifurcated history of abstraction, in which some geometric forms (like those found in painting and sculpture) become canonical, while others (in weavings, in children's educational projects) are considered incidental to art history.

Best known for his large - scale paintings featuring black figures, defiant assertions of blackness in a medium in which African Americans have long been «invisible men,» Marshall's interrogation of art history covers a broad temporal swath stretching from the Renaissance to 20th - century American abstraction.

From 2010 to 2013, Deitch served as Director of the Museum of Contemporary Art Los Angeles, where he organized major solo exhibitions of work by Urs Fischer, Weegee, and Kenneth Anger and curated seminal group shows including «The Painting Factory: Abstraction After Warhol» and «Art in the Streets», which had the highest attendance in the museum's history.

Her paintings of the 1960s, which are distinguished by square formats, grids, penciled lines drawn on canvas, and compositions with subtle variations in shade and hue, marked a crossroads in the history of abstraction.

She defines her studio practice, which is rooted in an ongoing investigation of experience, memory, abstraction, present and future histories - specifically shifting notions surrounding landscape - as cyclical rather than linear.

Past that point in history, (of which Fried seemed to indicate was the present of 1963), the overall phenomenon that included the 50 years between Kandinsky and Pollock gave way to a far more pluralistic artistic landscape where the issue of abstraction in painting was no longer a «live issue».

He reminds us that the grid is not always a sign of industrialized consciousness, but is also a fundamental human structure, which you find in traditional cultures around the world — that history of abstraction that the Museum of Modern Art so blindly failed to remember existed when they titled their show Inventing Abstraction as if it had never been dabstraction that the Museum of Modern Art so blindly failed to remember existed when they titled their show Inventing Abstraction as if it had never been dAbstraction as if it had never been done before.

In particular, Marcopoulos is interested in how these ideas intersect with art history (both recent and distant) and the ways in which contemporary photographic depictions of these conventions (i.e. portraiture, landscape, gestural and monochromatic abstraction) become a form of elegiac appropriation, or emotionally - charged readymades.