Sentences with phrase «work as an abstraction»

Acer's plan is that that, ultimately, all of its smartphones will also sport ClearFi, a new tiled UI that will work as an abstraction layer across mobile gadgets running on multiple OS.

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

Not exact matches

Potter says he lost sight of that because the health care issue was an abstraction to him when he worked at Cigna as a public relations executive.

For future generations his person became as lost in his work as, for his contemporaries, Thomas himself was lost in his own abstractions, even in close social situations or in the midst of extraordinary historical conflicts.

Solzhenitsyn's work takes such sweeping dialectics to task as symptomatic of the modern predilection to reduction through abstraction.

Flat, blank facades on buildings conceived as commodities — or just oddities — rather than works of civic art; flat modernist pictorial abstractions; the flattening of cultural history into pseudo-history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradition.

It is increasingly difficult to assign any actual content to Niebuhr's distinction between intellectual work that is done in theological schools, guided by love of God and attending to its objects in their God - relatedness, and intellectual work that is either not guided by love of God or, when it is, always attends to its object in abstraction from its God - relatedness, as must be done by definition in a secular college or university.

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).

The goal of this work is to characterize the role of dendrites in learning and memory processes so as to formulate a unifying theory regarding their contribution in memory formation across brain regions and abstraction levels.This will be achieved via the development of computational models that start at the single cell level and expand to the microcircuit and the network level, while varying in their degree of biophysical detail.

The recommendation, exemplified through the worked example of The Brookings Soft Skills Report Card, is to use measures of soft skills that are naturally occurring, easily observed, at low levels of abstraction, relevant to the expressed mission and instructional goals of a teacher or school, and useful as feedback at the classroom and parental levels.

Laurens: We can't answer this question in a technical sense as our friend at Abstraction Games did all the technical work in getting the game on Vita.

According to the Facebook post, the PS4 port is being worked on by both Romino and Abstraction Games, and will «contain all features the extensive PC version»,» which includes «tons of fixes» to code and gameplay, a new map, and over twice the characters as the previous console releases.

Abstraction has strong publisher and first party relationships from its history of working on large adaptations, such as Angry Birds and Hotline Miami.

With several major adaptations under its belt, Abstraction Games looks to continue to establish itself as a leader in the space, while also working on their own projects and games in the near future.

move back and forth between abstraction, figuration and the combination of the two a lot in my work as well as changing scale from very small to very large....

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

If abstraction is favored by undiscerning speculator collectors as well as museums hoping to advance a fast - forward chronology of art history, there is still no small amount of figurative work on the scene.

The painting is an example of Phelan's early work which sought to reconcile painterly abstraction with process based minimalism, but in this context the cut surface feels more desperate, as if the painter were punching a hole through which to breathe.

I think part of what brings me back to abstraction are the subliminal references that I create or bump into... When it works, this mix of planned and uncontrolled relationships can manifest the kind of tension I'm looking for in the work: perhaps this could even act as a metaphor for the conscious and unconscious mind.

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.

But if one goes as far as to see that these abstract elements have a rich existence in his work, then one can go on to the appreciation of the full Soutine despite any supposition that, by temperament, he probably detested abstraction any form.

His work always is rooted in the materiality of nails and common spikes, but in this new body of work the steel is bent to create vivid and elegant abstractions such as «Infinity Pool» and «Common Mirage».

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.

Sharp says: «The work will end up as an abstraction of something, but everything comes from the drawing... The work that I make has to do with the experience of place.

She Works from Home: As an artist, Michelle Grabner makes labor - intensive abstractions.

Zhang's latest work comes as there has been a surge in the market for Chinese abstraction.

Yet over the last decade, she has forged a conceptual link in her work between the histories of abstraction and of modern jazz in America — «black guys in the 1950s taking jazz into the concert hall and making it this bluesy hybrid with Bach,» as she puts it.

The work brings up associations of the internet «cloud» as well as Alfred Stieglitz's well - known series of cloud images form the 1920s, titled Equivalents, which, like West's images, are often devoid of recognizable referents and walk the line between representation and abstraction.

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.

On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition....

With minimal fuss, Bradley works in series, picking up and discarding styles and oscillating between abstraction and figuration as it suits him.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

Remaining defiantly figurative despite an art scene that swung increasingly toward abstraction, and choosing as his subjects those places and homes to which he felt most deeply connected, Porter produced a body of work of tremendous personal significance and emotional power.

Inside, Enwezor opens the catalog by stating the significance of the artist's «modulated color abstraction,» describing his work as «some of the most ambitious and remarkable painting of any artist to emerge in postwar Britain.»

These foreshadow more contemporary works such as Syed Ahmed Jamal's «Rockin,» a medley of rich colors and bold brushtrokes, and Joanne Greenbaum's «Color System,» a maze of bright abstractions, pigments, and gridlike patterns.

As visitors to his full - dress, full - floor Whitney retrospective will perceive from the moment they get off the elevator and are confronted by the mural - length 1999 painting Das Erdbeben in Chili [M # 3], the 79 - year - old artist has evolved to embrace riotous colors, unwieldy materials, and explosive forms in his recent work — even as younger artists with an interest in abstraction obsess over the rigorous formalism of his early years and pore over the compositional strategies in his 1986 book Working SpacAs visitors to his full - dress, full - floor Whitney retrospective will perceive from the moment they get off the elevator and are confronted by the mural - length 1999 painting Das Erdbeben in Chili [M # 3], the 79 - year - old artist has evolved to embrace riotous colors, unwieldy materials, and explosive forms in his recent work — even as younger artists with an interest in abstraction obsess over the rigorous formalism of his early years and pore over the compositional strategies in his 1986 book Working Spacas younger artists with an interest in abstraction obsess over the rigorous formalism of his early years and pore over the compositional strategies in his 1986 book Working Space.

«It as been our passion and profession, my wife and I, to create an exhibition of American Abstraction in Europe since 1986,» Otto Hübner writes in the foreword for the catalogue accompanying the exhibition, «For years I have wanted to crate a museum exhibition with the works by Sam Francis, Adolph Gottlieb, Hans Hofmann, Charles Pollock, Richard Pousette - Dart, David Smith and Jack Tworkov.

From simple sketches to highly finished compositions, these works represent the rich possibilities of abstraction as a mode of artistic expression.

The installation also positions Mitchell's work as a source of inspiration to artists such as Lynda Benglis whose work pushed gestural abstraction to new extremes.

The relationship between material and abstraction has been a longstanding concern in the work of Sean Raspet, particularly as it relates to what he calls «revisable materiality» — i.e. a paradigm of thought prevalent today wherein material substances are increasingly imagined as malleable with qualities that are fully adjustable and severable.

A unique amalgamation of artist, Spiritualist and medium, the fascinating and unexpected story of Houghton has generated international interest from curators and writers who see her work as representing an abandonment of figurative form that anticipates the development of modern abstraction by artists such as Kandinsky or Malevich by several decades.

Abstraction dominated artistic practice during these years, as many artists working in the aftermath of World War II sought an international language that might transcend national and regional narratives — and for women artists, additionally, those relating to gender.»

Angelina Gualdoni's works on canvas take patterns, interiors and abstraction as their main focus, locating the rhythm of the everyday sublime in the language of color field painting.

Whatever the criss - cross between abstraction and realism might be, Laundry I works as a painting, its ambitions accomplished both within recent art history and outside it.

The Chicago - based artist makes innovative three - dimensional works out of books, taking an intellectual approach to working with the tomes that could be described as anthropological abstraction.

Rail: One of the problems with seeing you as a progenitor of contemporary process abstraction is that it fails to acknowledge the human content of your work — the emotional, psychological, and spiritual content — which most contemporary painting is devoid of.

On the first floor, Ceal Floyer's wall of speakers blaring the engaged signal of a failed telephone call, Line Busy (UK)(2011), is both a minimal work of art and a note of restrained humour; Cory Arcangel's hacked computer game screens, MIG 29 Soviet Fighter Plane and Clouds (2005), could be either political statement or benign dreamscape; while Allora & Calzadilla's Solar Catastrophe (2012) is a hard - edged abstraction made from solar panels, as well as an ironic admission of the wreckage left behind by this renewable energy source.

These works gained him international recognition as one of the first painters to develop a new style of postwar abstraction, and he was eventually associated — despite his rejection of labels — with such movements as tachisme, art informel, and action painting.

Other works such as the series Blushes 2000 - ongoing, made without a camera by manipulating the effects of light directly on photographic paper, show how the artist's work with abstraction continues to push the boundaries and definitions of the photographic form.

Following his move to Santa Monica in order to take up a professorship at UCLA in 1967, Diebenkorn returned to abstraction in a sequence of works now known as the Ocean Park series.