133 Sentences With "non representational" | Random Sentence Generator

In reference to non-representational art, people often say that their five-year-old could make it.

Such a configuration in Gilles Deleuze's philosophical aesthetics is considered a hyper-abstraction in that it encompasses both the chaotic non-representational abstract ground and representational figuration.

Though O'Keeffe had explored abstraction early in her career, and continued to do so, the cloud pictures do not align themselves with her more colorful and complex non-representational works.

In the Western hemisphere, however, a few artists had taken up fiber as a medium for non-representational or abstract art in the '229s and '70s, though Mukherjee did not identify with Western trends either.

In the Western hemisphere, however, a few artists had taken up fiber as a medium for non-representational or abstract art in the '60s and '70s, though Mukherjee did not identify with Western trends either.

The more straightforward representational approach of the performance's visual and physical choreography acted as a scaffold for a soundscape that explored the possibility of sound and other non-representational expressions to offer some small means for memorializing the inarticulable trauma of the past.

Non-representational theory is a theory developed in human geography, largely through the work of Nigel Thrift (Warwick University),Thrift, N. 2000. "Non- representational theory" in RJ Johnston, D Gregory, G Pratt and M Watts (eds) The Dictionary of Human Geography (Blackwell, Oxford)Thrift, N. 2007. Non- representational theory: Space, Politics, Affect (Routledge, London) and his colleagues. It challenges those using social theory and conducting geographical research to "go beyond representation"Thrift, Nigel; 1996; Spatial Formations; Sage and focus on embodied experience.

Pete Gilbert (born 1 March 1948) is a British painter and graphic designer. Gilbert has become well known for his moving non-representational, contemporary abstract art.

Literary theorists have identified visual poetry as a development of concrete poetry but with the characteristics of intermedia in which non- representational language and visual elements predominate.

If so the art is non-representational—also called abstract. Realism and abstraction exist on a continuum. Impressionism is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. If the work is not representational and is an expression of the artist's feelings, longings and aspirations, or is a search for ideals of beauty and form, the work is non-representational or a work of expressionism.

Affect has also challenged methodologies of the social sciences by emphasizing somatic power over the idea of a removed objectivity and therefore has strong ties with the contemporary non-representational theory.

Within the social sciences and humanities, an interdisciplinary strand that has contributed to the performative turn is non-representational theory. It is a 'theory of practices' that focuses on repetitive ways of expression, such as speech and gestures. As opposed to representational theory, it argues that human conduct is a result of linguistic interplay rather than of codes and symbols that are consciously planned. Non-representational theory interprets actions and events, such as dance or theatre, as actualisations of knowledge.

Many modern tile art designs are based on abstract and pattern-based designs. These are non-representational, unlike than older tile art formats, such as mosaics, which were often portraits or other representational forms of artwork. The design on a piece of tile art may be used as decoration, but may also represent an idea, philosophy or pose a historical, religious or social significance. An example of such non- representational art is a set of tiles integrated into an interior or exterior design.

He was very active in London during the 1960s where he produced non-representational prints and paintings including his Japanese Series. He worked mostly in screen printing at this time.Brian Rice. Belgrave St. Ives.

New approaches to communication have been advanced under the frameworks of non-representational theory, actor-network theory, and assemblage theory. Equally important is the effort to think through digital code and its relationship with space.

The artist deviated from conventional avant-garde, non-representational paintings such as Cubism and Dada. The sporadic interruptions of vibrant red and the painting's intrusive angularity serve to shock the viewer, and animate the scene with chaos and energy.

In 1934, Crockwell began experimenting with non-representational films while balancing his career as an illustrator. He initially wanted to create flexible, low-cost animation techniques. In 1936–1937, he collaborated with David Smith, a sculptor, to create surrealistic films.

So as a matter of practicality as well as aesthetics, the company embraced the new, non-representational forms of staging coming out of Europe utilizing "simplicity and suggestion." Cheney, Sheldon. The New Movement in the Theatre. New York, Mitchell Kennerley, 1914, p. 180.

Born 1922; G.D. Art form Sir J.J. School of Arts, Bombay in 1952; one of the sponsoring members of the Group 'Non- Representational' actively participating in all its exhibitions since 1959; two-man show in Delhi, 1961; employed in the All-India Handloom Board, Delhi.

Jackson's art is almost entirely abstract and non-representational. He is most known for his paintings, both larger works on canvas and smaller on board, and also for his oil crayon drawings on paper. He has also done a number of prints using vitreography and digital media.

He debuted with a solo exhibition in 1949 in Helsinki. This was the first non- representational art exhibition in Finland, and the audience was confused. His later exhibitions received a mixed reception. Only his large exhibition on 1970 in Amos Anderson Art Museum was widely appreciated.

Clem Crosby is a contemporary artist living and working in London, England. His work, mainly non-representational painting,"Clem Crosby". ArtForum, September 2011. by Barry Schwabsky is in the collection of the Tate, the Leeds City Museum, the Microsoft Art Collection and the Berkeley Art Museum.

These so-called "Beck Rights" state the FiCore worker cannot be required to pay toward a union's support of non-representational activities such as contributions to political candidates, political agendas, political lobbying, and money spent on union organizing endeavors. Since unions have decades of history supporting Democratic candidates and agendas, the 1988 decision has been seen as a win for often Republican-leaning corporate interests. The discount in fees for these non-representational activities is minimal since unions generally only spend between 1%-4% of their budget for political activities and organizing. The savings for FiCore workers, therefore, is generally 1%-4% when compared to a union member paying full union dues.

Many of these were religious in nature, although a large number of objects with secular or non-representational decoration were produced: for example, ivories representing themes from classical mythology. Byzantine ceramics were relatively crude, as pottery was never used at the tables of the rich, who ate off Byzantine silver.

Max Beckmann made a self-portrait of himself holding a cigarette. The painting is currently housed at the Museum of Modern Art in New York. Wassily Kandinsky painted his Composition VIII while he was working at the Bauhaus school of art in Weimar. This completely non-representational work exemplifies his ground-breaking movement toward abstraction.

If so, it is representational. The closer the art hews to perfect imitation, the more the art is realistic. Is the artist not imitating, but instead relying on symbolism, or in an important way striving to capture nature's essence, rather than copy it directly? If so the art is non-representational—also called abstract.

" She frequently incorporates skewed and distended grids. The negative and positive spaces are equally important, which increases the effect of spatial ambiguity. While her drawings are non-representational, they bring up numerous schematic associations, from an EKG reading to a weather map to a topographic map. Yet "this is a topography of nothing but the artist's vision.

Following concepts found in Constructivism and the De Stijl movements, the Rupture artists produced artworks that rejected realistic and traditional subject matters, such as the human form. Instead, artists utilized and purposefully integrated mathematical formulas and drew upon scientific theories in order to create the precise non- representational products typically unattainable by the human eye or hand alone.

Nicola Pezzetta (born 1963) is an Italian artist from Udine. While completing architectural studies at the Politecnico in Milan, Pezzetta started participating in international exhibitions in the early 1990s, showing artworks pertaining to the ambit of abstract painting. The former non- representational experiences based on geometric patternsN. Pezzetta, Miti feste e profezie, Udine, Campanotto Editore, 1996.

Sukanta Basu (pronounced: SukOnto ba:su, born 1929 in Calcutta) is a non- representational painter of Indian origin, who has also worked as an art conservator. He lives and paints in Kolkata (former Calcutta), West Bengal. While his early works were mainly oils and sketchy portraits, Basu later worked with acrylics on canvas and occasionally pencil or charcoal drawings.

MBAC theatrical productions are collaboratively written original performance works produced by the company. Productions are characterized by frequent utilization of multimedia and sparse text, thereby relying on unconventional means of dramatic conveyance. Examples of those alternative dramatic vehicles are projected images, prerecorded or live sound, or an actor's physicality. In addition, the actors often appear in non-representational dramatic situations.

" Lajos Szabó created his first calligraphies in 1954. "The abstract line of the emerging works »is not the abstraction of something«. It is not the abstract reflection of something concrete in reality, but it is rather the primary reality. It is the sign, the reflection and the breakthrough of the growing soul, it is »non-representational« in a way defined by Malewitsch.

A break in her artistic work followed; her earlier figurative work was followed by non- representational abstraction whose stylistic elements, especially Cubism, which she adopted under the influence of contemporary tastes. After this phase, roughly around the beginning of the 1960s, she came in contact with the --new to her--technique, the Monotype. Here she developed a unique, refined style, continuing with Abstractionism.

Cubo-Futurist artists are unique in their independence and autonomy from other members of the group. Non-representational artists experimenting with Cubo-Futurism – such as Kandinsky, Larionov, Malevich, and Tatlin – adopted the distinctive ideals and theoretical background of the movement but followed their own aesthetic path, thus depicting the freedom these artists were given to express their own perceptions of a modernised world.

A non-representational music video was made of "The Ghost of Tom Joad". It featured a black-and-white photo montage constrained to a subsection of the screen resembling a rear-view mirror. Depressed U.S. Route 66-area American scenes were featured; though set in the 1990s, many could have passed for the 1930s. Occasionally a line from the song would flash on the screen.

John Franklin Koenig, artist (1924 - 2008). photo: Merch Pease John-Franklin Koenig (1924 — 2008) was an American artist who, though born and raised in Seattle, Washington, and sometimes associated with the 'Northwest School' of artists, spent most of his career in France. He was primarily a painter and collagist, working in a modern, non-representational style. His work appeared in hundreds of exhibitions around the world.

Born 1931, Malwan (Bombay); G.D. Art from the Sir J.J. School of Arts, Bombay in 1954. Participated in the Annual exhibitions from the Bombay Art Society from time to time; joint exhibition in 1958; from 1959 onwards sponsored a group of four young painters calling themselves 'Non- Representational' and put up exhibitions jointly almost very year. employed in the All-India Handloom Board, Bombay.

Unlike several of his avant-garde contemporaries, Bayrle rejected non- representational painting; instead, he took up and advanced the tradition of figurative painting. His work was influenced by his time with Hans Hofmann, the artists circles in Paris and the expeditions to Africa. During his time in Paris he often painted still life. Bayrles solo exhibition in 1925, shows figurative works inspired by impressionism.

Although Longhurst's career began with figurative works, it soon evolved into non-representational abstraction in exotic woods, marble and granite that draws on his background in Architecture. Many of his pieces are defined as being at the intersection of where the fields of art and math overlap, and they have been discussed by Mathematicians such as Nathaniel Friedman, Reuben Hersh, and Ivars Peterson.Friedman, Nathaniel.

It argues that egalitarian networking is a new form of relationship that is emerging throughout society, and profoundly transforming the way in which society and human civilization is organised. The essay argues that this new form of non-representational democracy is a crucial ingredient in finding the solutions to current global challenges; as well as a new and progressive ethos representing the highest aspirations of the new generations.

Historian Carl Hertel analyzed the art in 1971 and compared it to the artists' non-LSD work. Hertel found while the LSD art was neither superior nor inferior to the artists' other work, it was brighter, more abstract and non-representational, and tended to fill the entire canvas. Two follow-up studies have been done. The first, done by Janiger around 1968, collected questionnaires from about 200 of the original participants.

Until the early 1960s Basu worked with oils on canvas rendering landscapes, made sketchy portraits and drawings, he then turned to non-representational works. While the range of Basu's works may be thematically located within post-colonial and post-modern, his style remains distinct and difficult to label as such. None of his works are titled. His works are characterized by an appearance of vastness, regardless of the canvas dimension.

In the 1940s, his generic subject matter was overlooked by the social realists, even though his images of common people and public places was reminiscent of the Ashcan School. In the 1950s, the completely non- representational forms of abstract expressionism had no place for Benjamin’s figural aspects, however abstract they may have been. And from the 1960s onward, pop-art, minimalism, and conceptual art had little in common with his work.

By the late 1970s, Winters was using pigment to investigate the referential nature of painting. Soon after, his focus shifted to the illusionism inevitable in painting, how mark making and process create illusions that give way to non-representational spatial dimension. This approach is evident in Winters’ first exhibition in 1982 at Sonnabend Gallery. Here, gestures and modules create complex paths and grounds that premiere Winters’ nuanced painting method.

His baggage included artwork by the deceased Sgt. Kibby VC., which he passed on to Mrs Kibby. He returned to Adelaide and journalism, and for the next twenty-odd years had weekly by-lined articles in the Sunday Mail, notable for their easy unpretentious style and positive outlook, even for non- representational work, though he had little time for what he called "puzzle pictures". He mounted several one-man shows of his own.

Nordström in 1958 Lars-Gunnar Nordström (19 August 1924, Helsinki – 10 August 2014, Helsinki) was a Finnish artist, one of the leading pioneers of non- representational art in Finland. His genre of art, concretism, is characterized by an extremely precise, finished, deliberate visual expression. Nordström is particularly known for his geometric paintings, in which angular and curved flat colour fields form clear, strong, dynamic compositions. His oeuvre consists mainly of graphic prints, paintings and sculptures.

The representations we observe are the will's only goals and these representations are evidently rational. Bahnsen countered that feeling is the will's non-representational goal and that not all of the will's aims are rational. This debate could not be resolved, as Hartmann regarded feeling as an unconscious representation, while Bahnsen could not bring himself to accept the unprovable reality of this so-called "unconscious representation". Additionally, Bahnsen disagreed with Hartmann on fundamental points.

While most traditional approaches tend to stress the relative independence of perception and action, some theories have argued for closer links. Motor theories of speech and action perception have made a case for motor contributions to perception. Close non-representational connections between perception and action have also been claimed by ecological approaches. Today common coding theory is closely related to research and theory in two intersecting fields of study: Mirror neurons systems and embodied cognition.

Many of the 'dancing' figures are decorated with unusual patterns and may be wearing masks and other festive clothing. Other paintings, depicting patterned quadrilaterals and other symbols, are obscure in their meaning and may be non-representational. Similar symbols are seen in shamanistic art worldwide. This art form is distributed from Angola in the west to Mozambique and Kenya, throughout Zimbabwe and South Africa and throughout Botswana wherever cave conditions have favoured preservation from the elements.

Harry Kivijärvi (1931-2010) was a sculptor from Finland. Kivijärvi’s most famous works, such as the monument to the memory of president Paasikivi, consist of non-representational forms, sculpted from black stone, whose carefully worked surfaces alternate between smoothly polished areas and sections that have been left rough. Kivijärvi was born in Turku and studied in Turku Drawing School 1947-1950 and in Academy of Arts 1950-1952. Kivijärvi started his career in art as a painter.

She studied art for 17 years in northern Virginia under the award- winning painter, Irene Wood-Montgomery. Her paintings and sculpture have been exhibited in galleries, educational settings, and nursing homes throughout the state of Virginia. Carolyn is an abstract colorist, whose preferred medium is acrylic. Influenced by the non-representational style of Jackson Pollock and by the Washington, D.C. color field painter, Sam Gilliam, Carolyn experiments with color effects to evoke an emotional response from the viewer.

Realism and abstraction exist on a continuum. Impressionism is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. If the work is not representational and is an expression of the artist's feelings, longings and aspirations, or is a search for ideals of beauty and form, the work is non-representational or a work of expressionism. An iconographical analysis is one which focuses on particular design elements of an object.

In 1931 he moved to Britain together with Anne Bilbrough, a young actress whom he was later to marry and who was the mother of their only daughter Harriet. At first he was inspired by the work of Duncan Grant; then met William Coldstream. In 1934 under the influence of Geoffrey Tibble he showed non-representational works at the exhibition of Objective Abstractions at the Zwemmer Gallery. Between 1934 and 1937 Bell abandoned painting and took up journalism.

Though each website is different and will thus generate a different image, Napier's code is programmed to create aesthetically similar images. Although pieces of the original page often survive the shredding, such as images and some text, the new page closer resembles a non-representational painting. The signature color and shapes created by the Shredder 1.0 are largely due to Napier's background as an artist. Shredder 1.0 pieces have strong Abstract Expressionist roots, making use of Surrealist techniques in automatic art.

In short, this approach examines the work of art in the context of the world within which it was created. Art historians also often examine work through an analysis of form; that is, the creator's use of line, shape, color, texture, and composition. This approach examines how the artist uses a two-dimensional picture plane or the three dimensions of sculptural or architectural space to create their art. The way these individual elements are employed results in representational or non-representational art.

Irwin Kremen (June 5, 1925 – February 5, 2020) was an American artist who began making art while Director of the Duke University Graduate Program in Clinical Psychology, when he was 41, after earning a PhD six years earlier in clinical psychology at Harvard University. Kremen's artwork mainly consists of non-representational collage, sculpture, and painting. In his later years he defined a fourth grouping which he called "multimodes." These are syntheses of the other three or sometimes of just two.

Mural of Salvador Alvarado, former governor of Yucatan, displayed at the governor's palace, Merida (Yucatan), Mexico. Painted by Fernando Castro Pacheco. Mexican muralism brought mural painting back to the forefront of Western art in the 20th century with its influence spreading abroad, especially promoting the idea of mural painting as a form of promoting social and political ideas. It offered an alternative to non-representational abstraction after World War I with figurative works that reflect society and its immediate concerns.

He received notice in 1973 with a retrospective exhibition at Arizona State University. Sanderson's work is described as non-representational, modern, and derived from the landscape and culture of the American Southwest. Sanderson's 1951 Students Who Gave Their Lives is located on the University of Arizona campus to the south of the Student Union Memorial Center. He moved to Chico, California in 1973, working in printmaking and painting after giving up sculpture over health concerns, having contracted coccidioidomycosis in 1958.

Krauze works in diversity of mediums and materials including painting, sculpture and installation art. Her recent body of work has been leaning towards installations of painted planes and metal frames as in her Exhibition Huellas y Trayectos/ Traces and Trajectories at the Museo de Arte Moderno, 2010. Although early in her career she focused more in pictorial production, later in her career her art is fairly non-representational. Aesthetically Krauze draws heavily on minimalism moving from painting to three-dimensional forms.

The conservation reserve contains many prehistoric abraded and pecked engravings that provide an outstanding example of central Australian rock art. The main feature of the area is a set of about 1000 petroglyphs, distributed among the rock outcrops to the south and south-east of the claypan. Most of the petroglyphs are non-representational, consisting of circles, lines and other geometric motifs, though there are some examples of animal tracks. The motifs have been compared with those found elsewhere in Central Australia and Tasmania.

František Kupka, the Czech painter interested in non-representational painting based on analogies with music and the progressive abstraction of a subject in motion, joins the discussions. In the spring of 1911 the cubists made sure they were shown together, infiltrating the placement committee. That Le Fauconnier was the secretary of the salon facilitated the goal of hanging their works together. Until then, works in alphabetical order of the artists names. In room 41 hung works by Metzinger, Gleizes, Léger, Delaunay, Le Fauconnier and Archipenko.

Breaking with traditional conventions in 1945 after reading André Breton's Le Surréalisme et la Peinture, he began experimenting with non-objective (or non-representational) painting. He was one of the signers of the Refus global manifesto. In 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists (he was the only Canadian to exhibit with them and to sign Breton's manifesto the Rupture inaugurale)The Canadian Encyclopedia he capitalized on his image as a "wild Canadian".

Noemí Ruiz's paintings are abstract in a non-representational style and very colorful interpret Latin American reality by using rhythmic color and alternating forms, trying to convey it all in a symbolic way. With sensitivity, discipline and mastery, Ruiz embodies her essential forms in the reality. Conceptually and symbolically, personal and natural elements can be seen presently in her pieces. Red and blue are common colors to see in her works, and at least one of the two seems to be present in every painting.

Three Forms (BH 72) is an abstract sculpture by Barbara Hepworth, completed in 1935. The sculpture was one of the first works completed by Hepworth after the birth of her triplets with Ben Nicholson in October 1934. It marks a point of departure in her style: her earlier abstract works are based on the human form, but Three Forms is more purely abstract, reduced to simple geometric shapes with little colour. Her subsequent work continued in a more formal, abstract and non-representational vein.

LELO has taken a non-traditional approach to the design and manufacture of sex toys, utilizing high design concepts that are non-representational of the sexual anatomy of the human body, a style that is now widely adopted across the sex toy industry. The company has been recognized for pioneering creations in the adult industry, including the first couples’ toys with motion controller functions from their SenseMotion™ line,These Designs Are Really Sexy: The Best Sex Tech in Vegas, Switched.com as well as the first sex toys to employ tactile sensing, the Smart Wands.

Shortly after this he also made his breakthroughs in non-representational colour, creating canvases that had an independent existence and vitality all their own. This gap between surface reality and himself displeased Pissarro and quickly led to the end of their relationship. His human figures at this time are also a reminder of his love affair with Japanese prints, particularly gravitating to the naivety of their figures and compositional austerity as an influence on his primitive manifesto. For that very reason, Gauguin was also inspired by folk art.

While in Mexico the couple built a house and adopted two children, Gloria and Maricella. After Miriam's unfortunate early death, her pension continued to sustain the artist as the demand for illustration lessened. Now in a financial position to walk away from the machinations of the art market, Haupt embarked upon an extended period of renewed investigation and experimentation, working his way through abstract, color-drenched, non-representational painting styles and developing a series of Surrealist-inspired canvases. Haupt later investigated chromatic vibrations and dynamic optical effects in a series of compelling Op Art canvases.

František Kupka, Amorpha, Fugue en deux couleurs (Fugue in Two Colors), 1912, oil on canvas, 210 x 200 cm, National Gallery in Prague Kazimir Malevich, Black Square, 1915, oil on linen, 79.5 x 79.5 cm, Tretyakov Gallery, Moscow Geometric abstraction is a form of abstract art based on the use of geometric forms sometimes, though not always, placed in non-illusionistic space and combined into non-objective (non-representational) compositions. Although the genre was popularized by avant-garde artists in the early twentieth century, similar motifs have been used in art since ancient times.

She drew delicate but deliberate lines. She experimented with grid like formations and varying gradations at acute angles. What stood out in her works was her perception of light and shade. Although it is often difficult to temporally locate her work – she often left pieces untitled and undated – many critics have segmented her oeuvre into three general periods: an early period of sketches and semi- representational collage in the 1950s to mid-1960s, a "classic" period of increasingly non-representational forms, including her signature grid-based drawings, and a mature style in pen and ink.

Some art theorists and writers have long made a distinction between the physical qualities of an art object and its identity-status as an artwork. For example, a painting by Rembrandt has a physical existence as an "oil painting on canvas" that is separate from its identity as a masterpiece "work of art" or the artist's magnum opus. Many works of art are initially denied "museum quality" or artistic merit, and later become accepted and valued in museum and private collections. Works by the Impressionists and non-representational abstract artists are examples.

Through an examination of the works of Matisse, Picasso, and Dalí as well as his friendship with surrealist painter Serge Brignoni, he developed his own surrealist-influenced painting style. In an effort to gain recognition for the modern, abstract-concrete and surrealist painting in Switzerland, Abt and several other painters from Basel founded the anti-fascist "Gruppe 33" (Group 33). In 1936, he joined the alliance, a group of modern Swiss artists who campaigned for the propagation of non-representational art. Abt spent the war years in Tessin.

Caricature of Craig by Max Beerbohm from A Survey, published in 1921. Craig's idea of using neutral, mobile, non-representational screens as a staging device is probably his most famous scenographic concept. In 1910 Craig filed a patent which described in considerable technical detail a system of hinged and fixed flats that could be quickly arranged to cater for both internal and external scenes. He presented a set to William Butler Yeats for use at the Abbey Theatre in Ireland, who shared his symbolist aesthetic. Craig’s second innovation was in stage lighting.

The early paintings, 1958 to 1964, are intimate Cartesian dreams. From 1964 to 1971, involvement with Joycean myth brought imaginative, outgoing, precisely measured, and strikingly large abstract narrative constructions. Still working in the non- representational vocabulary of abstraction, there was a shift in the early '70s to loose, open, emotionally charged dramatic confrontations. The years 1985 to 1995 produced “Comic Allegories,” a group of non-naturalistic narrative paintings provoked by changing situations in the world. They represent the artist’s only excursion into figuration. “Charms,” completed in 2005, are paintings of sensual order.

The Washington Color School was a movement starting in Washington DC, built of six core abstract expressionist artists during the 1950s–1970s. They emerged during a time when society, the arts, and people were changing quickly. The inner circle of this new visual art movement consisted of Kenneth Noland, Morris Louis, Gene Davis, Howard Mehring, Tom Downing, and Paul Reed. The Washington Color School, a visual art movement, describes a form of image making concerned primarily with color field painting, a form of non-objective or non-representational art that explored ways to use large solid areas of paint.

CASA 0101 became home to the Boyle Heights Museum in November 2018, partnering with the University of Southern California (USC) Center for Diversity and Democracy. Also co-founded by Josefina López, the museum embraces the neighborhood’s rich multicultural immigrant histories and preserves the spirit of community organizing, resistance to non representational power, and empathy that surpasses racial boundaries. Hosting the museum at CASA 0101 encourages theater goers, history buffs, and all Angelinos to learn about the community’s history and celebrate the contributions of Mexican-Americans and other marginalized groups to Los Angeles, and broadly the United States.

The formal elements, those aesthetic effects created by design, upon which figurative art is dependent, include line, shape, color, light and dark, mass, volume, texture, and perspective,Adams, Laurie Schneider, The Methodologies of Art, pages 17-19. Westview Press, 1996, although these elements of design could also play a role in creating other types of imagery—for instance abstract, or non- representational or non-objective two-dimensional artwork. The difference is that in figurative art these elements are deployed to create an impression or illusion of form and space, and, usually, to create emphasis in the narrative portrayed.

While in Paris he met Octavio Paz and André Breton and was part of the group of expatriate Latin American artists and writers who met regularly at the Café de Flore, engaging in vigorous discussions on how they could participate in the international modern movement while preserving their Latin American cultural identity. Upon his return to Peru, Szyszlo became a major force for artistic renewal in his country breaking new ground by expressing a Peruvian subject matter in a non-representational style. In 1962, he became a professor of art at Cornell University. In 1965 he became a visiting lecturer at Yale University.

Composition No. 10 (1939–1942), oil on canvas, private collection. Fellow De Stijl artist Theo van Doesburg suggested a link between non-representational works of art and ideals of peace and spirituality.Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond; Christina Lodder, Maria Kokkori, Maria Mileeva; BRILL, Oct 24, 2013 In September 1938, Mondrian left Paris in the face of advancing fascism and moved to London.Casiraghi, Roberto "Piet Mondrian – Nike Dunk Low SB – Available!" After the Netherlands was invaded and Paris fell in 1940, he left London for Manhattan in New York City, where he would remain until his death.

An adjustment to the Financial Core ruling came out of a 1988 Supreme Court decision in Communications Workers v. Beck which determined fee paying nonmembers can opt out of paying toward union spending on "non- representational" activities. This Supreme Court Case grew out of a complaint by FiCore employee Harry E. Beck and several other Ficore employees who protested the Communication Workers of America's support of 1968 Democratic Presidential Candidate Hubert Humphrey. Beck and the other FiCore workers wanted refunds of the portion of their agency fees that went to supporting the Democrat because Humphrey was a Gun Control supporter.

She later returned to college to study painting and printmaking at the University of Minnesota in Minneapolis. Nankivil continued her studio art training at the Minneapolis College of Art and Design, where she earned a BFA degree in painting in 1995. Magenta, 2005, oil on canvas, Collection Frederick R. Weisman Art Museum, Minneapolis Nankivil is best known for her non- representational striped-format oil paintings and abstract monoprints. Though her work shares formal qualities with the modernist innovations of European and American abstraction, her paintings typically feature color schemes, brushwork, and techniques based on long-established painterly traditions.

But there can be little doubt that the design represented the most advanced architectural thinking of the early- to mid-1880s on the continent. It represented a conservative approach to architectural iconography based on the decorative program of Semper's Kunsthistorisches Museum in Vienna; at the same time, Lipsius was employing architectural symbolism to advocate an evolutionary approach to stylistic innovation. Hence the bizarre glazed dome as a representation of an arbitrary, futuristic form for non- representational architecture. These ideas, which Lipsius based explicitly on the theories of Gottfried Semper, represent the first phase of architectural realism.

Cults from the Neolithic tradition—especially those that were associated with the fertility of the earth and with agriculture in general—continued to be practised throughout the Bronze Age and at the beginning of the Iron Age in the Western Balkans. Those traditions included the cult of the Earth Mother, the cult of the sun, and the cult of the serpent. During the early Iron Age, the Illyrian art was geometric and non-representational, with the combination of concentric circles, rhomboids, triangles and broken lines.; It was a severe type of art devoid of phantasy, intended for farmers and cattle breeders or warriors.

Born the son of a farmer in Kanagawa Prefecture, Kanai graduated from the College of Art of Nihon University before finding work at Daiei Film. He later became a freelance cinematographer and founded Kanai Productions in 1968. His first film, The Deserted Archipelago (1969, aka The Desert Island) won the grand prix at the Nyon International Documentary Film Festival. His second film, Good-Bye (1971), was the "first post-war, post-liberation Japanese feature to be filmed in Korea," and according to the film scholar Oliver Dew, illustrated "how a surreal, decided non-representational approach could block the determinations of cultural essentialism".

The notion that mental states are causally efficacious diverges from behaviorists like Gilbert Ryle, who held that there is no break between the cause of mental state and effect of behavior. Rather, Ryle proposed that people act in some way because they are in a disposition to act in that way, that these causal mental states are representational. An objection to this point comes from John Searle in the form of biological naturalism, a non-representational theory of mind that accepts the causal efficacy of mental states. Searle divides intentional states into low-level brain activity and high-level mental activity.

Adler has also written that August Stramm's "essential innovation (still too little recognized in Germany) was to create a new, non-representational kind of poetry," which is, "comparable," to Pablo Picasso's creation of abstract art and to Arnold Schönberg's revolution in the writing of Classical music.Tim Cross (1988), The Lost Voices of World War I, page 125. In his 1985 book, The German Poets of the First World War, Patrick Bridgwater dubbed the literary movement inspired by Stramm's poetry, "the German variety of Imagism."Patrick Bridgwater (1985), The German Poets of the First World War, Croom Helm Ltd.

The same year she submitted work to the annual exhibition of the Royal Hibernian Academy. Mainie Jellett, Abstract Composition, 1935, oil on canvas, 119.5 x 96.9 cm In 1921, along with her companion Evie Hone moved to Paris, where, working under André Lhote and Albert Gleizes she encountered cubism and began an exploration of non-representational art. Her new style, including colour and rhythm was greatly inspired by her stay in France. After 1921 she and Evie Hone returned to Dublin but for the next decade they continued to spend part of each year in Paris.

Another Cubist scandal is produced at the Salon d'Automne of 1911. The Indépendants exhibitors develop relations with the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp. The studios of Jacques Villon and Raymond Duchamp-Villon at 7, rue Lemaître, become, together with Gleizes' studio at Courbevoie, regular meeting places for the newly formed Groupe de Puteaux (soon to exhibit under the name Section d'Or). František Kupka, the Czech painter interested in non-representational painting based on analogies with music and the progressive abstraction of a subject in motion, joins the discussions. Jean Metzinger, 1911, Le goûter (Tea Time), 75.9 x 70.2 cm, Philadelphia Museum of Art.

Figurative art, sometimes written as figurativism, describes artwork (particularly paintings and sculptures) that is clearly derived from real object sources and so is, by definition, representational. The term is often in contrast to abstract art: > Since the arrival of abstract art the term figurative has been used to refer > to any form of modern art that retains strong references to the real world. Painting and sculpture can therefore be divided into the categories of figurative, representational and abstract, although, strictly speaking, abstract art is derived (or abstracted) from a figurative or other natural source. However, "abstract" is sometimes used as a synonym for non- representational art and non-objective art, i.e.

There has been no commonly-used definition of the term "abstract photography". Books and articles on the subject include everything from a completely representational image of an abstract subject matter, such as Aaron Siskind's photographs of peeling paint, to entirely non-representational imagery created without a camera or film, such as Marco Breuer's fabricated prints and books. The term is both inclusive of a wide range of visual representations and explicit in its categorization of a type of photography that is visibly ambiguous by its very nature. Many photographers, critics, art historians and others have written or spoken about abstract photography without attempting to formalize a specific meaning.

The 1920 version, reproduced in Ozenfant, Jeanneret, La peinture moderne, was reworked in 1923 This unity, and the highly crystalline geometricized materialization consisting of superimposed constituent planes of Crystal Cubism would ultimately be described by Gleizes, in La Peinture et ses lois (1922–23), as 'simultaneous movements of translation and rotation of the plane'. The synthetic factor was ultimately taken furthest of all from within the Cubists by Gleizes. Gleizes believed that the Crystal Cubists—specifically Metzinger and Gris—had found the principles on which an essentially non- representational art could be built. He felt that the earlier abstract works of artists such as František Kupka and , lacked a solid foundation.

12) traces the scientific use of the phrase "mental images" back to John Tyndall's 1870 speech called the "Scientific Use of the Imagination". Some have gone so far as to suggest that images are best understood to be, by definition, a form of inner, mental or neural representation;Block, 1983Kosslyn, 1983 in the case of hypnagogic and hypnapompic imagery, it is not representational at all. Others reject the view that the image experience may be identical with (or directly caused by) any such representation in the mind or the brain,Sartre, 1940Ryle, 1949Skinner, 1974Thomas, 1999Bartolomeo, 2002Bennett & Hacker, 2003 but do not take account of the non-representational forms of imagery.

Toward the end of 1913 Gleizes defended the need for a representational subject matter in 'Opinion' published by Ricciotto Canudo in Monjoie!, but it was for reasons that were entirely plastic and non-representational at the same time: > We are agreed that anecdote counts for nothing in a painted work. It is a > pretext, so be it, but a pretext which we should not reject. Through a > certain coefficient of imitation we will verify the legitimacy of the things > we have discovered, the picture will not be reduced to the merely > pleasurable arabesque of an oriental carpet, and we will obtain an infinite > variety which would otherwise be impossible.

Non- representational works by seminal abstractionists—Jean Arp, Constantin Brancusi, Alexander Calder, Juan Gris, Jean Helion, Fernand Léger, Joan Miró, Piet Mondrian, and Pablo Picasso—were included in the comprehensive catalog of which much material had never before been exhibited in the country. Building on the founding principles of the Society, Schütze initated a publishing program to expand the Society’s role as “an independent, experimental laboratory for search of legitimate meaning in art.” In her ultimate act as president of the Society, Schütze organized the 1936 exhibition of Léger, which she believed to be the institution's crowning achievement. The massive undertaking almost did not happen.

William Ronald was a graduate of the Ontario College of Art in 1951 who quickly found that abstract painters could not get their work exhibited in Toronto galleries. Since he had previously Worked for the Robert Simpson Co. department store, he persuaded management to pair abstract paintings with furniture displays, thereby discovering a way to get the public to accept non-representational art. Despite the success of that show, Abstracts at Home, Ronald resented the city's general attitude toward its artists and moved to the United States, eventually becoming an American citizen. Ronald joined the stable of artists at Manhattan's Kootz Gallery, where he was put on retainer.

Mountains and Sea, Frankenthaler's first professionally exhibited work, is generally identified as her most well-known painting because of its use of soak stain. The work itself was painted after a trip to Nova Scotia, calling into question just how non-representational the painting is. While Mountains and Sea is not a direct depiction of a Nova Scotia coastline, there are elements of it that suggest a kind of seascape or landscape, like the strokes of blue that join with areas of green. Much like Mountains and Sea, Frankenthaler's Basque Landscape (1958) seems to refer to a very specific, external environment, thus it is also abstract.

Madí (or MADI; also known as Grupo Madí or Arte Madí) is an international abstract (or concrete) art movement initiated in Buenos Aires in 1946 by the Hungarian-Argentinian artist and poet Gyula Kosice, and the Uruguayans Carmelo Arden Quin and Rhod Rothfuss. The movement focuses on creating concrete art (i.e., non-representational geometric abstraction) and encompasses all branches of art (the plastic and pictorial arts, music, literature, theater, architecture, dance, etc.). The artists in the Madí movement consider the concrete, physical reality of the art medium and play with the traditional conventions of Western art (for instance, by creating works on irregularly- shaped canvases).

Aesthetic experience as axiology In his musical or philosophical essays and papers, he stressed the relevance of values in the aesthetic experience considered as a counterpoint of hermeneutic gestures. This insight on symbolic consciousness and truth-content of art is exemplified throughout two ontologically interconnected main fields: Music and Architecture. Considering non- representational and representational semantics of Music and Architecture, the temporalization and spatialization gestures implied in design and composition embrace the entire sphere of dwelling in a given world, what we call an aesthetical oikonomia. This connection between temporality and spatiality is exposed through recent examples, where axiological and "immunological" claims of a harmonic world are creatively expressed.

She was also the translator for the first definitive work on Hans Hartung published by Ottomar Domnick who was a major collector of contemporary works from that time period. In addition, she photographed and was self-appointed publicist for the famed Mary Wigman modern dance company and opera star Bruni Falcon. From 1947 onward, Paul Fontaine remained committed to exploring the abstract in his art, with increasingly large canvases and defiantly non-representational forms in oil, watercolor and acrylic paint, often with bold areas of color and naturalistic hues. For the next 23 years, Virginia was also committed to the success of Paul Fontaine as an artist.

The translator of Deleuze and Guattari's A Thousand Plateaus, Canadian political philosopher Brian Massumi, has given influential definitions of affect (see above) and has written on the neglected importance of movement and sensation in cultural formations and our interaction with real and virtual worlds. Likewise, geographer Nigel Thrift has explored the role of affect in what he terms "non-representational theory". In 2010, The Affect Theory Reader was published by Melissa Gregg and Gregory J. Seigworth and has provided the first compendium of affect theory writings. Researchers such as Mog Stapleton, Daniel D. Hutto and Peter CarruthersHutto, D. Intersubjective Engagements without Theory of Mind: A Cross-Species ComparisonCarruthers, P. (2000).

Cup and ring marks survive in large numbers from Scotland and have been suggested to have a variety of meanings The ability to study prehistoric art is dependent on surviving artifacts. Art created in mediums such as sand, bark, hides and textiles has not normally endured, while less-perishable materials, such as rock, stone, bone, ivory (and to a lesser extent wood), later pottery and metal, are more likely to be extant. Whether all these artifacts can be defined as works of art is contested between scholars. Alexander Marshack argued that the earliest, non-representational incisions on rock mark the beginnings of human art.

In contrast, the concept musical embodies a theme [that is] developed as the musical is written." Thus, the concept musical can also be defined by its structural characteristics and common staging techniques. Its songs "punctuate rather than flow out from the story," serving as a means of self-reflection for the character and acting as commentary upon the theme. The message of the show often spurs within its director a "renewed emphasis on the visual aspects of the performance... [leading] to a more abstract, unrealistic, non-representational staging, as the director has to free himself/herself from the confines of scenic verisimilitude in order to explore the visual dynamics of the stage.

Charlotte Park, Untitled (Black and Gray IV), about 1950 Gouache on paper, 17 7/8 x 22 15/16 inches Charlotte Park, Aztec, about 1955, oil on canvas, 22 x 13 inches Charlotte Park, Untitled, about 1960 Oil on canvas, 34 x 34 inches Charlotte Park, Gypsophilia, 1973, acrylic on canvas, 18 x 18 inches Charlotte Park, Untitled, about 1985, acrylic on paper, 14 x 14 inches Park was a first-generation abstract expressionist who favored both geometric and gestural forms. Although she drew inspiration from natural objects, her paintings are non representational. She liked to visit other East Hampton artists in their studios and picked up ideas from seeing their work. Park worked on both paper and canvas.

Beginning in the 1950s and early 1960s, Mohamedi began photographing her surrounding environment – not only during her frequent travels, but in the course of her daily life. Her photographs were more than documentary however; photos from the 1980s, for example, like her late work in pen and ink, are abstracted to the point of becoming non-representational. Her friend and art historian Geeta Kapur has placed Mohamedi's photographs between the artistic and the real, stating that they create "an allegory of (dis)placement between the subject and the object." Although her photographs were never exhibited during her lifetime, they were subject to an artistic process as rigorous as the one Mohamedi used in executing her drawings.

Prominent features of minimalist music include repetitive patterns or pulses, steady drones, consonant harmony, and reiteration of musical phrases or smaller units. It may include features such as phase shifting, resulting in what is termed phase music, or process techniques that follow strict rules, usually described as process music. The approach is marked by a non-narrative, non-teleological, and non- representational approach, and calls attention to the activity of listening by focusing on the internal processes of the music.Johnson 1994, 744. The approach originated in the New York Downtown scene of the 1960s and was initially viewed as a form of experimental music called the New York Hypnotic School.Kostelanetz and Flemming 1997, 114–16.

A Madí work is non-figurative and non-representational; it has a cut-out or irregularly-shaped form, which takes away the viewer's perception of spatial depth that a rectangular frame provides; its colors are flat and sharply defined; it is often three-dimensional and sometimes articulated and/or mechanical; and it is playful in spirit. Madí artists were concerned with creating artworks that were autonomous with functions that naturally transcend the physical features that constitute the work. Introducing elements of transformation and ambiguity were techniques commonly employed by these artists to avoid representation as well as avoid the fixity of representations. In painted works, some artists would intentionally lower the legibility of the design.

As people realized that history was only one version of the past, they became more and more concerned with their own cultural heritage (in French called patrimoine) which helped them shape a collective and national identity. In search for an identity to bind a country or people together, governments have constructed collective memories in the form of commemorations which should bring and keep together minority groups and individuals with conflicting agendas. What becomes clear is that the obsession with memory coincides with the fear of forgetting and the aim for authenticity. However, more recently questions have arisen whether there ever was a time in which "pure", non-representational memory existed – as Nora in particular put forward.

According to Levine, this caused a snowball effect in interest with his work globally, he sold a nude study to an art collector in Beirut, a Greek shipping magnate along with several domestic sales in the UK. The exhibition generated great interest from outside the UK. Levine split his time between the UK and Budapest, Hungary, where he worked on sculptures for a couple of months at a time. Throughout his career as a nail sculptor, Levine has used a number of different techniques and nails. His non- representational pieces allow him to use larger clout nails, which add depth to his sculptures. On other pieces, Levine has been known to use 20mm cabinet nails.

Orphism as a movement was short-lived, essentially coming to an end before World War I. In spite of the use of the term the works categorized as Orphism were so different that they defy attempts to place them in a single category.Christopher Green, 2009, Cubism, MoMA, Grove Art Online, Oxford University Press Artists intermittently referred to as Orphists by Apollinaire, such as Léger, Picabia, Duchamp and Picasso, independently created new categories that could hardly be classified as Orphic. The term Orphism most obviously embraced paintings by František Kupka, Robert Delaunay and Sonia Delaunay, if limited to implications imposed by color, light, and the expression of non-representational compositions. Even Robert Delaunay thought this description misrepresented his intentions, though his temporary classification as Orphic had proved successful.

The artist has said that the off-center balance of his sculptures was influenced early on, when he saw the series "Bottled Spirits" by the German glass artist Erwin Eisch. Taylor said that Eisch's series was "about controlled pandemonium," or "tranquil chaos," a spontaneous quality that he tries to apply to his own work. The twentieth century Russian art movement, Constructivism has been a major influence on Taylor's art, not only because "it is deliberately composed" and non- representational, but also because the Constructivist seeks to touch human emotions and intellect through the highly formalized language of graphic art and architecture. Taylor feels a kinship with the minimal artist Dan Flavin because of that artist's professed interest in Russian Constructivism.

In the philosophy of music, scholars have argued whether instrumental music such as symphonies are simply abstract arrangements and patterns of musical pitches ("absolute music"), or whether instrumental music depicts emotional tableaux and moods ("program music"). Despite the assertions of philosophers advocating the "absolute music" argument, the typical symphony-goer does interpret the notes and chords of the orchestra emotionally; the opening of a Romantic-era symphony, in which minor chords thunder over low bass notes is often interpreted by layman listeners as an expression of sadness in music. Also called "abstract music", absolute music is music that is not explicitly "about" anything, non-representational or non- objective. Absolute music has no references to stories or images or any other kind of extramusical idea.

Harry Bowden, Abstract Composition, Yellow Background, 1937, watercolor and gouache, 8 1/2 x 7 inches Harry Bowden, Plant on Table, about 1936, gouache, 12 x 9 inches Harry Bowden, Fernand Legér, graphite, 16 1/2 x 14 inches Harry Bowden, Street Children, Mexico, 1941, gelatin silver print, 9 3/4 x 7 3/4 inches Bowden worked in oil, gouache, graphite, watercolor, and mixed media. Most pieces are small enough to have been made on an easel. In the 1930s he studied Cubist painters and his style then showed some Cubist influence. In this period he made both representational and non-representational works. Writing in 1941, a critic noted that he had by then outgrown his tendency toward pure abstraction.

Byng's artistic career started in painting where he experimented with transparent glazes to create colored light effects on semi-abstract figures but he was best known for his later use of plastic in sculpture. He first used the material when he cut a female figure in laminated plexiglas in 1966 and used it in a painting. By 1968 he was creating freestanding non-representational sculpture in an attempt to eliminate complex form and maximize the effect of colored light in his chosen materials. He developed techniques of coloring the outside of plastic blocks and of laminating plastics of different color, creating square and rectangular forms with a highly polished and seamless finish that belied the high degree of technical skill and processing required to make them.

Unfinished baby carrier example of Paj Ntaub Paj Ntaub or flower cloth is a traditional form of Hmong embroidery practiced exclusively by women. This unique form of embroidery utilizes a wide variety of stitching techniques such as cross-stitch, chain- stitch, running-stitch, and satin-stitch and often features applique, reverse- applique, and batik elements in the design. Aesthetically, traditional Paj Ntaub is composed of highly stylized, non-representational geometric motifs that are developed both collectively and individually and vary according to region and tribe. These designs are often used to decorate traditional Hmong clothing including skirts, head dresses, shirt collars, and sashes worn by both men and women and other textiles such as baby carriers, pillows, and funerary textiles.

As an architect, Seissel was involved in urban planning for parts of Zagreb, as well as studies for other regions such as Makarska, Baško Polje, Šibenik, Mljet and Nikšić. In addition, he worked on plans for Miroševac cemetery, Maksimir Park, Plitvice Lakes and other projects. As a teacher at the Zagreb Faculty of Architecture, he influenced the next generations of urban planners. In addition to his career as an architect, Seissel was active in the avant-garde art movement in Zagreb from the 1920s, most notably related to Zenit magazine. As Jo Klek, his designs are considered to be the beginning of Croatian constructivism, and his collage "Pafama" in 1922, is considered to be the first abstract (non-representational) of Croatian modern art.

The extension of research in Philosophy of Mind and Continental Philosophy assigns a theoretical imperative to ethical and cultural investigations, in order to grammatically fix the amphibology of explanation. In contrast to the anti-functionalism and anti- physicalism of phenomenology and hermeneutics, his research on intentionality and subjectivity induces a deep revision of the dichotomy between the transcendental and analytical accounts of phenomenology. He starts with a clear grammar of the term intentionality, unifying its phenomenological and cognitive meaning. Then, a non-reductive perspective on Mind and Psychism examines cognitive intentionality (representational consciousness of cognition) and affective intentionality (non-representational consciousness and non-affective connaturality), following both the phenomenological description of consciousness and the legacy of Wittgenstein’s investigations on perception, knowledge, and psychology.

The Washington Color School originally consisted of a group of painters who showed works in an exhibit called the "Washington Color Painters" at the now-defunct Washington Gallery of Modern Art in Washington from June 25 to September 5, 1965. The exhibition's organizer was Gerald "Gerry" Nordland and the painters who exhibited were Sam Francis, Gene Davis, Morris Louis, Kenneth Noland, Howard Mehring, Thomas "Tom" Downing, and Paul Reed. This exhibition, which subsequently traveled to several other venues in the United States, including the Walker Art Center, solidified Washington's place in the national movement and defined what is considered the city's signature art movement, according to art historians and journalists alike. The Washington Color School artists painted largely non-representational works, and were central to the larger color field movement.

Downes' friendship with Welliver led to the purchase of a farm in Maine in 1964, where he began drawing the landscape, thus changing direction from the non- representational manner of his student work. In 1965 Downes moved to New York City. Over the next several years he taught at the University of Pennsylvania, Parsons School of Design, and later, at the Skowhegan School of Painting and Sculpture. Though he is primarily based in New York City, where he has painted numerous cityscapes and urban scenes such as his series of four paintings, entitled "Four Spots Along a Razor-Wire Fence", Downes has traveled widely, creating a significant number of landscape paintings on site in Maine and Texas, of subjects including the harbor of Portland, Maine and the Donald Judd structures in Marfa, Texas.

Lucienne Day's early textiles were inspired by her love of modern art, especially the abstract paintings of Paul Klee and Joan Miró. Reflecting on recent trends in textiles in 1957, Lucienne observed: “In the very few years since the end of the war, a new style of furnishing fabrics has emerged…. I suppose the most noticeable thing about it has been the reduction in popularity of patterns based on floral motifs and the replacement of these by non-representational patterns – generally executed in clear bright colours, and inspired by the modern abstract school of painting.” However, although abstraction was the dominant idiom in her work, Lucienne also perpetuated the English tradition of patterns based on plant forms, often incorporating stylised motifs derived from nature, such as leaves, flowers, twigs and seedpods.

Example of Malevich's suprematist works. Kazimir Malevich, Dynamic Suprematism (1916), oil on canvas, 80.2 x 80.3 cm, Tate Gallery Cubo-Futurism was incredibly significant in the development of art styles like Rayism, Suprematism, and Constructivism, with the movement acting as a transitionary phase between objective, figurative works and radical non-objective, non-representational abstract art. Cubo-Futurism gave artists the freedom to engage with the limitations of representation and subjectivity, and experiment with use geometric shapes and fragmented forms in order to convey a movement and dynamism that reflected their attempts to reconstruct understandings of their world and their art. Cubo-Futurism acted as the jumping point for artists Mikhail Larionov (1881-1964) and Natalia Goncharova to develop Rayism (also called Rayonism), one of the first non-objective Russian artistic styles.

For some years, critics argued that scholarship in children's geographies was characterised by a lack of theoretical diversity and 'block politics'. However, since the mid-2000s, the subdiscipline has seen a proliferation and diversification of theoretical work away from the social constructivist principles of childhood studies and the New Social Studies of Childhood. A major, influential trend has been the development of Non- representational theory by children's geographers, and especially scholars such as Peter Kraftl, John Horton, Matej Blazek, Veronica Pacini-Ketchabaw, Affrica Taylor, Pauliina Rautio and Kim Kullman. This work shares many theoretical influences with a so-called 'new wave' of childhood studies, and especially the influence of poststructural, new materialist and feminist theorists such as Gilles Deleuze, Rosi Braidotti, Donna Haraway and Jane Bennett (political theorist).

Despite the varied opinions on what qualifies as art presented to the court, in November 1928 Judges Young and Waite found in favor of the artist. The decision drafted by Waite concluded: :The object now under consideration . . . is beautiful and symmetrical in outline, and while some difficulty might be encountered in associating it with a bird, it is nevertheless pleasing to look at and highly ornamental, and as we hold under the evidence that it is the original production of a professional sculptor and is in fact a piece of sculpture and a work of art according to the authorities above referred to, we sustain the protest and find that it is entitled to free entry. This was the first court decision that accepted that non-representational sculpture could be considered art.

The technique of intarsia inlays sections of wood (at times with contrasting ivory or bone, or mother- of-pearl) within the solid stone matrix of floors and walls or of table tops and other furniture; by contrast marquetry assembles a pattern out of veneers glued upon the carcass. It is thought that the word 'intarsia' is derived from the Latin word 'interserere' which means "to insert". When Egypt came under Arab rule in the seventh century, indigenous arts of intarsia and wood inlay, which lent themselves to non-representational decors and tiling patterns, spread throughout the maghreb.MS Dimand, "An Egypto-Arabic Panel with Mosaic Decoration" The Metropolitan Museum of Art Bulletin, 33.3 (March 1938:78-79) The technique of intarsia was already perfected in Islamic North Africa before it was introduced into Christian Europe through Sicily and Andalusia.

Watt and Ford, 81–82 From about 1400, the "brocade-ground" patterns already used for floors and sky in scenes of figures in a landscape were also used in depicting plant designs, both on the backgrounds and on the leaves or fruits of the plants themselves, "a curious development". More logically, they were also used for the background of non-representational designs such as characters of Chinese script.Watt and Ford, 105 Though sometimes used earlier,"Cinnabar polychrome carved lacquer dish, Yuan dynasty, 14th century, China", A&J; Speelman polychrome carved lacquer in a variety of the tixi technique was only prominent during the period between the Jiajing Emperor and Wanli Emperor (1521–1620). This involved carving different parts of the image down to expose a layer in a different colour, so building up a coloured image.

A deeply committed Christian, her paintings, though strictly non-representational, often have religious titles and often resemble icons in tone and palate. In Irish Art, a Concise History Bruce Arnold writes that :"Many of her abstracts are built up from a central 'eye' or 'heart' in arcs of colour, help up and together by the rhythm of line and shape, and given depth and intensity - a sense of abstract perspective - by the basic understanding of light and colour" Jellett was an important figure in Irish art history, both as an early proponent of abstract art and as a champion of the modern movement. Her painting was often attacked critically but she proved eloquent in defense of her ideas. Along with Evie Hone, Louis le Brocquy, Jack Hanlon and Norah McGuinness, Jellett co-founded the Irish Exhibition of Living Art in 1944.

Traditionally, Hmong designs were ornamental, geometric, and non-representational, being that they did not allude to nor contain any symbols that related to real-world objects, with the occasional exception of flower-like designs. Paj ntaub creation is done almost exclusively by women. Paj ntaub are created to be sewn on to Hmong clothing as a portable expression of Hmong cultural wealth and identity. The main traditional functions of paj ntaub are in funerary garments, where the designs are said to offer the deceased spiritual protection and guide them towards their ancestors in the afterlife, and for the Hmong New Year celebration. In the new year celebration, new paj ntaub and clothes are made by women and girls as it was seen as bad luck to wear clothes from a previous year, and they would serve as an indicator of the women’s creativity, skill, and even propensity as a successful wife.

In speaking, speakers perform many different intentional speech acts, e.g., informing, declaring, asking, persuading, directing, and can use enunciation, intonation, degrees of loudness, tempo, and other non-representational or paralinguistic aspects of vocalization to convey meaning. In their speech speakers also unintentionally communicate many aspects of their social position such as sex, age, place of origin (through accent), physical states (alertness and sleepiness, vigor or weakness, health or illness), psychic states (emotions or moods), physico-psychic states (sobriety or drunkenness, normal consciousness and trance states), education or experience, and the like. Although people ordinarily use speech in dealing with other persons (or animals), when people swear they do not always mean to communicate anything to anyone, and sometimes in expressing urgent emotions or desires they use speech as a quasi-magical cause, as when they encourage a player in a game to do or warn them not to do something.

In Italy, by 1964, pop art was known and took different forms, such as the "Scuola di Piazza del Popolo" in Rome, with pop artists such as Mario Schifano, Franco Angeli, Giosetta Fioroni, Tano Festa, Claudio Cintoli, and some artworks by Piero Manzoni, Lucio Del Pezzo, Mimmo Rotella and Valerio Adami. Italian pop art originated in 1950s culture – the works of the artists Enrico Baj and Mimmo Rotella to be precise, rightly considered the forerunners of this scene. In fact, it was around 1958–1959 that Baj and Rotella abandoned their previous careers (which might be generically defined as belonging to a non-representational genre, despite being thoroughly post-Dadaist), to catapult themselves into a new world of images, and the reflections on them, which was springing up all around them. Rotella's torn posters showed an ever more figurative taste, often explicitly and deliberately referring to the great icons of the times.

Coming full-circle from his early Table (1962) in which he cancelled his photorealist image with haptic swirls of grey paint,Gerhard Richter, Abstraktes Bild 798-3 (1993) Christie's Post-War and Contemporary Art Evening Sale, 8 May 2012 in 1969, Richter produced the first of a group of grey monochromes that consist exclusively of the textures resulting from different methods of paint application. In 1976, Richter first gave the title Abstract Painting to one of his works. By presenting a painting without even a few words to name and explain it, he felt he was "letting a thing come, rather than creating it." In his abstract pictures, Richter builds up cumulative layers of non-representational painting, beginning with brushing big swaths of primary color onto canvas.Rachel Saltz (13 March 2012), "An Artist at Work, Looking and Judging: Gerhard Richter Painting, a Documentary" , The New York Times The paintings evolve in stages, based on his responses to the picture's progress: the incidental details and patterns that emerge.

'Looking at Juan Vázquez Martín's paintings, what is immediately recognisable, is the Renaissance concept of 'the window', the dissolution of forms discovered by Kandinski, as well as the sense of textural beauty introduced by the contemporary painters of the matière school. In essence, this involves a private display that allows the artist to make a series of paintings on canvas or cartridge paper, revealing to the viewer an ensemble of optical sensations that reflect the internal world of the artist. We should not forget - because it was forgotten during the period of aesthetic and generational reductionism of the 1980s - that Vázquez Martín was a direct heir, in the 1960s, of the national abstract movement of the 1950s. Nor should we lose sight of the fact that Juan Vázquez Martín, even when beleaguered in his career, never deviated from his artistic logic - a logic that kept alive and active non-representational forms of plastic art.

Public Road, Kitty, Georgetown, by Leila Locke c. 1973 Elfrieda Bissember (later Director of Castellani House, Guyana, Guyana's National Art Gallery) has written of her paintings: "It is a record of a contemplative moment, complete in its details of unassuming but essential elements of any Guyanese life....There is a delicacy and unity of colour in the artist's handling of paint, and she has created a scene of great simplicity, warmth and directness...harmoniously designed in its unassuming details within this framed glimpse of a local backyard...thoughtful and limpid". From the mid 1970s she produced paintings that were a complete departure from her earlier work: non-representational, bright, abstract patterns and motifs, one of which was a strong recurring motif of a stylised Amerindian man with sun-ray markings around the head. Timehri painting by Leila Locke 1973 In later years, commercial and studio ceramics became a more central part of her work.

The illusionary paintings are considered an original achievement, without obvious precedent in the history of art internationally. They were first exhibited at Gow Langsford Gallery in March 1992, following Williams’ return to Auckland the previous year. The illusionary paintings are representational in the manner of the Old Masters, and can thus be described accurately as trompe l'oeil works, but they represent abstract forms and ambiguous phenomena. Williams has described them as “at once both totally abstract and as representational as you can get.” According to curator Anna- Marie White, Williams is significant because “he created a new direction within abstract painting while simultaneously challenging the very nature of abstraction as a non-representational art form.” Important examples of the illusionary paintings are Where Corals Lie (1994, Rutherford Collection) and Precept (Gold) (2005, private collection). The illusionary paintings draw attention to perception itself, and encourage critical reflection on the relationship between what we see and what we believe we see.

Woman-Ochre is a 1955 abstract expressionist oil painting by Dutch-born American artist Willem de Kooning, part of his Woman series from that period. It was controversial in its day, like the other paintings in the series, for its explicit use of figures, which Jackson Pollock and other abstract expressionists considered a betrayal of the movement's ideal of pure, non- representational painting. Feminists also considered the works misogynistic, suggesting violent impulses toward the women depicted. Several years after it was completed, a wealthy collector from the Eastern United States bought it and later donated it to the new University of Arizona Museum of Art (UAMA) in Tucson, Arizona, where he frequently vacationed, with the stipulation that the museum could not ever sell or give it away, even as the value of other de Kooning paintings from that era rose to over $100 million in the early 21st century; however the stipulation did not prevent the museum from loaning it to traveling exhibits, and it went with several, as far away as Eastern Europe.

For example: ; ; ; ; Development of Hägerstrand's work has continued to form part of the basis for non-representational theory, and a reappraisal of his work by new generations of social scientistsFor example: ; ; ; ; ; and biologistsFor example: ; ; means that he remains an influential thinker today. In 2005, Nigel Thrift summarized five benefits of Hägerstrand's time geography for contemporary social science: > First, it provides a sense of concreteness, of the power of 'thereness', and > it does so in a way—visually—that is still the preserve of too few social > theorists. All those intricate diagrams were, in part, an attempt to > describe the pragmatics of events, a theme which has now, in the work of > writers like Deleuze, become fashionable in the social sciences and > humanities but, at the time at which Hägerstrand was working, tended to be > restricted to the field of philosophy, except for the work of social > interactionists and ethnomethodologists which was often very imperfectly > understood by other than a relatively small coterie of enthusiasts. > Secondly, Hägerstrand's work was an attack on the Durkheimian idea that > space and time were social categories, collective representations which both > derived from society and also dictated to society.