This semiabstract portrait deviates from Krasner's prior commitment to a purely nonrepresentational mode.
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Though mainly nonrepresentational, certain desert landscapes and figures evoke the desolation of a post-apocalyptic world.
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When it's just the player and whatever nonrepresentational, bizarre space the designer can cook up, fascinating things happen.
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Cunningham, a proponent of using chance operations in his choreographic process, paved the way for explorations of nonrepresentational dance.
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Other works, like "Garden Wall Abstraction" (1950s) and "Abstract Black on White" (1961), are as nonrepresentational as their titles suggest.
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Towards the end of the exhibition are astonishingly stark, minimal, geometrical abstractions that continued to push the boundaries of nonrepresentational art.
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Inspired by the nonrepresentational paintings of Kandinsky and Miró, she pared away all but the essential details, developing abstract compositions against clear blue skies.
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In abstract painting, grids are often used to hold the viewer's attention on the surface of a canvas, marking its limits and reasserting its nonrepresentational status.
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Dell Williams solved that particular problem by commissioning nonrepresentational silicone devices with names like "Venus Rising" from Gosnell Duncan, the man who made prosthetics for the disabled.
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I started my calendar paintings — the first of these nonrepresentational paintings after I had made valentines with a bunch of squares and with a heart in them.
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Instead, he maintained a foothold in both, with the final landscapes and still lifes in the exhibition coinciding with Mondrian's grid paintings built on nonrepresentational lines, planes and colors.
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In her art practice, Helen Rebekah Garber extracts the images and representations tied to religion while deflecting established aesthetic structures, and her dismantling of the building blocks of ideology leads to a compellingly nonrepresentational visual lexicon.
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The Jupiter scenes—filled with what Michael Benson describes as "abstract, nonrepresentational, space-time astonishments"—were the product of years of trial and error spent adapting existing equipment and technologies, such as the "slit-scan" photography that finally made the famous Star Gate sequence possible.
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" Ms. Messina added, "She was also working in nonrepresentational, hard-edge abstraction, a genre dominated by (and still shrouded in) mythic white masculinity, when figurative and narrative-based work was (and in many ways still is) the prevailing mode of expression for black artists.
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Yet even within this supposedly nonrepresentational work it is hard to ignore clear sexual content present in examples such as "Grey Lines with Black, Blue and Yellow" (1923) which is undeniably labial in shape, perhaps not helped by distinctly flesh-like colors in pinky blue pastels.
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Before departing Bohemia, versatile Kupka experimented with symbolism and religious allegorical themes — and this exotic taste for evocation informed his subsequent experiments with nonrepresentational color, form, space, and line to the point where this little-known Czech painter is now heralded as an "inventor" of pure abstract art.
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"I've always loved nonrepresentational art," says Fritz.Quick, Bob. "Business Beat." The New Mexican.
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Five actors are dressed in workout sweats, the better to tangle with the nonrepresentational, noncorresponding text and images.
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They have been the mainstay of new work on cosmopolitan ecologies, and in thinking about the links between political ecology and nonrepresentational theory.
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His work became bolder, more arbitrary, more dynamic and increasingly nonrepresentational. As his color planes acquired greater formal independence, defined objects and structures began to lose their identity.
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Klein's work is primarily geometric and nonrepresentational, and she is considered a founding member of the Pattern and Decoration movement. Her work is included in the permanent collection at the Blanton Museum of Art.
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Teunis (Teun) Jacob (Rheden, 11 June 1927 - 12 October 2009) was a Dutch wall painter and sculptor, who lived and worked in Rotterdam since the early 1950s. He made both figure and nonrepresentational art.Teun Jacob; wall painter, sculptor at rkd.nl, 2015.
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Hofer's importance for post- war German painting lies in his insistence that the antinomy between figurative and abstract painting was nonsensical. For him, the "distinction of value between representational and nonrepresentational appeared as a senseless absurdity."Elisabeth Hofer-Richold, Ursula Feist, Günther Feist, Karl Hofer. Berlin 1983.
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Some of his landscapes from this period are almost nonrepresentational. Before World War I, he lived for a year in Dieppe. Then he moved back to Rouen, living there for the rest of his life. He was very reclusive for his last thirty years, but remained a dedicated correspondent.
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However, the scientist who invented one of the modern pigments dismissed the possibility that Pollock used this paint as being "unlikely to the point of fantasy." Subsequently, over 10 scientific groups have performed fractal analysis on over 50 of Pollock's works.J.R. Mureika, C.C. Dyer, G.C. Cupchik, "Multifractal Structure in Nonrepresentational Art", Physical Review E, vol. 72, 046101-1-15 (2005).
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Illuminationist philosophers know the knowledge of two kinds, of which knowledge by presence is one of them. Knowledge by presence is of a nonrepresentational, immediate character along with no reference to external objects. According to Suhrevardi, the "self" could know itself just by virtue of its presence. It also knows consciousness beyond the distinction of the subject and object division in epistemology.
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Bert Seabourn (born 1931) is an American expressionist painter, known for his stylized and nonrepresentational neo-expressionist artist. In his early career, he published comic book art and realistic pieces, as well as commercial art. He has won multiple awards for his artworks. An alumnus of Oklahoma City University, the school awarded him the honorary degree of Doctor of Humane Letters in 1997.
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Some scholars argue that nonrepresentational theories encourage a focus upon the banal, everyday, ephemeral and small-scale at the expense of understanding and critically interrogating wider-scaled and longer-standing processes of marginalisation. Others argue that, whilst valid, nonrepresentational and 'new wave' approaches extend beyond the small-scale, offering useful and in some cases fundamental ways to critically and creatively re-think the ways that we do research with children and their 'common worlds'. A second key conceptual trend has been in work on Subjectivity, children's Political geography and emotion. For instance, Louise Holt (2013) uses the work of Judith Butler to critically examine the emergence of the infant as a 'subject' through power relations that are often gendered, as well as infanthood is a stage in the lifecourse that is subject to particular kinds of social construction.
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At the apparent age of five, he joined Master Abdullah who trained him in artwork. He was first asked to practice three English alphabets (ABC) on slate. It is believed he practiced letter "A" for the first three years, and later B and C letters to produce "ABC of art". He started his first artwork between 1913 to 1914 at Bhati Gate with nonrepresentational patterns.
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Al Held. Hudson Hills Press. Print. Describing Held's images as "room" or "walls" makes sense, however, the art is non-objective and those may not be the best words to use. On one hand the work has architectural qualities but at the same time the planes of color are nonrepresentational and in a way cannot be grasped. In 1983, his 15’ by 55’ mural Mantegna’s Edge was completed in Dallas, Texas.
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Yves Tanguy, Mama, Papa is Wounded! (1927) Museum of Modern Art MoMA Tanguy's paintings have a unique, immediately recognizable style of nonrepresentational surrealism. They show vast, abstract landscapes, mostly in a tightly limited palette of colors, only occasionally showing flashes of contrasting color accents. Typically, these alien landscapes are populated with various abstract shapes, sometimes angular and sharp as shards of glass, sometimes with an intriguingly organic look to them, like giant amoebae suddenly turned to stone.
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His leaning toward nonrepresentational art had begun as early as 1929 in Paris, where he was a member of the Abstraction- Création group. Glarner took up Mondrian's motif of arranging simplified colors and forms on an architectural pattern. Glarner introduced a diagonal into the strict horizontal and vertical geometric aesthetic of Mondrian, creating new, yet equally systematic principles of composition that he termed "relational painting." Like Mondrian, Glarner limited his color palette to the primaries, red, yellow and blue.
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Elsewhere, there has been a surge in interest in children's political geographies, which has to some extent been informed both by developments in nonrepresentational theory and in theories of subjectivity. Central to this scholarship (especially in the work of Tracey Skelton, Kirsi Pauliina Kallio and Jouni Hakli) has been a move beyond a traditional concern with children's participation in decision- making processes to highlight the range of ways in which they may be 'political' - from 'micropolitical' engagements with ethnic or social in the school or the street to critical considerations of major policy documents such as the Convention on the Rights of the Child. Louise Holt's work on subjectivity also connects with a wider, ongoing interest in the Emotional geography of childhood and youth (Bartos, 2012, Blazek, 2013), which, although overlapping with interests in nonrepresentational children's geographies, also has its roots in feminist theory. Notably, such approaches informed seminal texts that were important to the early development of children's geographies, particularly in Sarah Holloway's work on parenting and local childcare cultures.
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John C. “Jack” Maul (1918-1998) was an artist, writer and architectural designer whose work contributed to the “early modern” period of art in Tucson, Arizona. He was called by University of Arizona scholar and professor Maurice Grossman “one of the great artist of his time in this area.” His art was seen as hyper progressive and known for continual experimentation of form and ideas.Allen, Kathleen, Tucson Citizen, Jack Maul, 27, July, 1998 Maul was known for his abstract and nonrepresentational work.
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Returning to Paris after the war, Csaky began a series of works derived in part from the machine aesthetic; streamlined with geometric and mechanical affinities. By this time Csaky's artistic vocabulary had evolved: it was distinctly mature, showing a new, refined sculptural quality. Nothing in early modern sculpture in comparable to the revolutionary work Csaky produced in the years directly succeeding World War I. These were nonrepresentational free-standing objects, i.e., abstract three-dimensional constructions combining organic and geometric elements.
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From 1928, while his fellow pioneers tended towards greater abstraction, Csaky moved away both from the faceted Cubism of his early Parisian epoch, and from the highly abstract or nonrepresentational intent of his post-war series. Turning towards figurative art, he no longer saw potential in abstraction. Waldemar George, the Polish-French art critic, writes in 1930 of Csaky's departure from abstraction: "The cube, the polyhedron with right angles with its abrupt edges, are replaced by ovoids and spheres."Csaky, Waldemar George.
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To an ambitious young artist like Hart, it was an irresistible opportunity: a compelling theme, and a chance to see his own work carved in limestone over the main entrance of the Cathedral. Interestingly, too, the committee was willing to consider nonrepresentational, avant-garde designs, so for three years, Hart sketched in clay. His original tympanum design (from early 1974) was a wide, bare space, from which a woman's face emerges. The Cathedral Building Committee rejected this submission, as well as those of all the other artists.
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While her work is nonrepresentational and grounded in formal issues of line, plane, shape, space and form, she subverts that with an improvisational mingling of found, fabricated and natural materials gleaned from studio detritus, recycling bins, and construction dumpsters that smuggle in diverse references and elusive narratives and metaphors. In visual terms, critics most often note her striking compositions that seem to threaten collapse, "virtuoso acrobatic performance" evoking movement, gesture and awkward equilibrium,Frank, Peter. "Haiku Reviews" Huffington Post, December 5, 2011. Retrieved November 14, 2018.
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The west rose window, often used as a trademark of the cathedral, was designed by Rowan leCompte and is an abstract depiction of the creation of light. LeCompte, who also designed the clerestory windows and the mosaics in the Resurrection Chapel, chose a nonrepresentational design because he feared that a figural window could fail to be seen adequately from the great distance to the nave. The cathedral contains a basement, which was intentionally flooded during the Cuban Missile Crisis to provide emergency drinking water in the event of a nuclear war.
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For example, miniature Sandobele gourd rattles, twin cult baskets, stylized figurative forged-iron pairs and other items created in basketry, brass, iron, or wood are part of this grouping. Objects in the third group consist of nonrepresentational symbols typically constructed in fiber, metal and wood. A short iron bar bent on one end is interpreted as signifier of death and makes up part of this category. The fourth classification contains many organic materials that have a specific connotation such as large, shiny red and purple seeds and marked shells.
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In 1969, Pindell gained recognition for her participation in the exhibition American Drawing Biennial XXIII at the Norfolk Museum of Arts and Sciences, and by 1972, had her first major exhibition at Spelman College in Atlanta. In 1973, her work with circles received acclaim at a show in the A.I.R. (Artists-In-Residence) Gallery in SoHo where her style had solidified into expression through "large-scale, untitled, nonrepresentational, abstract paintings". Also in 1973, Pindell began work on her "Video Drawings" series."Screen Interactions: Howardena Pindell", BOMB Magazine, Retrieved 24 October 2018.
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The lower-level, nonrepresentational neurophysiological processes have causal power in intention and behavior rather than some higher-level mental representation. Tim Crane, in his book The Mechanical Mind, states that, while he agrees with Fodor, his reason is very different. A logical objection challenges LOTH’s explanation of how sentences in natural languages get their meaning. That is the view that “Snow is white” is TRUE if and only if P is TRUE in the LOT, where P means the same thing in LOT as “Snow is white” means in the natural language.
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The Makonde are known for their wood carving and elaborate masks, that are commonly used in traditional dances. There are two different kinds of wood carvings: shetani, (evil spirits), which are mostly carved in heavy ebony, tall, and elegantly curved with symbols and nonrepresentational faces; and ujamaa, which are totem-type carvings which illustrate lifelike faces of people and various figures. These sculptures are usually referred to as "family trees", because they tell stories of many generations. During the last years of the colonial period, Mozambican art reflected the oppression by the colonial power, and became symbol of the resistance.
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The Dehumanization of Art and Other Essays on Art, Culture, and Literature is the first English translation of philosopher José Ortega y Gasset's La deshumanización del Arte e Ideas sobre la novela, published in 1925. This composition includes three more essays in addition to Ortega's original work. The essays seek to understand and explain the relatively new movement of nonrepresentational art and defend these pioneering artists attempting to escape from the embraced realism and romanticism movements. The dehumanization of art refers to the removal of human elements from these works, eliminating the content, but keeping the form.
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The primary output of the art-research group was the Index of American Design, a mammoth and comprehensive study of American material culture. As many as 10,000 artists were commissioned to produce work for the WPA Federal Art Project, the largest of the New Deal art projects. Three comparable but distinctly separate New Deal art projects were administered by the United States Department of the Treasury: the Public Works of Art Project (1933–34), the Section of Painting and Sculpture (1934–43), and the Treasury Relief Art Project (1935–38). The WPA program made no distinction between representational and nonrepresentational art.
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Although one still finds figurative elements in his paintings, the forms grew increasingly geometric and took on a dynamic of their own, and Baumeister broke the traditional connection between form and color. Various work groups emerged at this time, including the relief-like wall pictures, and paintings with sports theme (as a symbol for modernity). In his painting, the grappling with shapes and material of the painting as well as the relationship between reality and representation became visible. Parallel to this development, nonrepresentational painting began to gain a foothold in works that centered on geometric shapes and their relationships to one another in the picture (e.g.
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In this first painting of the series, juxtaposed arabesques and distinctive diagonals interconnect dynamically, suggesting the bridge's complex architectonic engineering.Albert Gleizes, On Brooklyn Bridge (Sur Brooklyn Bridge), Guggenheim Museum, New York As in earlier works by Gleizes, this canvas is directly engaged with the environment. While highly abstract, Brooklyn Bridge maintains an evident visual basis. From 1914 to the end of the New York period, however nonrepresentational, works by the artist continued to be shaped by his personal experience, by the conviction that art was a social function, susceptible to theoretical formulation, and imbued with optimism.Daniel Robbins, 1964, Albert Gleizes 1881 – 1953, A Retrospective Exhibition.
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This is a post-structuralist theory inspired in part by the ideas of the physicist- philosopher Niels Bohr, and thinkers such as Michel Foucault, Gilles Deleuze, Félix Guattari, Bruno Latour, Michel Serres and Karen Barad, and by phenomenonologists such as Martin Heidegger and Maurice Merleau-Ponty.Smith, Richard G., 2003; "Baudrillard's nonrepresentational theory: burn the signs and journey without maps" in Environment and Planning D: Society and Space 21; pp 67–84 More recently it considers views from political science (including ideas about radical democracy) and anthropological discussions of the material dimensions of human life. It parallels the conception of "hybrid geographies" developed by Sarah Whatmore.Whatmore, S. 2002.
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Joseph Csaky, Deux figures, 1920, relief, limestone, polychrome, 80 cm, Kröller-Müller Museum, Otterlo Joseph Csaky enlisted as a volunteer in the French army in 1914, fighting alongside French soldiers during World War I, and remained for the duration. Returning to Paris in 1918, Csaky began a series of Cubist sculptures derived in part from a machine-like aesthetic; streamlined with geometric and mechanical affinities. By this time Csaky's artistic vocabulary had evolved considerably from his pre-war Cubism: it was distinctly mature, showing a new, refined sculptural quality. Few works of early modern sculpture are comparable to the work Csaky produced in the years directly succeeding World War I. These were nonrepresentational freely-standing objects, i.e.
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Robert Delaunay, Simultaneous Windows on the City, 1912, 46 x 40 cm, Hamburger Kunsthalle, an example of Abstract Cubism The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka's two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes.
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Examining a diverse range of non-State-funded, explicitly 'alternative' education spaces in the UK (like Homeschooling, Waldorf education, Montessori education, Forest school (learning style) and Care farming), Peter Kraftl examines the connections and disconnections between 'mainstream' and 'alternative' education sectors. Drawing on nonrepresentational children's geographies, Peter Kraftl explores how alternative educators work to intervene into children's bodily habits, how they create spaces in which mess and disorder are valorised, and how they work with conceptions of 'nature' that both resonate with and, critically, counter mainstream assumptions about children's disengagement with 'nature' in Western societies (see Nature deficit disorder). In doing so, alternative educators are attempting to create 'alter-childhoods' - alternative constructions, imaginations and ways of treating childhood that are knowingly different from a perceived mainstream.
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Falling fluid has the capability of changing from a non-chaotic to a chaotic flow, meaning that Pollock could have introduced a chaotic flow of paint as he dripped it onto the canvas. Although the fractal characteristics of human balance and falling liquid are generated on Pollock's painting time and length scales, physicist Predrag Cvitanovic notes that it would be quite an artistic challenge to control them: such parameters "are in no sense observable and measurable on the length-scales and time-scales dominated by chaotic dynamics". Since Taylor's initial Pollock analysis in 1999, more than ten research groups have used various forms of fractal analysis to successfully quantify Pollock's work.J.R. Mureika, C.C. Dyer, G.C. Cupchik, “Multifractal Structure in Nonrepresentational Art”, Physical Review E, vol.
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Since then, sociologists such as Nick Lee have offered important analyses of the ways in which the 'entanglements' between children and non-human materialities and technologies have become ever-more important to the governance and regulation of children's lives, through what he terms the 'biopoliticisation' of childhood. Secondly, nonrepresentational approaches to Children's geographies have offered a commensurate and (arguably) broader series of approaches that move beyond social constructivism. Scholars such as Peter Kraftl, John Horton and Affrica Taylor have been particularly influential in examining how childhoods are produced and experienced through complex intersections of emotion, affect, embodiment and materiality. Somewhat problematically, there has been relatively little overlap between these two strands of scholarship, despite their sharing common conceptual foundations in the work of Post- structuralism, New materialism and Posthumanism.
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For instance, in a series of articles, John Horton and Peter Kraftl have challenged a sense of 'what matters' in scholarship with children - from the material objects, emotions and affects that characterise 'participation' to the ways in which our embodied engagements with place in childhood are carried forward into adulthood, thereby scrambling any neat notion of 'transition' from childhood to adulthood. Elsewhere, Veronica Pacini-Ketchabaw and Affrica Taylor have developed innovative approaches to understanding the 'common worlds' of children and a range of nonhuman species, including both domestic and 'wild' animals. Their vibrant 'common worlds' research collective brings together a range of scholars who seek to explore how children's lives are entangled with those of nonhumans in ways that challenge oppressive, colonial and/or neoliberal views of the human as an individuated subject somehow distanced from 'nature'. Recently, there has been vibrant debate about the political value of nonrepresentational approaches to childhood.
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In 1949 he became the co-founder of the artist group Gegenstandlose (The Group of Nonrepresentational Artists), which threw its first exhibition called ZEN 49 in 1950. Here Baumeister met Fritz Winter, Ernst Wilhelm Nay, Paul Fontaine, and many others who worked in the field of fine arts after the end of the war and the dictatorship in Germany to forge a new beginning and connection to international developments. In his participation in the Erstes Darmstädter Gespräch (First Darmstadt Dialogue) in July 1950, at the exhibition Das Menschenbild in unserer Zeit (The Human Image of Our Time), Baumeister defended modern art against Hans Sedlmayr's thesis of a "loss of the center" ("Verlust der Mitte"). Until his death in 1955, Baumeister stood at the peak of his artistic career, which was demonstrated by his participation in many national and international exhibitions such as the Venice Biennale in 1948, the São Paulo Biennale (Brazil) in 1951 (where he received a prize for his painting Cosmic Gesture), and Younger European Artists at the Guggenheim Museum in New York in 1953.
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