View allAll Photos Tagged Abstracted
A rough and worn section of pipeline on a Maine beach offers an opportunity for abstracted realism.
If you want to view more of my art, both paintings and photography, please visit www.lyndalehmann.com. Thanks for looking at my work!
Antony Gormley, Slabworks series, 2019
80mm and 90mm weathering steel slab
Fourteen sculptures are distributed across the floor. The dense, hard-edged steel slabs have been cut with extreme precision using industrial methods. As we navigate between the works, what first appear to be building-like constructions are revealed as human forms. Stark, geometric volumes replace the human structure of bone, muscle, tissue and skin. Each sculpture is made simply by stacking one mass upon another; in some, as few as seven elements make up a body. Despite this extreme abstraction of form, the finely-tuned proportions trigger our recognition; we sense a human presence. Lying at rest, hunched, extended or standing, each pose evokes a certain bearing or attitude.
Moving from work to work, as if we are giants in a strange cityscape, these “beings” call on our emotions.
[Royal Academy]
Taken at Antony Gormley
(21 September — 3 December 2019)
The exhibition will explore Gormley’s wide-ranging use of organic, industrial and elemental materials over the years, including iron, steel, hand-beaten lead, seawater and clay. We will also bring to light rarely-seen early works from the 1970s and 1980s, some of which led to Gormley using his own body as a tool to create work, as well as a selection of his pocket sketchbooks and drawings.
Throughout a series of experiential installations, some brand-new, some remade for the RA’s galleries, we will invite visitors to slow down and become aware of their own bodies. Highlights include Clearing VII, an immersive ‘drawing in space’ made from kilometres of coiled, flexible metal, and Lost Horizon I, 24 life-size cast iron figures set at different orientations on the walls, floor and ceiling – challenging our perception of which way is up.
Perhaps best-known for his 200-tonne Angel of the North installation near Gateshead, and his project involving 2,400 members of the public for Trafalgar Square’s the Fourth Plinth, Antony Gormley is one of the UK’s most celebrated sculptors.
[Royal Academy]
Lisa Nelle designs custom show clothing for women and girls in the show circuit. Items typically start at $300+
You can purchase directly from www.lisanelle.com
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We carry sizes XXS-5XL
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Created after staying up much too late a night on a business trip to Taiwan and reading Brian Greene's book on string theory.
Seemeen Hashem: Aqueoustudio.com
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ABSTRACTED – Takoma Park Community Center, group show curated by Takoma Park Arts Coordinator Brendan L. Smith; January 9 through March 25, 2020. takomaparkmd.gov/initiatives/arts-and-humanities/
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“[Seemeen Hashem] transforms discarded musical instruments into fragmented sculptural forms that summon their own silent symphony. Her work is reminiscent of Picasso’s guitar paintings and constructions – Seemeen is a mixed media artist who was born in Pakistan and later moved to the D.C. area. She received a BFA from the Corcoran College of Art and Design and currently works as a graphic designer.”
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Exploring themes that question traditional artistic conventions and encourage the viewer to interpret art through “seeing” is the primary goal of abstract art. Indeed, abstract art usually prompts the question, “What does it all mean?” Seemeen’s marvelous work sidesteps this question, though, and invites you to feel and experience musical memories and to, of course, see more of her creations.
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A long-time friend, Seemeen and I have known each other for over 20 years and have occasionally worked together on multi-media projects. So, attending this opening earlier this month and seeing her extraordinary work on display was wonderfully gratifying. ABSTRACTED is on display through March 25th but if you can’t make it, I encourage you to check out her website: www.aqueoustudio.com. She may be contacted at seemeen@aqueoustudio.com
Mardi Gras is over. But the beads remain. These hang on a tree near St. Charles Ave. and 4th Street.
Abstracted circuit for the robot demoed a few slides back. I'm making a record of this in preparation for some upgrades.
Robert Delaunay French, 1885 - 1941
Political Drama, 1914
East Building, Upper Level — Gallery 415-A
A man and a woman seem to float against a background of nested, concentric rings in this abstracted, vertical painting. The center of the rings is just above the center of the composition. The rings are further divided into quadrants, so each ring is a different color at the top left, top right, bottom left, and bottom right. The rings are in shades of lemon and golden yellow, sky, slate, and cobalt blue, lilac and violet purple, red, mint green, and white. Where the rings get close to the edges of the composition, they become more muted in tone. The woman is to our right of center. Created in areas of flat color, she has a royal blue, feathered hat and blond hair. Closer inspection reveals that her brown dress or jacket is made of a piece of paper collaged to the painting. A dash of vivid blue suggests a skirt, and a black smudge there is difficult to interpret. To our left of center, a man wearing a white shirt and black jacket seems to fall backward, toward the center of the circles. One arm, amethyst purple, is flung up and that hand is red. A curving line, like a wide, flattened U, encloses the circles along the bottom edge of the composition along its width, and the circles extend off the corners to the sides and at the top. The artist signed the work in black block letters across the bottom center: “ROBERT DELAUNAY.”
Robert Delaunay had little artistic training beyond an apprenticeship to a stage-set designer. He studied the color theories of the French chemist Michel-Eugène Chevreul and how the neo-impressionists applied them to painting. He is best known for his Eiffel Tower series of 1909–1913, his Windows of 1912–1914, and his Circular Forms of 1913, which paved the way for Political Drama. His wife, Sonia Delaunay, was a painter and fabric designer whose work informed his use of collage and abstraction from the start.
In 1912, the poet-critic Guillaume Apollinaire praised Delaunay for his painting The Three Graces, in which curving lines and patches of color create a luminous, harmonious pattern. Apollinaire invented the term “Orphic cubism,” a reference to the mythical Greek musician and poet Orpheus, to emphasize the lyricism and musicality of this and other works. Delaunay at first embraced the term but later coined “simultaneism,” which placed more emphasis on color theory, the impact of succession, repetition, and contrast on color perception, and on Henri Bergson’s ideas about the intuitive perception of time and space.
What Delaunay had to say of his tondo First Disk of 1913, a remarkably early example of a fully abstract work without figure or ground, is also relevant to Political Drama: “Colors opposing each other had no reference to anything visible. In fact, the colors, though contrasts, were placed circularly....Reds and blues were opposed in the center...determining the extraordinarily fast vibrations physically perceptible to the naked eye. One day I called this experiment a ‘first punch.’”1 Delaunay carried this idea of visual violence into Political Drama and animated it with a story of actual violence.
The source is a newspaper illustration depicting a murder. The caption to the illustration reads: “Tragic epilogue....The Wife of the French Finance Minister Joseph Cailloux Shoots Dead Gaston Calmette the Editor of Le Figaro.” The illustration, which appeared on the cover of Le Petit Journal, shows the moment after Mme Cailloux fired at Calmette. Although Delaunay stripped most of the details, key elements are still visible: Mme Cailloux, who steps into the room; Calmette, who falls backward; and the sulfurous central circle of the explosion. Interestingly, these are the very elements for which Delaunay used collage.2 A vertical axis dividing the two figures and a horizontal axis connecting them capture the tension of their relationship. Concentricity becomes the sign of violence: a target or the scope of a marksman. At the same time, especially given the swirling patterns behind them, the figures might seem to be engaged in a dance. Delaunay frequented the Bal Bullier dance hall in Paris with his wife from 1912 to 1914.
Delaunay clearly recognized the power of concentrically arranged colored forms, something that would be fully exploited again only some 50 years later in the “target” paintings of Jasper Johns and Kenneth Noland and the concentric stripe paintings of Frank Stella. However, unlike Delaunay in Political Drama, these painters seemed intent on excluding political content. An early photograph reveals that Delaunay’s work originally bore its title as an inscription at the top of the sheet, balancing the artist's name at the bottom. The fact that it was cut off at some point may well testify to an attempt to tilt the work's delicate balance of figuration and abstraction toward the latter.
1. Robert Delaunay’s summaries from discussion groups he held in 1938 and 1939, cited in Arthur A. Cohen, ed., The New Art of Color: The Writings of Robert and Sonia Delaunay, trans. David Shapiro and Arthur A. Cohen (New York, 1978), 142.
2. The man’s jacket and head, the woman’s jacket and muff, and the four quadrants of the central circle, now faded, are all cut-and-pasted paper elements.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Lisa Nelle designs custom show clothing for women and girls in the show circuit. Items typically start at $300+
You can purchase directly from www.lisanelle.com
We ship worldwide. (Shipping fees depend on your location and items purchased)
We carry sizes XXS-5XL
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Standing Figure with African Masks, 2018
Claudette Johnson
Pastel and gouache on paper
In this work, Claudette Johnson depicts herself in an abstracted space with an array of African carvings. Although she adopts an assured pose, commanding and exceeding the full height of the paper, nothing is fixed in place. The work animates her complex identity as a Black European artist of Caribbean and African heritage. Creating new space for the presence of Black subjects has underpinned Johnson's art since the beginning of her career; this particular work has close connections, visually and thematically, to one of her major early drawings, And I Have My Own Business in This Skin.*
From the exhibition
Claudette Johnson: Presence
(September 2023 – January 2024)
A major exhibition of work by British artist Claudette Johnson (born 1959) is now open at The Courtauld Gallery.
A founding member of the Black British Arts Movement, Claudette Johnson is considered one of the most significant figurative artists of her generation. For over 30 years she has created large-scale drawings of Black women and men that are at once intimate and powerful.
Presenting a carefully selected group of major works from across her career, from key early drawings such as the arresting I Came to Dance, 1982, and And I Have My Own Business in This Skin, 1982, alongside recent and new works, this exhibition offers a compelling overview of Johnson’s pioneering career and artistic development.
It will consider how Johnson has directed her approach to representing her subjects over three decades, and how her practice is rooted in the art of the past with The Courtauld’s collection providing a rich context in which to see her work.
Working in a variety of media, ranging from monochrome works in dark pastel to vast sheets brightly coloured in vibrant gouache and watercolour, combined with dramatic use of pose, gaze, and scale, Johnson’s distinctive drawings of friends, relatives, and often herself seek, as the artist puts it, “to tell a different story about our presence in this country”.
This exhibition is the first monographic show of Claudette Johnson’s work at a major public gallery in London and is rooted in the ongoing research, teaching and activities in the field of Black and Diasporic British Art by Dorothy Price, Professor of Modern and Contemporary Art and Critical Race Art History at The Courtauld..
[*The Courtauld]
Taken at The Courtauld
Abstracted piñatas hang in a hallway at the Gladstone Hotel at "Come Up To My Room 11". Pull tabs will release confetti - and more - at the end of the show. I love the colours and inverted landscape here. Created by Jordan Evans, Ryla Jakelski, Evan Jerry.
Lisa Nelle designs custom show clothing for women and girls in the show circuit. Items typically start at $300+
You can purchase directly from www.lisanelle.com
We ship worldwide. (Shipping fees depend on your location and items purchased)
We carry sizes XXS-5XL
#customshowclothing, #westernshowclothing, #horsemanship, #showmanship
Abstracted Fireworks from Spring Festival 2011.
To take this photo series I deliberately left my Rokkor-X out of focus so that the fireworks were abstracted into balls of light.
I made this pendant for the Wire Artisans Guild theme challenge: 'orchids'.
I'm not the sort of person that knows anything about flowers, but I was captivated by the 'orchid room' at a large conservatory. I couldn't stop snatching pictures of the strange forms, some looking like aliens, in all imaginable shapes, varieties, and vivid colors.
This pendent is my asymmetrical spin on my favorite (usually quite symmetrical) flower.
Chose the title for this more as an excuse to post this beautiful song. What can I say, I LOVE Damien Rice's music, and could listen to it for hours on end and still never tire of it!!!