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Creative ability in business. --- Creative thinking. --- Diffusion of innovations. --- Success in business.
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Sillman's works can be categorized as abstract painting, although her abstractions repeatedly allow forms and figures to be recognized. The title of the exhibition 'the ALL-OVER' refers to a concept often used to describe abstract painting. At its most literal, it refers to the practice of completely covering the canvas, a format that resists a traditional figure/ground hierarchy. The classic example of the style is embodied by the work of the American artist Jackson Pollock, though as the influential critic Clement Greenberg pointed out, the style in fact originated with the Ukrainian-American artist Janet Sobel. Sillman adapts this all-over idea, using it as the title for her exhibition, which does not feature drip paintings as such, but which updates the idea of total coverage of the canvas through mechanical means (via inkjet printing) used in combination with the gestural. Panorama, consisting of twenty-four canvases, was developed for Portikus and is here seen in its entirety for the first time. Exhibition: Portikus, Frankfurt am Main, Germany (02.07. - 11.09.2016).
Painting, American --- Sillman, Amy --- kunst --- 75.071 SILLMAN --- Sillman Amy --- Verenigde Staten --- abstracte schilderkunst --- abstractie --- schilderkunst --- twintigste eeuw --- eenentwintigste eeuw --- Exhibitions
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Gorgeously quiet in color and composition, Agnes Martin’s paintings have a distinctive grace that sets them apart from those of the Abstract Expressionists of her day and the Minimalist artists she inspired. Martin attributed her grid-based works to metaphysical motivations, lending a serene complexity to her oeuvre that has defied any easy categorization. Perhaps for this reason, critical and scholarly analysis of her paintings has been scarce—until now. This important new anthology brings together the most current scholarship on Martin’s paintings by twelve multidisciplinary essayists who consider various aspects of the artist’s four-decade career.
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Palermo, --- Palermo, --- Palermo, --- Palermo, Blinky
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Deploying science fiction, material feminism, ecoanarchism, queer theory, and technoscience, artist A.K. Burns critically explores the fraught relationships between humanity and nature in an epic multimedia work Negative Space (2015–23). This four-part nonlinear allegory provokes questions about marginalized bodies, resources, environmental fragility, and technology. First developed as a series of video installations, the four nonlinear episodes of Negative Space are united in this publication, which - through imagery, research, commissioned critical and creative writings - probe preconceptions of space and to imagine new relationships to the spaces we occupy and the meaning of our bodies in these spaces. Set in a speculative present, the premise of the Negative Space tetralogy is to envision a new materialist cosmology wherein hierarchical relations permute. Within Negative Space, there is a conceptual proposal, to perceive and act from an inverted position: As a formal term in art, negative space denotes the matter between and around the subject, a definable or known entity that is the focus of attention. Open to shifting possibilities, negative space is instead a compositional gap, emerging from a "subordinate" position, that holds potential for alternative forms of agency. (Verlagsangaben)
Photography, Artistic --- Video installations (Art) --- Burns, A. K., - 1975 --- -
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