Relevant bibliographies by topics / Abstraction in art

Academic literature on the topic 'Abstraction in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Abstraction in art.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Abstraction in art"

1

Gortais, Bernard. "Abstraction and art." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1435 (July 29, 2003): 1241–49. http://dx.doi.org/10.1098/rstb.2003.1309.

Full text
Abstract:
In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.
APA, Harvard, Vancouver, ISO, and other styles
2

Annila, Arto. "The art of abstraction." Physics of Life Reviews 33 (July 2020): 119–20. http://dx.doi.org/10.1016/j.plrev.2019.11.008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Bomski, Franziska. "The Art of Abstraction." Figurationen 21, no. 2 (December 2, 2020): 41–56. http://dx.doi.org/10.7788/figu.2020.21.2.41.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Sylvester, Christine. "Art, Abstraction, and International Relations." Millennium: Journal of International Studies 30, no. 3 (December 2001): 535–54. http://dx.doi.org/10.1177/03058298010300031101.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Truett, Brandon. "Materialities of Abstraction." Twentieth-Century Literature 67, no. 2 (June 1, 2021): 191–214. http://dx.doi.org/10.1215/0041462x-9084341.

Full text
Abstract:
This article recovers the 1918 chapbook that the understudied Vorticist poet and visual artist Jessie Dismorr composed for the American sculptor John Storrs and his wife Marguerite. It examines the ways the chapbook reorients the aesthetic criteria by which we recognize abstraction in the early twentieth century. Studying how Dismorr’s divergent and feminist approach to Vorticist practice exploits “the materialities of abstraction,” or the traces of the material world that evince the outside of the abstract art object, it suggests that these material traces lead us to reimagine the boundary between inside and outside, and thus the way an art object indexes and interacts with the material world. Proposing that the recovery of an object as seemingly inconsequential as an individual chapbook in fact raises questions about how we construct the literary- and art-historical field of modernism, the article situates Dismorr’s work in relation to other feminist understandings in British modernism of the socialized space of artistic practice across media exemplified by Virginia Woolf ’s account of sociability within the Bloomsbury Group, and argues for the importance of such unique objects as chapbooks to the study of material culture within literary history and within art history as well.
APA, Harvard, Vancouver, ISO, and other styles
6

Stanowski, Mariusz. "Conceptual Art and Abstraction: Deconstructed Painting." Leonardo 53, no. 5 (October 2020): 485–91. http://dx.doi.org/10.1162/leon_a_01859.

Full text
Abstract:
This article proposes a new conception of art and presents a form of painting that exemplifies that concept. Considering the developments in twentieth- and 21st-century art, the author notes that art created after the conceptual period has failed so far to take account of the profound transformation that occurred within it in the twentieth century. This change consisted in the identification of art with reality, achieved by incorporating into art all significant spheres/objects of reality. One result has been the dominance of referential art following the conceptualist period. Referential artworks are split into object and reference. This impedes untrammeled creativity, which would otherwise promote the integration of diverse formal elements. This article proposes painting that exemplifies such artistic creation.
APA, Harvard, Vancouver, ISO, and other styles
7

Yoshimoto, Hiroko. "Science and the Art of Abstraction." Boom 5, no. 3 (September 1, 2015): 46–55. http://dx.doi.org/10.1525/boom.2015.5.3.46.

Full text
Abstract:
Seven oil paintings and watercolors from artist Hiroko Yoshimoto’s Biodiversity series. In a brief introductory essay, Ursula K. Heise notes that “Varied shapes call up the enormous range of biological forms, from a single cell seen through a microscope and the texture of a sea anemone to the complex shadings of tree foliage and flashes of birds’ wings.”
APA, Harvard, Vancouver, ISO, and other styles
8

Bayraktar, Alkan. "Geometric Abstraction Stages at Art Education." Procedia - Social and Behavioral Sciences 46 (2012): 1747–50. http://dx.doi.org/10.1016/j.sbspro.2012.05.371.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Schwille, Petra. "Biology and the art of abstraction." Biophysical Reviews 9, no. 4 (July 29, 2017): 273–75. http://dx.doi.org/10.1007/s12551-017-0277-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lupacchini, Rossella. "Ways of Abstraction." Culture and Dialogue 4, no. 1 (July 22, 2016): 83–112. http://dx.doi.org/10.1163/24683949-12340005.

Full text
Abstract:
The invention of “artificial perspective” revealed the ideal character of Euclidean geometry already in the Renaissance Europe of the fifteenth century. To the extent to which it made painting a “science” relying on mathematical rules, it made mathematics an “art” independent of the “geometry of nature.” It was the artistic vision emerging from perspective drawing that paved the way for scientific abstraction. However, it was only in the nineteenth century that the discovery of non-Euclidean geometry compelled mathematics to ponder the visual evidence of its principles and the reliability of its abstract concepts. At that time, it was the mathematical vision that first championed the rights of ideal forms to a higher level of abstraction and, therefore, oriented science and art towards new representational spaces.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Abstraction in art"

1

Reddleman, Claire. "Cartographic abstraction : mapping practices in contemporary art." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18965/.

Full text
Abstract:
This thesis proposes a theory of cartographic abstraction as a framework for investigating cartographic viewing, and does so through engaging with a series of contemporary artworks concerned with cartographic ‘ways of seeing’ (Berger 1972). Cartographic abstraction is a material modality of thought and experience that is produced through cartographic techniques of depiction. It is the more-than-visual register that posits and produces the ‘cartographic world’, or what John Pickles has called the ‘geo-coded world’ (2006). By this I mean the naturalized apprehension of the earth as a homogeneous space that is naturally, even necessarily, understood as regular, consistent and objective. I argue for identifying cartographic techniques of depiction as themselves abstract, and cartographic abstraction as such as the modality of thought and experience that these techniques produce. Abstraction within capitalism comes to be socially real and material, taking place outside thought. I propose a series of viewpoints, that are posited by the relations of viewing enacted by the selected artworks themselves. I analyse these viewpoints in relation to modes of cartographic viewing offered by theorists. Through close readings of cartographic artworks, I expand the current possibilities for understanding cartographic abstraction and its effects, through proposing a range of viewpoints that are both deployed in, and themselves problematize, cartographic viewing. I connect cartographic abstraction to debates about abstraction in Marxist and materialist approaches to philosophy, arguing for interpreting cartographic viewing as an abstract practice through which subjects are positioned and structured in relation to the ‘viewed’. This study discerns ‘real abstraction’ functioning in a particular area of ‘the operations of capitalism’; that is, modes of visual, and epistemological, abstraction that we can identify by exploring artworks concerned with cartographic depiction and conceptualisation. This approach to abstraction explores how cartographic knowledge can be theorized through recognising cartographic abstraction as a material modality of thought and experience.
APA, Harvard, Vancouver, ISO, and other styles
2

Barry, Marie Porterfield. "Lesson 21: Vision and Abstraction by Female Artists." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Mészáros, Flóra. "Hungarian Artists in Abstraction-Creation." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040088.

Full text
Abstract:
Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs ou son histoire ont été largement négligés. Le constat est le même pour l’état de la recherche relative à chacun des membres hongrois : jusqu’à présent, seule la participation de Béothy et de Martyn a été analysée en détail. Outre l’objectif principal de cette thèse, notamment la mise en perspective des artistes hongrois dans le groupe, la réévaluation et l’interprétation de l’ensemble de l’activité d’Abstraction-Création sont également mises en lumière. A la base d’une analyse théorique et historique, ce travail compare Abstraction-Création avec deux groupes parisiens non figuratifs. Cette thèse vise à clarifier les différences qui les séparent en soulignant qu’Abstraction-Création ne peut pas être considéré comme une combinaison des deux. Grâce à des documents jusqu’alors non analysés, l'auteur donne un aperçu de la structure organisationnelle de ce forum et discute, à partir d’une perspective entièrement nouvelle, le rôle du comité, leurs débats, leur formation, cessation et leurs plateformes, y compris les réunions, la galerie et le cahier. La thèse démontre la relation entre Abstraction-Création et Surréalisme au moyen d'une analyse stylistique et théorique. Elle prétend que, grâce aux activités des membres hongrois, toutes les facettes du groupe peuvent être présentées. L'auteur révèle quels ont été les objectifs initiaux de l'adhésion des membres hongrois et comment ils ont tiré profit de leur participation. La thèse décrit la période abstraite parisienne des artistes hongrois dans les années 1930, et ce, dans un contexte artistique international et dans un contexte historique plus large
This dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background
APA, Harvard, Vancouver, ISO, and other styles
4

Barry, Marie Porterfield. "Lesson 19: The Unraveling - Abstraction in the Modern Era." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/21.

Full text
Abstract:
This lesson covers cubism, abstract expressionism, and minimalism. Cubism is discussed with artworks by Pablo Picasso, abstract expressionism by Jackson Pollock, Willem de Kooning, and Mark Rothko, and minimalism by Donald Judd.
APA, Harvard, Vancouver, ISO, and other styles
5

Boyle, Joseph. "Abstraction and the judgement of taste." Thesis, Queen's University Belfast, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334496.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Harel-Vivier, Mathieu. "Photographies, abstraction et réalité : l'agencement comme processus artistique." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20025/document.

Full text
Abstract:
Construite à partir des questions soulevées par le travail artistique de l’auteur, cette thèse examine le rapport qu’entretiennent certains artistes, essentiellement contemporains, avec la réalité de l’image photographique, sa capacité à produire une abstraction et à s’inscrire dans un agencement. Considérée selon un double point de vue, la notion d’agencement apparait ici d’une part comme le processus de l’artiste qui travaille avec des images,et d’autre part comme une forme d’organisation qui favorise une diversité de relations entre les images, àla façon de constellations. La première partie intitulée « les conditions de l’agencement » s’intéresse au passage à l’acte photographique, à l’appropriation d’une image, comme au détachement que nécessitent parfois ces deux actions propres aux pratiques de Christian Marclay et Wolfgang Tillmans. Alternative à ces divers mouvements qui animent les élans de l’artiste vers le réel, l’abstraction photographique fait l’objet d’une étude à travers l’analyse des travaux de quelques artistes parmi lesquels Pierre Cordier, Michael Flomen et James Welling.La seconde partie s’attache à décrire comment « l’agencement d’images » est investi d’un fonctionnement caractéristique du montage cinématographique et de l’atlas warburgien. Sont ainsi tour à tour observées des oeuvres où l’agencement d’images est délimité par le cadre (John Baldessari et John Stezaker), ventilé à travers les pages d’un livre (Hans-Peter Feldmann, Luis Jacob, Gerhard Richter, etc.) et déployé dans l’espace d’exposition : sur les cimaises, au sol ou sur des tables (Pierre Leguillon, Batia Suter, Wolfgang Tillmans). L’intérêtest finalement porté sur les enjeux de transmission de l’agencement, sa volonté de non-Hiérarchie aussi, et ce notamment, dans le contexte d’expositions de collections publiques et privées (Des images comme des oiseaux, Le Mur, Les peintres de la vie moderne).À l’issue de ce texte placé en regard d’une succession de planches d’images s’ouvre une autre collection dephotographies annotées et légendées, consacrée à la pratique artistique de l’auteur
Developed based on questions from the author’s artistic practice, this thesis examines the relationship between some artists, mainly contemporary, and the reality of the photographic picture, its ability to produce abstraction and to fit within a display. Considered here in a double perspective, the concept of display is seen, on one hand, as the process of the artist working with pictures and, on the other hand, as an organizational model that foster a variety of connections, like constellations do.Entitled “display’s conditions”, the first part deals with photographic acting-Out, the appropriation of a picture as well as the detachment that sometimes these two actions involve like in Christian Marclay’s and Wolfgang Tillmans’s practices. As an alternative to these various movements which spur on the artist’s impetus towards reality, photographic abstraction is considered for further study through the analysis of artistic works like Pierre Cordier’s, Michael Flomen’s or James Welling’s.The second part describes how the “display of pictures” is invested by a functioning that is a feature of editingand Warburg’s atlas. Several works are observed in which the display of pictures is delimited by the frame(John Baldessari and John Stezaker) scattered through the pages of a book (Hans-Peter Feldmann’s, LuisJacob’s, Gerhard Richter’s, etc.) and spread out in the exhibition space: on the walls, the ground and tables(Pierre Leguillon, Batia Suter, Wolfgang Tillmans). The interest is finally moved on the issue of displaytransmission, its aim of non-Hierarchy, especially in the context of public and private collections exhibited(Des images comme des oiseaux, Le Mur, Les Peintres de la vie moderne).As the outcome of this text that appears beside a series of plates, a new collection of annotated and captionedphotographs is developed, dedicated to the artistic practice of the author
APA, Harvard, Vancouver, ISO, and other styles
7

Hawthorne, Donald W. "Beyond representation : theories of abstraction in American art 1960-1970." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303387.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.

Full text
Abstract:
Master of Philosophy
Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
APA, Harvard, Vancouver, ISO, and other styles
9

Bernier, Alexandra. "Interprétation d'une oeuvre d'art par l'enseignant : sens et abstraction." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/34938.

Full text
Abstract:
Cette recherche qualitative s’intéresse aux conceptions et aux représentations des enseignants concernant l’utilisation de l’art, notamment l’art conceptuel, comme outil de développement de compétences cognitives chez l’élève, telles que la créativité.Notre problématiquese base sur la place qu’occupe l’art dans les classes au primaire, puisque, dans plusieurs milieux scolaires québécois, la tâche d’enseigner cette matière revient aux titulaires.Pource faire, nous portons notre intérêt surlesconceptions et lesreprésentationsde ces enseignantsqui n’ont pas de formation spécialisée dans le domaine des arts. À l’aide d’entretiens semi-dirigés, nous avons dressé le portrait de six cas d’enseignants, en nous attardant aux thèmes abordés dans leur discours. Ces thèmes sont analysés selon quatre axes: la conception de l’art, la conception de la créativité, la représentation dupotentiel éducatif de l’art chez l’élève, ainsi que la représentation de l’utilité de l’art dans leur pratique. Ceux-ci nous permettent de comprendre le potentiel de l’art conceptuel, comparativement aux autres formes d’art qui sont présentéesaux sujets. L’analyse descas nous a permis de mieux comprendre les limites et le potentiel d’utilisation de cette forme d’art en enseignement, au deuxième cycle du primaire.
APA, Harvard, Vancouver, ISO, and other styles
10

Dracoulis, Wendy Fay, and wdracoulis@gmail com. "Coloured light." RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080102.093428.

Full text
Abstract:
This project involves the examination of abstract, geometric paintings, kinetic sculptures, electronic art and installations that use opticality, perspectival space and colour relationships that destabilise compositional cohesion. Works made between 1964 and 1980, particularly those by Victor Vasarely and Bridget Riley are referenced in the determination of how geometric forms, colour transitions, interactions and juxtapositions have been used to suggest movement. This enquiry includes a review of the usage of planar space and the creation of optical effects. Artworks such as Bridget Riley's Chant 2, (1967) inform new works in which available digital technological processes are utilised. These new works consist mainly of compositions of line and coloured forms and are created in response to the outcomes of the research into the selected works. For example, static works that create movement through the use of colour and geometric form inform the creation of new w ork in media that uses motion. The artworks produced are installation-based works. The works include digital projections and static images that use painting processes as well as digital media. The objective of the project is to produce artworks that reference painting processes and extend explorations into colour usage designed to maximise optical effects and spatial disorientation. The artworks are intended to reflect elements researched whilst maximising the potential for using new media.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Abstraction in art"

1

Abstraction. Cambridge, MA: MIT Press, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Richard, Shiff, Hoberg Annegret, and Art Gallery of New South Wales, eds. Abstraction: Paths to abstraction, 1867-1917. Sydney: Art Gallery of New South Wales, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Gertsman, Elina, ed. Abstraction in Medieval Art. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989894.

Full text
Abstract:
Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of the image from what it purports to represent; abstraction as a vehicle for signification; and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological.
APA, Harvard, Vancouver, ISO, and other styles
4

O'Keeffe, Georgia. Georgia O'Keeffe: Abstraction. New Haven [Conn.]: Yale University Press, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Walters: Art of realism & abstraction. South Yarra, Vic: Macmillan Art Publishing, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Hale, Nathan Cabot. Abstraction in art and nature. New York: Dover, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Courtney, David. Dutch geometric abstraction in the eighties. The Hague, Netherlands: SDU Publishers, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Thorp, David. Abstraction: Extracting from the world. Sheffield [England]: Millennium Galleries, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Alain, Bois Yve, Grosz E. A, and New Museum of Contemporary Art (New York, N.Y.), eds. Cadences: Icon and abstraction in context. New York: New Museum of Contemporary Art, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Smithsonian American Art Museum. Modern masters: American abstraction at midcentury. Washington, D.C: Smithsonian American Art Museum in association with D. Giles Ltd., London, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Abstraction in art"

1

Dadi, Iftikhar. "Calligraphic Abstraction." In A Companion to Islamic Art and Architecture, 1292–313. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119069218.ch50.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Usabiaga, Daniel Garza. "Beyond Abstraction." In New Geographies of Abstract Art in Postwar Latin America, 121–36. New York : Routledge, 2019. | Series: Routledge Research in Art History: Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Pesce, Laura. "Abstraction: Pure Thought." In Close Encounters of Art and Physics, 49–56. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22730-2_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Burchert, Linn. "Ecology and Climatology in Modern Abstract Art." In The Iconology of Abstraction, 160–75. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Braddock, Alan C. "Activist Abstraction." In The Routledge Companion to Contemporary Art, Visual Culture, and Climate Change, 353–64. New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429321108-38.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Hiltunen, Matti A., and Richard D. Schlichting. "The Lost Art of Abstraction." In Architecting Dependable Systems III, 331–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11556169_16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Keating, Michael. "Raising Abstraction Above RTL." In The Simple Art of SoC Design, 139–53. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-8586-6_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hall, Roy, and Mimi Bussan. "Abstraction, Context, and Constraint." In State of the Art in Computer Graphics, 89–102. New York, NY: Springer New York, 1994. http://dx.doi.org/10.1007/978-1-4612-4306-9_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kiilerich, Bente. "4. Abstraction in Late Antique Art." In Envisioning Worlds in Late Antique Art, edited by Cecilia Olovsdotter, 77–94. Berlin, Boston: De Gruyter, 2018. http://dx.doi.org/10.1515/9783110546842-005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Epstein, Richard L. "Mathematics as the Art of Abstraction." In The Argument of Mathematics, 257–89. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-6534-4_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Abstraction in art"

1

Kask, Kalev, Bobak Pezeshki, Filjor Broka, Alexander Ihler, and Rina Dechter. "Scaling Up AND/OR Abstraction Sampling." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/589.

Full text
Abstract:
Abstraction Sampling (AS) is a recently introduced enhancement of Importance Sampling that exploits stratification by using a notion of abstractions: groupings of similar nodes into abstract states. It was previously shown that AS performs particularly well when sampling over an AND/OR search space; however, existing schemes were limited to ``proper'' abstractions in order to ensure unbiasedness, severely hindering scalability. In this paper, we introduce AOAS, a new Abstraction Sampling scheme on AND/OR search spaces that allow more flexible use of abstractions by circumventing the properness requirement. We analyze the properties of this new algorithm and, in an extensive empirical evaluation on five benchmarks, over 480 problems, and comparing against other state of the art algorithms, illustrate AOAS's properties and show that it provides a far more powerful and competitive Abstraction Sampling framework.
APA, Harvard, Vancouver, ISO, and other styles
2

Hai Dong, Farookh Khadeer Hussain, and Elizabeth Chang. "State of the art in metadata abstraction crawlers." In 2008 IEEE International Conference on Industrial Technology - (ICIT). IEEE, 2008. http://dx.doi.org/10.1109/icit.2008.4608573.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Dathathri, Sumanth, Nikos Arechiga, Sicun Gao, and Richard M. Murray. "Learning-Based Abstractions for Nonlinear Constraint Solving." In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/83.

Full text
Abstract:
We propose a new abstraction refinement procedure based on machine learning to improve the performance of nonlinear constraint solving algorithms on large-scale problems. The proposed approach decomposes the original set of constraints into smaller subsets, and uses learning algorithms to propose sequences of abstractions that take the form of conjunctions of classifiers. The core procedure is a refinement loop that keeps improving the learned results based on counterexamples that are obtained from partial constraints that are easy to solve. Experiments show that the proposed techniques significantly improve the performance of state-of-the-art constraint solvers on many challenging benchmarks. The mechanism is capable of producing intermediate symbolic abstractions that are also important for many applications and for understanding the internal structures of hard constraint solving problems.
APA, Harvard, Vancouver, ISO, and other styles
4

He, Keke, Yanwei Fu, Wuhao Zhang, Chengjie Wang, Yu-Gang Jiang, Feiyue Huang, and Xiangyang Xue. "Harnessing Synthesized Abstraction Images to Improve Facial Attribute Recognition." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/102.

Full text
Abstract:
Facial attribute recognition is an important and yet challenging research topic. Different from most previous approaches which predict attributes only based on the whole images, this paper leverages facial parts locations for better attribute prediction. A facial abstraction image which contains both local facial parts and facial texture information is introduced. This abstraction image is generated by a Generative Adversarial Network (GAN). Then we build a dual-path facial attribute recognition network to utilize features from the original face images and facial abstraction images. Empirically, the features of facial abstraction images are complementary to features of original face images. With the facial parts localized by the abstraction images, our method improves facial attributes recognition, especially the attributes located on small face regions. Extensive evaluations conducted on CelebA and LFWA benchmark datasets show that state-of-the-art performance is achieved.
APA, Harvard, Vancouver, ISO, and other styles
5

Suri, Gaurav, and Anthony F. Luscher. "Structural Abstraction in Snap-Fit Analysis." In ASME 1999 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/detc99/dac-8567.

Full text
Abstract:
Abstract Snap-fit design has always been more of an art rather than a pure engineering science. Research in this area focuses on generating finite element models for predicting the performance of snap-fit features. Such research typically uses fixed end conditions at the base of the snap-fit feature. Often this is an unrealistic assumption, because snap-fits are usually molded on plastic parts with significant flexibility. The performance of snap-fits can be significantly influenced by this additional flexibility. To predict the performance of snap-fits in complex plastic parts, it has often been necessary to analyze the entire part, which can be a costly and time consuming process. There is no general methodology in the open literature to incorporate base-part flexibility into the design of snap-fit features. Existing work in this area such as Q-Factor charts, is inaccurate and specific to certain base-part and snap-fit topologies. This paper proposes a new methodology called structural abstraction for incorporating base-part flexibility into feature models. This methodology abstracts base-parts as spring elements with various stiffnesses. The theory behind this approach and the relevant relationships are developed and the approach is validated using several test cases. Independence of the approach to both base-part and snap-fit topologies is established and shown to be a major advantage of this technique. Use of this methodology will improve snap-fit analysis and give a more accurate estimation of retention strength. It is shown that in certain cases the improvement in accuracy can be as high as 70 percent or more.
APA, Harvard, Vancouver, ISO, and other styles
6

Li, Dongxu, Enrico Scala, Patrik Haslum, and Sergiy Bogomolov. "Effect-Abstraction Based Relaxation for Linear Numeric Planning." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/665.

Full text
Abstract:
This paper studies an effect-abstraction based relaxation for reasoning about linear numeric planning problems. The effect-abstraction decomposes non-constant linear numeric effects into actions with conditional effects over additive constant numeric effects. With little effort, on this compiled version, it is possible to use known subgoaling based relaxations and relative heuristics. The combination of these two steps leads to a novel relaxation based heuristic. Theoretically, the relaxation is proved tighter than previous interval based relaxation and leading to safe-pruning heuristics. Empirically, a heuristic developed on this relaxation leads to substantial improvements for a class of problems that are currently out of the reach of state-of-the-art numeric planners.
APA, Harvard, Vancouver, ISO, and other styles
7

Cui, Zhenhe, Yongmei Liu, and Kailun Luo. "A Uniform Abstraction Framework for Generalized Planning." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/253.

Full text
Abstract:
Generalized planning aims at finding a general solution for a set of similar planning problems. Abstractions are widely used to solve such problems. However, the connections among these abstraction works remain vague. Thus, to facilitate a deep understanding and further exploration of abstraction approaches for generalized planning, it is important to develop a uniform abstraction framework for generalized planning. Recently, Banihashemi et al. proposed an agent abstraction framework based on the situation calculus. However, expressiveness of such an abstraction framework is limited. In this paper, by extending their abstraction framework, we propose a uniform abstraction framework for generalized planning. We formalize a generalized planning problem as a triple of a basic action theory, a trajectory constraint, and a goal. Then we define the concepts of sound abstractions of a generalized planning problem. We show that solutions to a generalized planning problem are nicely related to those of its sound abstractions. We also define and analyze the dual notion of complete abstractions. Finally, we review some important abstraction works for generalized planning and show that they can be formalized in our framework.
APA, Harvard, Vancouver, ISO, and other styles
8

Sioutis, Michael, and Jean-François Condotta. "Efficiently Enforcing Path Consistency on Qualitative Constraint Networks by Use of Abstraction." In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/175.

Full text
Abstract:
Partial closure under weak composition, or partial weak path-consistency for short, is essential for tackling fundamental reasoning problems associated with qualitative constraint networks, such as the satisfiability checking problem, and therefore it is crucial to be able to enforce it as fast as possible. To this end, we propose a new algorithm, called PWCα, for efficiently enforcing partial weak path-consistency on qualitative constraint networks, that exploits the notion of abstraction for qualitative constraint networks, utilizes certain properties of partial weak path-consistency,and adapts the functionalities of some state-of-the-art algorithms to its design. It is worth noting that, as opposed to a related approach in the recent literature, algorithm PWCα is complete for arbitrary qualitative constraint networks. The evaluation that we conducted with qualitative constraint networks of the Region Connection Calculus against a competing state-of-the-art generic algorithm for enforcing partial weak path-consistency, demonstrates the usefulness and efficiency of algorithm PWCα.
APA, Harvard, Vancouver, ISO, and other styles
9

Le Charlier, Baudouin, Minh Thanh Khong, Christophe Lecoutre, and Yves Deville. "Automatic Synthesis of Smart Table Constraints by Abstraction of Table Constraints." In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/95.

Full text
Abstract:
The smart table constraint represents a powerful modeling tool that has been recently introduced. This constraint allows the user to represent compactly a number of well-known (global) constraints and more generally any arbitrarily structured constraints, especially when disjunction is at stake. In many problems, some constraints are given under the basic and simple form of tables explicitly listing the allowed combinations of values. In this paper, we propose an algorithm to convert automatically any (ordinary) table into a compact smart table. Its theoretical time complexity is shown to be quadratic in the size of the input table. Experimental results demonstrate its compression efficiency on many constraint cases while showing its reasonable execution time. It is then shown that using filtering algorithms on the resulting smart table is more efficient than using state of the art filtering algorithms on the initial table.
APA, Harvard, Vancouver, ISO, and other styles
10

Lagniez, Jean-Marie, Daniel Le Berre, Tiago de Lima, and Valentin Montmirail. "A Recursive Shortcut for CEGAR: Application To The Modal Logic K Satisfiability Problem." In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/94.

Full text
Abstract:
Counter-Example-Guided Abstraction Refinement (CEGAR) has been very successful in model checking large systems. Since then, it has been applied to many different problems. It especially proved to be an highly successful practical approach for solving the PSPACE complete QBF problem. In this paper, we propose a new CEGAR-like approach for tackling PSPACE complete problems that we call RECAR (Recursive Explore and Check Abstraction Refinement). We show that this generic approach is sound and complete. Then we propose a specific implementation of the RECAR approach to solve the modal logic K satisfiability problem. We implemented both a CEGAR and a RECAR approach for the modal logic K satisfiability problem within the solver MoSaiC. We compared experimentally those approaches to the state-of-the-art solvers for that problem. The RECAR approach outperforms the CEGAR one for that problem and also compares favorably against the state-of-the-art on the benchmarks considered.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Abstraction in art"

1

Wilson, D., Daniel Breton, Lauren Waldrop, Danney Glaser, Ross Alter, Carl Hart, Wesley Barnes, et al. Signal propagation modeling in complex, three-dimensional environments. Engineer Research and Development Center (U.S.), April 2021. http://dx.doi.org/10.21079/11681/40321.

Full text
Abstract:
The Signal Physics Representation in Uncertain and Complex Environments (SPRUCE) work unit, part of the U.S. Army Engineer Research and Development Center (ERDC) Army Terrestrial-Environmental Modeling and Intelligence System (ARTEMIS) work package, focused on the creation of a suite of three-dimensional (3D) signal and sensor performance modeling capabilities that realistically capture propagation physics in urban, mountainous, forested, and other complex terrain environments. This report describes many of the developed technical capabilities. Particular highlights are (1) creation of a Java environmental data abstraction layer for 3D representation of the atmosphere and inhomogeneous terrain that ingests data from many common weather forecast models and terrain data formats, (2) extensions to the Environmental Awareness for Sensor and Emitter Employment (EASEE) software to enable 3D signal propagation modeling, (3) modeling of transmitter and receiver directivity functions in 3D including rotations of the transmitter and receiver platforms, (4) an Extensible Markup Language/JavaScript Object Notation (XML/JSON) interface to facilitate deployment of web services, (5) signal feature definitions and other support for infrasound modeling and for radio-frequency (RF) modeling in the very high frequency (VHF), ultra-high frequency (UHF), and super-high frequency (SHF) frequency ranges, and (6) probabilistic calculations for line-of-sight in complex terrain and vegetation.
APA, Harvard, Vancouver, ISO, and other styles
2

Mykhayliv, Natalya. THE SUBJECT OF OF “VOGUE” AND “HARPER’S BAZAAR” MAGAZINES. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11066.

Full text
Abstract:
In the article according to the theory of the subject, patterns of the existence and genesis of the subject of “Vogue” and “Harper’s Bazaar” (USA) magazines was analysed, perspective of the emergence of new subjects was established, classification of the current subjects into universal and synthetic was suggested and some regularities of authorial creation of new subjects was examined. The main objective of the study is to identify patterns of existence of actual and formation of new topics in the Means of Mass Communication on the example of “Vogue” and “Harper’s Bazaar” magazines. In studying of the empiric basis of the research the method of observation is applied; in finding common themes for both publications – a comparative method was used. The method of analysis was used in the decomposition of topics into separate topics; in isolation from the features of the topic, uncharacteristic of a journalistic work – abstraction was applied. The elucidation that the subject appears as a formal verbal expression of a set of homogeneous topics was done by applying the method of formalization. The main results of the research are: obtaining the new classification of topics of “Vogue” and “Harper’s Bazaar” magazines; identification of a significant manifestation of universal themes on the pages of publications; establishment of the basic subjective (deontological) bases of formation of new subjects. A theoretical level of their knowledge will enrich science, equip practice, promote individual and world harmony.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Abstraction in art' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography