Abstract Photography Quotes

The canvas is the door to another dimension. The paintbrush is the key.

To deal with the chaos of life, I escape into the prism of glass, dancing to the visual music in my mind. My photographs express my interior movement from darkness into light and back.

Photography is light-writing, the language of images. Less abstract than written or spoken language, it selects images from the existing world of appearances and arranges them in patterns. The camera-eye doesn't think, it recognizes. It shows us what we already know, but don't know that we know.

An art prodigy of the 21st century has yet to be crowned. Or have they?

A now notorious first fall into alienation, habituating people to abstract the world into printed words,

It is felt that there is something morally wrong with the abstract of reality offered by photography; that one has no right to experience the suffering of others at a distance, denuded of its raw power; that we pay too high a human (or moral) price for those hitherto admired qualities of vision - the standing back from the aggressiveness of the world which frees us for observation and for elective attention.

But it was in the art of the cartoon film, with its limitless possibilities, that New Athens had made its most successful experiments. The hundred years since the time of Disney had still left much undone in this most flexible of all mediums. On the purely realistic side, results could be produced indistinguishable from actual photography—much to the contempt of those who were developing the cartoon along abstract lines.

Much of the colony’s musical experimenting was, quite consciously, concerned with what might be called “time span.” What was the briefest note that the mind could grasp—or the longest that it could tolerate without boredom? Could the result be varied by conditioning or by the use of appropriate orchestration? Such problems were discussed endlessly, and the arguments were not purely academic. They had resulted in some extremely interesting compositions. But it was in the art of the cartoon film, with its limitless possibilities, that New Athens had made its most successful experiments. The hundred years since the time of Disney had still left much undone in this most flexible of all mediums. On the purely realistic side, results could be produced indistinguishable from actual photography—much to the contempt of those who were developing the cartoon along abstract lines.

Humans abstract and record information in five major ways: with writing, mathematical notation, painting/photography/videography, maps, and clocks—that is, we can abstract and record verbal, numerical, visual, spatial, and temporal information.

Habermas states that ‘modernity revolts against the normalizing functions of tradition’ and persists in the habit of ‘rebelling against all that is normative’ (Habermas 1985: 5). He goes further and suggests that postmodernism is the most recent version of modernism and just another ‘abstract opposition between tradition and the present’ (1985: 4).

Life is a photo album. Loaded with some black and white memories, some colorful dreams, some abstract expressionism and some out of focus images.

the earliest surreal photographs come from the 1850s, when photographers first went out prowling the streets of London, Paris, and New York, looking for their unposed slice of life. These photographs, concrete, particular, anecdotal (except that the anecdote has been effaced)—moments of lost time, of vanished customs—seem far more surreal to us now than any photograph rendered abstract and poetic by superimposition, under-printing, solarization, and the like. Believing that the images they sought came from the unconscious, whose contents they assumed as loyal Freudians to be timeless as well as universal, the Surrealists misunderstood what was most brutally moving, irrational, unassimilable, mysterious—time itself. What renders a photograph surreal is its irrefutable pathos as a message from time past, and the concreteness of its intimations about social class.

During this period, the Jew embodied the abstraction of the modern world dominated by impersonal and anonymous forces. Mass society was perceived as a hostile realm shaped by big cities, the market, finance, the speed of communications and exchange, mechanical production, the press, cosmopolitanism, democratic egalitarianism, culture transformed into an industry by way of the press, photography and the cinema. Amid this upheaval, the Jew emerged as personification of a modernity in which everything was measurable, calculable and yet impossible to grasp, in which everything was removed from nature and annexed to the enigmas of an abstract and artificial rationality. As shown by a

Anne Kihagi highlight’s some of the museum’s ongoing, current, and upcoming exhibits at San Francisco Museum of Modern Art The San Francisco Museum of Modern Art (SFMOMA) features a wide range of art exhibits. One of the ongoing exhibits at SFMOMA is the pop, minimal, and figurative art one, which features pieces from the 1960s on. The museum also features the Approaching American Abstraction exhibit, which showcases the various methods of abstraction since the 1950s. The Sea Ranch is a current exhibit that runs through April 28, 2019. The exhibit is from the 1960s Northern California Modernist movement and combines architecture, the environment, and idealism. The work of photographer Louis Stettner will be featured until May 26, 2019. Stettner’s work combines American street photography with French humanism. SFMOMA will debut the Andy Warhol – From A to B and Back Again exhibit on May 19, 2019. It is slated to run until September 2, 2019. The exhibit will cover three floors and will offer a dozen pieces unique to SFMOMA. The Chronicles of San Francisco will run from May 23, 2019, through April 27, 2010, and features the work of artist JR. The exhibit is the culmination of two months of on-the-street interviews the artist conducted with almost 1,200 people. The snap + share exhibit will run from March 30 – August 4, 2019, and focuses on the impact of photographs in our daily lives. SFMOMA is open Friday through Tuesday from 10:00 AM - 5:00 PM and Thursdays from 10:00 AM – 9:00 PM. Adult admission is $25.00, with senior admission at $22.00. Visitors ages 19-24 are $19.00, and anyone under 18 is free.