Melissa Dunn's exhibition, "Looking for One Thing, Finding Another," at Dixon Gallery and Gardens through Jan. 14, exemplifies the nature of her work: that is, the search for a form and an expression the result of which may carry the artist far from her original intentions. More than any show of abstraction that I have reviewed recently - this is the third in a three-part series that looks at five artists - Dunn's paintings reveal the process of their making in the track of her brush or other tool across the picture plane, whether the surface of canvas or paper or the metaphysical arena of the imagination. The necessarily improvisational and occasionally tentative nature of her enterprise is blatant in markings, lines and swaths, in broad strokes and narrow rills and in suggestions of u...
There's no denying that David Comstock's abstract paintings are attractive, though to say that they're easy on the eyes would perhaps stray into the area of condescension. The title of his exhibition, "It's Not All Black and White," at L Ross Gallery through Feb. 28, refers, first, to the artist's development away from the all-black-and-white paintings he produced a few years ago and, second, to the notion that most issues, art included, should not be seen strictly in terms of "black and white," as the saying goes, but as more nuanced propositions.
David Estey is inspired by the American artists of the Abstract Expressionism movement, and the work in his current exhibit, "David Estey - Abstraction," now on display at Husson University's Robert E. White Gallery, certainly shows that influence. Yet, Estey issues a caution to viewers: Don't read too much more into the work in the exhibit, which includes 11 paintings and two drawings. The art is all about the aesthetics of good design.
The River Beneath Us," the title of Hamlett Dobbins' exhibition at David Lusk Gallery, reminds us that hidden currents flow unbidden from the past to the present and that we cannot avoid the unconscious influences they bear on opaque waters. Nor, as this splendid and provocative show proves, would we want to ignore such messages. Dobbins, ever Protean and restless in his commitment to abstraction, continues his habit of giving his paintings no names, merely cryptic indications of dedicatees, as in "Untitled (for G.C./ M.M.Y.)" or "Untitled (for J.W./L.B.)," therefore leaving viewers on their own; it's the work on one side of the space and our eyes, experience and imaginations on the other side. The artist forces us to accept each piece on its own terms.
This essay provides an elementary, unified introduction to the models of market institutions that go beyond the competitive model of pricetaking behavior on both sides of the market. Several models of market institutions that govern price determination are explored and compared, including contracting, posted prices, bilateral bargaining, middlemen, and auctions. While equilibrium models still do not capture the full possibilities for market behavior, modeling specific market institutions reduces the level of abstraction inherent in the standard competitive model.
Explore the recent transformation of abstract painting into one of the most dynamic platforms in contemporary art in this exhibition opening Sunday and continuing through Aug. 20 at the Museum of Contemporary Art, 250 S. Grand Ave., Los Angeles. Among the featured works are those by Andy Warhol, Tauba Auerbach and Urs Fischer. Hours are 11 a.m. to 5 p.m. Monday and Friday, 11 a.m. to 8 p.m. Thursday, 11 a.m. to 6 p.m. Saturday and Sunday. Admission: $5-$10; free for MOCA members, children under 12, and everyone from 5 to 8 p.m. Thursdays courtesy of Wells Fargo. For more information, go to www.moca.org or call 213-626-6222.
Algebra students may often demonstrate a certain degree of proficiency when manipulating algebraic expressions and verbalizing their behaviors. Do these abilities imply conceptual understanding? What is a reliable indicator that would provide educators with a relatively trustworthy and consistent measure to identify whether students learn algebraic concepts beyond procedures? The article introduces taxonomy for assessing middle school algebra students' levels of understanding of linear equations with one unknown. The taxonomy is rooted in ideas related to the degree of abstraction and reducing level of abstraction, theory of operational and structural conception, and the concept of representation in mathematics education.
From Georgia O'Keeffe to Stuart Davis, American artists have long been attracted to the desert landscape of New Mexico. Among them is California artist Richard Diebenkorn (1922-1993), who spent 30 months in Albuquerque pursuing a master's degree at the University of New Mexico with the help of GI Bill benefits. During this period from 1950 to 1952, Mr. Diebenkorn created some of the freest but least known paintings of his career.
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