Abstract forever

[Магнолия]

Сообщение от iside

But still there is such an interesting article The First Abstract Artist?
(And It's Not Kandinsky) published by Tate.

Strange.
Why beautiful abstract art is welcomed and appreciated, and the text and zhestikulyarny not perceived and decry?

[Art-lover]

Сообщение от iside; 2616241 "

The Centre Pompidou is an exhibition of the Hungarian abstract artist Simon hanto

It is necessary to stay near this note : although in our area Shimon Antal (1922-2008) is not well known in the West as it is inscribed in the kind of abstract art calendar .
Hungary , he left in his youth as an artist took place in France, received French citizenship in 1982 represented France at the Venice Biennale - so that it is positioned more as a French artist .
Antal started as a surrealist , and in 1953 awarded a foreword by Andre Breton catalog of his exhibition .
In 1955, immersed in abstraction and remains there until the end of his days .
His work 70s , as they say , has influenced a whole generation of young artists.
From reproductions shows that he was under the influence of a powerful graphics Matisse.

[Art-lover]

Сообщение от iside; 2616241"

But still there is such an interesting article The First Abstract Artist? (And It's Not Kandinsky) published by Tate

And this artist - Hilma af Klint - is take a post in this topic.
At least for the sake of historical and gender justice: it appears that new ground evroabstraktsizma silently raised the ladies, and then came running guys that a lot of rustling, beat his breast, and, as a result, have staked out for themselves in the history of art tasty allotment of abstraction. )

Hilma af Klint drew his first abstractions in Stockholm in 1906, to pre-empt a few years Kandinsky.
Initial period of abstract art was theosophical (spirits demanded astral artist paintings that show the eternal and unchangeable)), and since 1908, after a meeting with Rudolf Steiner, Hilma dispersed perfume and addressed the anthroposophic reasons.

Curiously, Kandinsky met with Steiner in the same 1908.
And left this world and Hilma you. V. at the end of one and the same in 1944.

The artist has left about 1,000 works, which, according to her will, it was forbidden to exhibit 20 years after her death.
The first exhibition took place only in 1986-1987.

[Art-lover]

Previous post touched a favorite amusement of modernism called "I - the first". But all this controversy kids in the sandbox.
If we go to adult cases, the decisive battle for the birthright in the world of abstraction to be held between Pithecanthropus and Neanderthals.
(However, the inner voice tells us that after the upcoming redistribution of the market above all arts will be quoted on Sotsbi abstract artifacts Sinanthropus)).

About how dangerous to ignore these things and play by the old rules, recently experienced the hard way the organizers of the exhibition Inventing Abstraction, 1910-1925, which was opened for display at New York's Museum of Modern Art on April 15 of this year.

(For a long time trying to persuade himself to follow the example iside and get out of the transfer of invective against Roger Denson MoMA over the last exhibition - especially because I'm not entirely agree with his position - but what I managed to get myself - it agreed to replace the transfer to a detailed account of: Denson argument in some detail, and not without interest to readers section will try it themselves to the tooth).

Dimensions of the article and the lack of time forced to cut the text and serve slices.
Portion 1:

Roger Denson.
The colonization of abstraction: the MoMA exhibition "The Invention of abstraction," denies the ancient global sources of abstract art.
(Part of the translation, part paraphrase)

   The heads of state and diplomats know all too well how often negotiations between countries may depend on such seemingly minor details like a prefix to the word. Not required if the most authoritative of our cultural institutions to be attentive to the language used to represent the history of international art, especially the stories in which mitigation has not forgotten trauma caused by historical political and cultural colonization, is required to facilitate the pursuit of a new global civilization to intercultural exchange?

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I mean the name of the running at the Museum of Modern Art exhibition "The invention of abstraction, 1910-1925 gg." This choice of words may seem benign to Europeans and Americans, who have been educated with a small emphasis on the role of our former colonial nations, but in relation to the artistic audience a variety of countries with which we are building a new global community, the name seems unfair attempt to sell the genesis of the world of abstraction As a purely European company, and completely modern. How much more historically accurate and relevant exhibition would be her name if the curators have added two small syllable - "Pere" - "rediscovering an abstraction." After chose, in the end, the exhibition's curator, Leah Dikerman and assistant curator, Mary Chlenova - both from the Department of Painting and Sculpture MoMA - the correct name for the audio gallery of modernist European music - "Update music."

The intention is clear. MoMA is intelligent enough to recognize that music existed before 1900, but in fact, it seems disclaims any sense, arguing that the visual abstraction until 1900 did not exist. More specifically, MoMA, apparently does not want to recognize the visual abstraction existed outside Europe, disregarding that they can be detected on all six inhabited regions for at least tens of thousands of years.

How much trouble is the blatant chauvinism will bring the museum and its curators is hard to imagine. That speaks volumes, this is a clear and unequivocal resistance museum administration grinbergianskogo rejection of the claim that abstraction is a European and a modern invention. It was Clement Greenberg, an American art critic who championed the Abstract Expressionists, the first great American school of modern art at the same time denied that the movement is related to the historical and global sources, which, according to the statements of many artists - Jackson Pollock, Franz Kline, Mark Rothko , Sam Francis and. etc. -. inspire their creativity. The 1980 proclamation that more could be explained by a lack of awareness. Today, it is the direct militancy. Today there is hardly ever an educated art lover who does not recognize that the abstraction is so pervasive that it escapes our attention only when they do not have enough attention to look for her. It should also be noted that the only reason that modern Europeans came to the conclusion to isolate an abstraction, and thus declare its uniqueness, is that five centuries before the Europeans (and some other classical cultures such as China and Japan) began to carry out the distinction between art and artifact so that the "raise" the art of imitating the appearance of nature in paintings and sculptural incarnations over the more utilitarian crafts - thereby separating the painting and sculpture of the works in which abstraction, as the practice and the principle (sold subconsciously ) remained integrated.

What is neglected here - this is a story that tells us how much of the nation and civilization formed ideologies that define the way in which images appear, develops and accomplishes as a meaningful representation of cultures. It is also important that the historical fact that Judaism, Islam, and some sects of Christianity, Buddhism, Jainism and Hinduism, as well as numerous classic and tribal communities to prohibit the use of naturalistic images, thus forcing society to guide cultural curiosity and expression of its artists to the systems and forms of abstraction: abstraction often considered sacred, representing the power and controlled power. The great history of Western art from Spain to India, since the art of the Bronze and Iron Ages in Judea and Sumeria until the Age of Enlightenment in Europe, in one form or another responded to the second commandment, as it is written in the book of Exodus 20: 4: "Do not make yourself idol, or any likeness of anything in heaven above or on the earth beneath or in the waters under the earth. " Centuries of diverse interpretations of the commandment led to the abstraction that passed through the patterns and symbols that have dominated for centuries in art and architectural projects. This makes it inconceivable that meant MoMA, accompanying his collection of early avant-garde title and equipment are not only short-sighted, and so full of Eurocentric arrogance, but also historically incorrect.

Abstraction is the basic principle underlying the production of all the arts - whether it's iconic and visual, formal and conceptual. Ee "invention", as it is now thought to have occurred at least fifty thousand years ago, and it can be said to happen spontaneously, both in Africa and in Asia and Australia, and the Americas, and Europe. Of course, the curators know that anthropologists and ethnologists have been telling us for centuries - that the School of Advanced Studies of the human experience in Santa Fe a few years ago, precisely summed up as our duty to the abstraction of the ancients: "For thousands of years something special was transferred from the internal consciousness through the hands of the artist on the walls of caves and rock surfaces. Along with familiar images of wild game and the fearsome predators we see abstract symbols - curving lines and crinkles, stars and an amazing variety of spiral forms. As in the real world inspired this "art" escapes our full understanding, but most scholars agree that the capacity for abstraction has been an integral part of people's attempts to map the natural and the supernatural forces that shaped their days - whether those living forces in the arch of night sky or in the whirlpool of water going down into a deep pool. "

Captions for pictures:

1. Forgotten MoMA curators were many obvious abstract tradition that existed around the globe for thousands of years.
The pictures from left to right are four examples of the last century: the traditional mask of the solar disk bobo tribe of Burkina Faso and Mali, 19th century; Shugetsu Tokan, landscape-style Haboku, ca. 1510; pottery of the Hopi Indian tribe of the Pueblo tribes in northeastern Arizona, the 19th century. Dome of the mosque of Sheikh Loftally in Isfahan, Iran, ca. 1618.

(A little help for Haboku - (lit. broken spattered ink or ink) - free technique of ink painting, characterized by contrasts of light and shadow. Unlike the technique of "dry brush", gravitating to the detail of the image, haboku - the letter at once with characteristic laconic composition and refinement Tusheva spots).

2. Kandinsky painted in a past life Tibetan drums? If MoMA rights that Russian avant-garde artist invented abstraction, there can only be one answer.
It may be different if the MoMA is wrong, and the Tibetans, as well as many of the community have made abstraction of a vital part of their cultural heritage. Left - painted Tibetan drum, approx. 18-19 centuries, to the right - the famous first abstract watercolor by Wassily Kandinsky, 1912

3. The left image is like a painting by Kazimir Malevich's Suprematist, ca 1915, but in reality it is Tantric paintings based on the illustrations of the 17th century to the Indian religious text. Next - Kazimir Malevich, Black Square and Red Square, 1915, MoMA, New York. Next ill. - The Crucifixion, ca. 1425, Holy Trinity Church Holy Trinity-St. Right - Malevich, Suprematism#56, 1915, Russian Museum, St. Petersburg.
It is quite possible - as the best of the Russian Orthodox and Byzantine icon painting abstract and figurative equilibrated in a balanced drama of passion - that Malevich had seen in the iconography of such vital energies of the spirit, which he sought release from the sensory domain-visual attributes. This Malevich affinity with practicing Tantra, who saw in the contemplation of pure forms up the possibility of higher states of consciousness and spirit.

4. Looking as elegant and modern, as well as all that was created after 1900, these three highly abstract sculptures are products of aesthetics, ideologies and technologies, respectively, of the Bronze Age, the Neolithic and Paleolithic. Left - Profile Cycladic head, 2600-2400 BC, Athens, Museum of Cycladic Art, in the center - ambrimsky slit drum signal, the island of Ambrym, the southern Islands of the Pacific Ocean, 1850-1900, on the right - Venus Monruts of Neuchatel, Switzerland, 13,000 BC

5. Left: Nepalese Tantric painting of the 17th century, represents a visual lexicon for the awakening of higher states of consciousness. Right: mesh painting, found in the cave of Pech Merle, France. Dated to between 16,000 and 25,000 BC

[Магнолия]

Сообщение от Art-lover

abstract artifacts Sinanthropus)

You mean the synergies?

[Jasmin]

Сообщение от Magnolia

Quote:

Posted by Art-lover

abstract artifacts Sinanthropus)


You mean the synergies?

Art-lover, is referring to the Chinese so it was empty <! - ~ 1 ~ ->

[Art-lover]

Roger Denson. Colonization of abstraction - part 2
 

But not only anthropologists and ethnologists have to take into account the origins of abstraction. In the 1980s, against the modernist Eurocentrism began to sound a voice of dissent.
In 1988, Thomas McEvilley, contemporary art critic and scholar of Greek and Indian classical, published an essay "In Search of the Primary through painting: Monochrome," in which he argued that European modernists "were the first to demonstrate that art can survive without presenting recognizable objects, people, and places. " They "were preceded abstract artist Paleolithic, Neolithic and Bronze Age and later Tantric and Islamic artists who ruled this type of representation in favor of abstract quadrature heraldic symmetry, monochrome images, etc.
Truly, an abstract painting - a practice prior to our species;'s earliest known example is the Neanderthal finger painting. It is a historical pun is important because it points to a significant number of omissions in grinbergianskoy argument - and the reason for these omissions do not have far to look: in these ancient traditions of the content easy to read with abstract shapes. Works made by these predecessors of modern abstract artists, widely interpreted as representing the idea of ​​the nature of the universe. "

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Under the pressure of such ubiquitous archaeological and anthropological evidence and consensus on global origins of abstraction, how can any cultural institution to insist on the design of an abstract painting, sculpture and decorative as exclusively European and modern without being accused of spreading deliberate propaganda of cultural colonialism? Of course, the front lines were depicted, centuries ago enmity between people of different ethnic origins. But in recent decades, many of us in the arts sought to erase or at least blur the lines. Now, MoMA, negligently or intentionally, draws the lines of military action again.

This problem has nothing to do with choice or quality of work shown in the MoMA. In fact, the exhibition could hardly imagine a more excellent selection of innovative paintings and sculptures of the most famous collections of modern art in the world. Presented Wassily Kandinsky, Frantisek Kupka, Francis Picabia, Robert and Sonia Delaunay, Marsden Hartley, Marcel Duchamp, Piet Mondrian, Kasimir Malevich, Georgia O'Keeffe, and many others whose names adorn the canon of Western modernism. It is regrettable, but it can be understood - it left little work because of early death - lack of Russian Suprematist artists Olga Rozanova, whose painting in 1918 with a vertical green stripe for 30 years ahead of famous paintings with stripes Barnett Newman.

What was invented between 1910-25 - a new context for the abstraction, not a true abstraction. In addition, the abstraction is not something limited specific environment implementation. Abstract painting on canvas can be relatively new, but abstraction in sculpture, weaving and ceramics, architectural ornaments, ritual objects, and especially the petroglyphs and pictographs in caves and in the rocks, are dating to tens of thousands of years. Objects that can be called both formally and conceptually abstract, though rare, nevertheless found among Neolithic and Paleolithic sites excavated on six continents where our ancestors lived - homo sapiens and is now admit, homo neanderthalensis. Even if such creations were largely functional and ritual, they were nevertheless conceived and produced with the aesthetic sensibility, if not on a conscious aesthetic principle.

As for the highly opinionated views that pre-modern art has its own function embellishment - that separates it from the art of modernism, which is defined as existing only for the sake of art - then we can say that there is no such thing as the mythical "art for art's sake . " Perhaps only the art for the people, and the appointment of his aesthetic is the same as that of the decorative and architectural ornament, fabric or ceramic vessel - all are endowed with the function of aesthetic satisfaction, which makes them no less representative of abstraction than a painting or a sculpture, devoid functions.

We are informed enough to have in mind that prompted the Europeans to create the myth of the "art for art's sake" in 1900, the fact that they are about five hundred years ago invalidated the prior context of abstraction - in which painting and sculpture equalized with application and crafts - the context, which up to approx. 1400 Europe shared with the world. The Europeans, with their new science scenic vistas and recently unearthed humanism, sought to elevate their artistic production is higher skill artisans new, previously unknown ways. Intentionally or not, the abstraction that characterized the more utilitarian forms, gradually devalued. Conceit that the Europeans have created a "high art" in painting and sculpture, other than any which the world knew as long established itself - but was confirmed only in Europe, but four centuries later in North America.

This, of course, self-esteem, to qualify painting as an art form "higher" quality and standard, rather than weaving, pottery, or an architectural finish - all the elements that were copied figurative painting and abstract painting of which later borrowed so many of their designs and that more importantly, its origins. Personal preference is a flat painting without content is subjective. The public proclamation of such paintings as somehow more "advanced" - it is a cultural, if not racial and ethnic narcissism - self-interested ploy to promote (or forfeit) artists and their defenders on the basis of their aesthetic accessories.

(To be continued)

Figure captions:

1. Unfortunately, not represented in the MoMA exhibition "The Invention of abstraction," Olga Rozanov Suprematist artists, which we really need to know. She has the honor of being the first we know of contemporary European artists, whose paintings contain a vertical bar on a monochrome background.
Left: Olga Rozanov Pointless painting, green bar, 1918, Tretyakov Gallery, Moscow. Right: Barnett Newman, Onement I (onement - state of being in harmony or reconciliation - AL), 1948, MoMA, New York

2. Sugetsu DC, landscape-style haboku, ca. 1510, Cleveland Museum of Art. Among the fascinating features of abstraction is kind of pleasure delivered by a shift of scale elements, or the fact that we offer to name an abstract fractal relationship of the viewer. Textures, layers, colors, glazes, stippling, the effects of arrangement of colors, the tone - all this leads to different realities of different scales.

3. Correggio, Jupiter and Io, 1530. Even the viewer's perception of figurative images operates abstract level, despite the fact that we do not expect these paintings abstract qualities, as long as we do not get involved in this arresting elements. As in the case of Japanese painting haboku in the previous example, textures, paint layers, a glaze, graininess effects arrangement of flowers, produce different tone pattern elements in the hierarchy of scales.

4 In Zen there is no distinction between the figurative and the abstract, as there is no clear distinction between painting and calligraphy.
Left: The Zen master Torei Enji (1721-1792) painted with a brush circle ENSO, the "heart /mind" as well as reproducing the universe. Inside the circle Torey calligraphy written declaration of the Buddha: "In heaven and on earth I worshiped one." Right as authoritative Ungo Kiyo (1582-1659) the sign of the unity Iti, meaning "All things come back to one."

[iside]

Exhibition at the Guggenheim : Wave Abstract Wars between one thousand nine hundred and nineteen -1939 [/URL] - 40 works (paintings, sculptures, drawings ) - 20 artists : Alexander Calder, Alberto Giacometti, Fernand Léger, Francis Picabia, and Joaquín Torres-García et al - photo

Сообщение от Art-lover; 2619191 "

iside follow suit and get out

Yes, I've got a full hands on deck <! - ~ 2 ~ -> ! And actually I'm so trying to stimulate interest in learning English among residents of the post- Soviet space <! - ~ 1 ~ ->

Сообщение от Art-lover; 2619191 "

the more that I'm not entirely agree with his position

Art-lover, so I would also like not all share his position, but my opinion is , it's so small, but your thoughts would be interesting to read , and I think not only me . <! - ~ 12 ~ ->

[Art-lover]

Сообщение от iside; 2621311"

so I tried to stimulate interest in learning English among residents of the post-Soviet space <! - ~ 1 ~ ->

This logic does not roll. Postsovetnye esengeytsy tea were not born yesterday: Angles tell what the case, wait for the interpreter. And no, or no reason.)
And it is here homespun truth, and therefore still have to translate captions for pictures of the opus Denson, good and funny pictures and captions.
Part 1 I have added, the signature to the 2 nd shall insert soon.

Сообщение от iside; 2621311"

, but my opinion is it's so small, but your thoughts would be interesting to read, and I think not only me

but do not need me to cast in bronze <! - ~ 7 ~ ->, because once utaschat for scrap <! - ~ 11 ~ -> - or even the second commandment will not quote))
Say - I say, but let us first finish the prosecutor's speech comrade. Denson. )

PS
Captions 2nd portions already in place. It is worth paying attention to the fact that they relate to the presence in the perception of figurative abstraction layers (in particular, the fractal structuring). Remember, these questions have been addressed - it seems that due to Arnheim (page 8 threads and beyond).

[iside]

Here I sit reading Catherine Tar , which recently permeated great respect and reverence , and she writes the following:

After the line was given the command "at ease" and was invited to see an exhibition of recent works by Mark Rothko , which the museum is very proud . All shops Tate cups made ​​in the proper stripes - dark red color , the color of dried blood ( in a late Rothko had a vision of the world). Exhibition as an exhibition , but visitors are clearly divided into two groups : simple visitors and those who have recently visited the exhibition Kabakov in Moscow. First went to admire the view , and the second with slightly confused ( it's not my fiction, I asked someone ) . The fact that after Kabakov characters such as Charles Rosenthal any exhibition " later work " , especially those pathetic , impossible to watch without laughing . Long series of dark gray walls with absolutely identical - in both size and color - abstract paintings , radiating incredible and nothing is not based spiritual claim. This, of course , pure water Charles Rosenthal , unless Basilius Lokhankin .

Still, we must not forget that the original abstract art conceived as a big sell, how rude refusal to layman image with bare aunt. So and Malevich great that he is very frank . When this point begin to sell carefully camouflaged , and VIP- everyman accompanies and sagely asserts that only dreamed of dark red stripes and no naked woman he does not need - it's all worthy of the pen of Daniil Kharms . Or Kabakov.

here