Posts Tagged ‘abstract painting

10
Oct
18

Exhibition: ‘Shape of Light: 100 Years of Photography and Abstract Art’ at Tate Modern, London

Exhibition dates: 2nd May – 14th October 2018

Curators: Simon Baker, Senior Curator, International Art (Photography) and Shoair Mavlian, Assistant Curator, Tate Modern, with Emmanuelle de l’Ecotais, Curator for Photographs

 

 

Pierre Dubreuil. 'Interpretation of Picasso, The Railway' 1911

 

Pierre Dubreuil (1872-1944)
Interpretation Picasso, The Railway
1911
Gelatin silver print on paper
238 x 194 mm
Centre Pompidou, Paris
Musée National d’Art Moderne / Centre de Création Industrielle
Purchased, 1987

 

 

An interesting premise –

“a premise is an assumption that something is true. In logic, an argument requires a set of (at least) two declarative sentences (or “propositions”) known as the premises or premisses along with another declarative sentence (or “proposition”) known as the conclusion” (Wikipedia)

– that the stories (the declarative sentences) of abstract art and abstract photography are intertwined (the conclusion). The two premises and one conclusion forms the basic argumentative structure of the exhibition.

Unfortunately in this exhibition, the abstract art and abstract photographs (declarations), seem to add up to less than the sum of its parts (conclusion).

Why is this so?

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The reason these two bedfellows sit so uncomfortably together is that they are of a completely different order, one to the other.

Take painting for example. There is that ultimate linkage between brain, eye and hand as the artist “reaches out” into the unknown, and conjures an abstract representation from his imagination. This has a quality beyond my recognition. The closest that photography gets to this intuition is the cameraless Photogram, as the artist paints with light, from his imagination, onto the paper surface, the physical presence of the print.

Conversely, we grapple with the dual nature of photography, its relation to reality, to the real, and its interpretation of that reality through a physical, mechanical process – light entering a camera (metal, glass, digital chips, plastic film) to be developed in chemicals or on the computer, stored as a physical piece of paper or in binary code – but then we LOOK and FEEL what else a photograph can be. What it is, and what else it can be.

Initially, to take a photograph is to recognise something physical in the world which can then be abstracted. Here is a tree, a Platonic ideal, now here is the bark of the tree, or cracks in dried mud, or Aaron Siskind’s Pleasures and Terrors of Levitation in which, in our imagination, the body is no longer human. This archaeology of photography is a learnt behaviour (from the world, from abstract paintings) where ones learns to turn over the truth to something else, a recognition of something else. Where one digs a clod of earth, inspects it, and then turns it over to see what else it can be.

We can look at something in the world just for what it is and take a photograph of it, but then we can look at the same object for what else it can be (for example, Man Ray’s image Dust Breeding (1920), which is actually dust motes on the top of Duchamp’s Large Glass). Photographers love these possibilities within the physicality of the medium, its processes and outcomes. Photographers love changing scale, perspective, distortion using their intuition to perhaps uncover spiritual truths. Here I are not talking about making doodles – whoopee look what I can make as a photographer! it’s important because I can do it and show it and I said it’s important because I am an artist! the problem with lots of contemporary photography – it is something entirely different. It is the integrity of the emotional and intellectual process.

Not a reaching out through the arm and hand, but an unearthing (a reaching in?) of the possibilities of what else photography can be (other than a recording process). As Stieglitz understood in his Equivalents, and so Minor White espoused through his art and in one of his three canons:

When the image mirrors the man
And the man mirrors the subject
Something might take over

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And that revelation is something completely different from the revelation of abstract art.

Dr Marcus Bunyan

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Many thankx to the Tate Modern for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

For the first time, Tate Modern tells the intertwined stories of photography and abstract art. The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.

Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.

Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.

 

 

“Despite its roll call of stellar names, the show’s adrenaline soon slumps. A rhythm sets in, as each gallery offers perhaps a single non photographic work and dozens of medium format black and white abstracts arranged on an allied theme: extreme close ups, engineered structures, worms’ and birds’ eye views, moving light, the human body, urban fabric.

Individually each photograph is quite wonderful, but they echo each other so closely in their authors’ attraction to diagonal arrangements, rich surface textures, dramatic shadows, odd perspectives and close cropping, that the same ‘point’ is being made a dozen times with little to distinguish between the variants. …

By the present day, abstract photography has given in to its already Ouroboros-like tendencies, and swallowed itself whole, offering abstract photographs about the process of photography, and the action of light on its materials. This is a gesture I relished in Wolfgang Tillmans’s show in the same space this time last year, when it was broken up by a plethora of other ideas and perspectives on photography. Here it feels like another level of earnest self-absorption with a century-long backstory.”

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Hettie Judah. ‘By halfway round I actually felt faint’ on the iNews website May 5th 2018 [Online] Cited 14/07/2018

 

 

 

Tate Curator, Simon Baker, meets Caroline von Courten from leading photography Magazine, Foam. Together they explore the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern.

 

 

 

 

Wyndham Lewis (1882-1957) 'Workshop' c. 1914-5

 

Wyndham Lewis (1882-1957)
Workshop
c. 1914-5
Tate
Purchased 1974
© Wyndham Lewis and the estate of Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity)

 

Paul Strand. 'Abstraction Bowls, Twin Lakes, Connecticut' 1916

 

Paul Strand (1890-1976)
Abstraction Bowls, Twin Lakes, Connecticut
1916
Silver gelatin print

 

Alvin Langdon Coburn (1882-1966) 'Vortograph' 1917

 

Alvin Langdon Coburn (1882-1966)
Vortograph
1917
Gelatin silver print on paper
283 x 214 mm
Courtesy of the George Eastman Museum NY
© The Universal Order

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing László Moholy-Nagy’s K VII at centre. Photo: © Tate / Andrew Dunkley.

 

László Moholy-Nagy (1895-1946) 'K VII' 1922

 

László Moholy-Nagy (1895-1946)
K VII
1922
Oil paint and graphite on canvas
Frame: 1308 x 1512 x 80 mm
Tate
Purchased 1961

 

 

The ‘K’ in the title of K VII stands for the German word Konstruktion (‘construction’), and the painting’s ordered, geometrical forms are typical of Moholy-Nagy’s technocratic Utopianism. The year after it was painted, he was appointed to teach the one year-preliminary course at the recently founded Bauhaus in Weimar. Moholy-Nagy’s appointment signalled a major shift in the school’s philosophy away from its earlier crafts ethos towards a closer alignment with the demands of modern industry, and a programme of simple design and unadorned functionalism.

Gallery label, April 2012

 

Man Ray. 'Rayograph' 1922

 

Man Ray (1890-1976)
Rayograph
1922
Gelatin silver print on paper
Private Collection
© Man Ray Trust/ADAGP, Paris and DACS, London 2018

 

El Lissitzky (1890-1941) 'Proun in Material (Proun 83)' 1924

 

El Lissitzky (1890-1941)
Proun in Material (Proun 83)
1924
Gelatin silver print on paper
140 x 102 mm
© Imogen Cunningham Trust. All rights reserved

 

László Moholy-Nagy (1895-1946) 'Photogram' c. 1925

 

László Moholy-Nagy (1895-1946)
Photogram
c. 1925
Gelatin silver print on paper
Photo: Jack Kirkland Collection, Nottingham

 

Wassily Kandinsky (1866-1944) 'Swinging' 1925

 

Wassily Kandinsky (1866-1944)
Swinging
1925
Oil paint on board
705 x 502 mm
Tate

 

Edward Steichen. 'Bird in Space' [L'Oiseau dans l'espace] 1926

 

Edward Steichen (1879-1973)
Bird in Space [L’Oiseau dans l’espace]
1926
Gelatin silver print on paper
253 x 202 mm
Bequest of Constantin Brancusi, 1957
Centre Pompidou, Paris
Musée National d’Art Moderne / Centre de Création Industrielle

 

Shape of Light, exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing at centre, Constantin Brancusi’s bronze and stone sculpture Maiastra (1911). Photo: © Tate / Andrew Dunkley.

 

Imogen Cunningham (1883-1976) 'Triangles' 1928

 

Imogen Cunningham (1883-1976)
Triangles
1928, printed 1947-60
Gelatin silver print on paper
119 x 93 mm
Pierre Brahm
© Imogen Cunningham Trust. All rights reserved

 

Joan Miró (1893-1983) 'Painting' 1927

 

Joan Miró (1893-1983)
Painting
1927
Tempera and oil paint on canvas
972 x 1302 mm
Tate
© Succession Miro/ADAGP, Paris and DACS, London 2018

 

Man Ray (1890-1976) 'Anatomies' 1930

 

Man Ray (1890-1976)
Anatomies
1930
Photo: © Man Ray Trust/ADAGP, Paris and DACS, London 2016

 

Aleksandr Rodchenko (1891-1956) 'Radio Station Power' 1929

 

Aleksandr Rodchenko (1891-1956)
Radio Station Power
1929
Gelatin silver print on paper
Lent by Jack Kirkland Collection, Nottingham
© A. Rodchenko and V. Stepanova Archive. DACS, RAO 2018

 

László Moholy-Nagy (1895-1946) 'Xanti Schawinsky on the balcony of the Bauhaus' 1929

 

László Moholy-Nagy (1895-1946)
Xanti Schawinsky on the balcony of the Bauhaus
1929
Gelatin silver print on paper

 

Luo Bonian (1911-2002) 'Untitled' 1930s

 

Luo Bonian (1911-2002)
Untitled
1930s
Gelatin silver print on paper
Courtesy The Three Shadows Photography Art Centre, Beijing
© Luo Bonian

 

Marta Hoepffner (1912–2000) 'Homage to de Falla' 1937

 

Marta Hoepffner (1912–2000)
Homage to de Falla
1937
Gelatin silver print on paper
387 x 278 mm
Stadtmuseum Hofheim am Taunus
© Estate Marta Hoepffner

 

Nathan Lerner (1913-1997) 'Light Tapestry' 1939

 

Nathan Lerner (1913-1997)
Light Tapestry
1939
Gelatin silver print on paper
401 x 504 mm
Musée d’Art Moderne de la Ville de Paris
Gift of Mrs Kiyoko Lerner, 2014
Photo: Nathan Lerner/© ARS, NY and DACS, London

 

Luigi Veronesi (1908-1998) 'Construction' 1938

 

Luigi Veronesi (1908-1998)
Construction
1938
Gelatin silver print on paper
286 x 388 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015

 

Luigi Veronesi (1908-1998) 'Photo n.145' 1940, printed 1970s

 

Luigi Veronesi (1908-1998)
Photo n.145
1940, printed 1970s
Gelatin silver print on paper
310 x 280 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015

 

Luigi Veronesi (1908-1998) 'Photo n.152' 1940, printed 1970s

 

Luigi Veronesi (1908-1998)
Photo n.152
1940, printed 1970s
Gelatin silver print on paper
320 x 298 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015

 

 

A major new exhibition at Tate Modern will reveal the intertwined stories of photography and abstract art. Shape of Light: 100 Years of Photography and Abstract Art will be the first show of this scale to explore photography in relation to the development of abstraction, from the early experiments of the 1910s to the digital innovations of the 21st century. Featuring over 300 works by more than 100 artists, the exhibition will explore the history of abstract photography side-by-side with iconic paintings and sculptures.

Shape of Light will place moments of radical innovation in photography within the wider context of abstract art, such as Alvin Langdon Coburn’s pioneering ‘vortographs’ from 1917. This relationship between media will be explored through the juxtaposition of works by painters and photographers, such as cubist works by George Braque and Pierre Dubreuil or the abstract expressionism of Jackson Pollock and Otto Steinert’s ‘luminograms’. Abstractions from the human body associated with surrealism will include André Kertesz’s Distorsions, Imogen Cunningham’s Triangles and Bill Brandt’s Baie des Anges, Frances 1958, exhibited together with a major painting by Joan Miró. Elsewhere the focus will be on artists whose practice spans diverse media, such as László Moholy-Nagy and Man Ray.

The exhibition will also acknowledge the impact of MoMA’s landmark photography exhibition of 1960, The Sense of Abstraction. Installation photographs of this pioneering show will be displayed with some of the works originally featured in the exhibition, including important works by Edward Weston, Aaron Siskind and a series by Man Ray that has not been exhibited since the MoMA show, 58 years ago.

The connections between breakthroughs in photography and new techniques in painting will be examined, with rooms devoted to Op Art and Kinetic Art from the 1960s, featuring striking paintings by Bridget Riley and installations of key photographic works from the era by artists including Floris Neussis and Gottfried Jaeger. Rooms will also be dedicated to the minimal and conceptual practices of the 1970s and 80s. The exhibition will culminate in a series of new works by contemporary artists, Tony Cairns, Maya Rochat and Daisuke Yokota, exploring photography and abstraction today.

Shape of Light is curated by Simon Baker, Senior Curator, International Art (Photography) and Shoair Mavlian, Assistant Curator, Tate Modern, with Emmanuelle de l’Ecotais, Curator for Photographs, Musée d’Art Moderne de la Ville de Paris. The exhibition will be accompanied by a fully illustrated catalogue from Tate Publishing and a programme of talks and events in the gallery.

Press release from Tate Modern

 

Jackson Pollock (1912-1956) 'Number 23' 1948

 

Jackson Pollock (1912-1956)
Number 23
1948
Enamel on gesso on paper
575 x 784 mm
Tate: Presented by the Friends of the Tate Gallery (purchased out of funds provided by Mr and Mrs H.J. Heinz II and H.J. Heinz Co. Ltd) 1960
© ARS, NY and DACS, London 2018

 

Otto Steinert (1915-1978) 'Composition of Forms' 1949

 

Otto Steinert (1915-1978)
Composition of Forms
1949
Gelatin silver print on paper
290 x 227 mm
Jack Kirkland Collection, Nottingham

 

Guy Bourdin (1928-1991) 'Untitled' 1952

 

Guy Bourdin (1928-1991)
Untitled
1952
Gelatin silver print on paper
277 x 164 mm
Purchased with funds provided by the Photography Acquisitions Committee 2015
© The Guy Bourdin Estate

 

Guy Bourdin (1928-1991) 'Untitled' 1952

 

Guy Bourdin (1928-1991)
Untitled
1952
Gelatin silver print on paper
232 x 169 mm
Purchased with funds provided by the Photography Acquisitions Committee 2015
© The Guy Bourdin Estate

 

Guy Bourdin (1928-1991) 'Untitled' c. 1950s

 

Guy Bourdin (1928-1991)
Untitled
c. 1950s
Gelatin silver print on paper
239 x 179 mm
Purchased with funds provided by the Photography Acquisitions Committee 2015
© The Guy Bourdin Estate

 

 

Untitled c.1950s is a black and white photograph by the French photographer Guy Bourdin. The entirety of the frame is taken up by a close-up of peeling paint. The paint sections fragment the image into uneven geometric shapes, which are interrupted by a strip of the dark surface beneath that winds from the top to the bottom of the frame. There is little sense of scale or contextual detail, resulting in a near-abstract composition.

Bourdin is best known for his experimental colour fashion photography produced while working for French Vogue between 1955 and 1977. This photograph belongs to an earlier period of experimentation, before he began to use colour and work in fashion. Taken outside the studio, it shows Bourdin’s sensitivity to the natural world and his attempt to transform the everyday into abstract compositions, bridging the gap between surrealism and subjective photography. Bourdin’s early work was heavily influenced by surrealism, as well as by pioneers of photography as a fine art such as Edward Weston, Paul Strand and Bill Brandt. His surrealist aesthetic can be attributed to his close relationship with Man Ray, who wrote the foreword to the catalogue for Bourdin’s first solo exhibition of black and white photographs at Galerie 29, Paris, in 1952.

This and other early works in Tate’s collection (such as Untitled (Sotteville, Normandy) c. 1950s, Tate P81205, and Solange 1957, Tate P81216) are typical of Subjektive Fotografie (‘subjective photography’), a tendency in the medium in the late 1940s and early 1950s. Led by the German photographer and teacher Otto Steinert, who organised three exhibitions under the title Subjektive Fotografie in 1951, 1954 and 1958, the movement advocated artistic self-expression – in the form of the artist’s creative approach to composition, processing and developing – above factual representation. Subjektive Fotografie’s emphasis on, and encouragement of, individual perspectives invited both the photographer and the viewer to interpret and reflect on the world through images. Bourdin’s interest in this can be seen in his early use of texture and abstraction, evident in close-up studies of cracked paint peeling off an external wall or a piece of torn fabric. These still lives were often dark in subject matter and tone, highlighting Bourdin’s interest in surrealist compositions and the intersection between death and sexuality. The works made use of the photographer’s urban environment, with deep black and high contrast printing techniques employed to create a sombre mood.

This approach was also important for Bourdin’s early portraiture, which anticipated his subsequent work in fashion. The subject of his portraits – often Solange Gèze, to whom the artist was married from 1961 until her death in 1971 – is usually framed subtly, rarely appearing in the centre or as the main focus of the image. In these works the figure is secondary, showing how Bourdin let the natural or urban environment frame the subject and integrate the body into its immediate surroundings. Bourdin was meticulous about the creative process from start to finish, sketching out images on paper and then recreating them in the landscape, using the natural environment as a stage set for his work.

Shoair Mavlian
August 2014

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Jackson Pollock’s Number 23 at left. Photo: © Tate / Sepharina Neville.

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Nathan Lerner’s Light Tapestry top left, and Otto Steinert’s Luminogram II centre right. Photo: © Tate / Sepharina Neville.

 

Otto Steinert (1915-1978) 'Luminogram II' 1952

 

Otto Steinert (1915-1978)
Luminogram II
1952
Gelatin silver print on paper
302 x 401 mm
Jack Kirkland Collection Nottingham
© Estate Otto Steinert, Museum Folkwang, Essen

 

Brett Weston. 'Mud Cracks' 1955

 

Brett Weston (1911-1993)
Mud Cracks
1955
Silver gelatin print
203 x 254 mm
Lent by the Tate Americas Foundation, courtesy of Christian Keesee Collection 2013
© The Brett Weston Archive/CORBIS

 

Peter Keetman (1916-2005) 'Steel Pipes, Maximilian Smelter' 1958

 

Peter Keetman (1916-2005)
Steel Pipes, Maximilian Smelter
1958
Gelatin silver print on paper
508 x 427 mm
F.C. Gundlach Foundation

 

Man Ray (1890-1976) 'Unconcerned Photograph' 1959

 

Man Ray (1890-1976)
Unconcerned Photograph
1959
Museum of Modern Art, New York
© Man Ray Trust/ADAGP, Paris and DACS, London 2018

 

Jacques Mahé de la Villeglé (b. 1926) 'Jazzmen' 1961

 

Jacques Mahé de la Villeglé (b. 1926)
Jazzmen
1961
Printed papers on canvas
2170 x 1770 mm
Presented by the Friends of the Tate Gallery 2000
© Jacques Mahé de la Villeglé

 

 

The Jazzmen is a section of what Jacques Villeglé termed affiches lacérées, posters torn down from the walls of Paris. These particular ones were taken on 10 December 1961. Following his established practice, Villeglé removed the section from a billboard and, having mounted it on canvas, presented it as a work of art. In ‘Des Réalités collectives’ of 1958 (‘Collective Realities’, reprinted in 1960: Les Nouveaux Réalistes, pp. 259-60) he acknowledged that he occasionally tore the surface of the posters himself, although he subsequently restricted interventions to repairs during the mounting process. The large blue and green advertisements for Radinola (at the top right and lower left) provide the main visible surface for The Jazzmen. These establish a compositional unity for the accumulated layers. Overlaid are fragmentary music posters and fly-posters, some dated to September 1961, including the images of the red guitarists that lend the work its title. The artist’s records give the source as rue de Tolbiac, a thoroughfare in the 13th arrondissement in south-east Paris. Villeglé usually uses the street as his title, but has suggested (interview with the author, February 2000) that the title The Jazzmen may have been invented for the work’s inclusion in the exhibition L’Art du jazz (Musée Galliera, Paris 1967).

Villeglé worked together with Raymond Hains (b. 1926) in presenting torn posters as works of art. They collaborated on such works as Ach Alma Manetro, 1949 (Musée nationale d’art moderne, Centre Georges Pompidou, Paris), in which typography dominates the composition. They first showed their affiches lacérées in May 1957 at the Galerie Colette Allendy, Paris, in a joint exhibition named Loi du 29 juillet 1881 ou le lyrisme à la sauvette (The Law of 29 July 1881 or Lyricism through Salvage) in reference to the law forbidding fly-posting. Villeglé sees a social complexity in the developments in the style, typography and subject of the source posters. He also considers the processes of the overlaying and the pealing of the posters by passers-by to be a manifestation of a liberated art of the street. Both aspects are implicitly political. As Villeglé points out, anonymity differentiates the torn posters from the collages of the Cubists or of the German artist Kurt Schwitters. In ‘Des Réalités collectives’ Villeglé wrote: ‘To collages, which originate in the interplay of many possible attitudes, the affiches lacérées, as a spontaneous manifestation, oppose their immediate vivacity’. He saw the results as extending the conceptual basis of Marcel Duchamp’s readymades, whereby an object selected by an artist is declared as art. However, this reduction of the artist’s traditional role brought an end to Villeglé’s collaboration with Hains, who held more orthodox views of creative invention.

In 1960 Villeglé, Hains and François Dufrêne (1930-82), who also used torn posters, joined the Nouveaux Réalistes group gathered by the critic Pierre Restany (b.1930). Distinguished by the use of very disparate materials and techniques, the Nouveaux Réalistes – who also included Arman (b.1928), Yves Klein (1928-62) and Jean Tinguely (1925-91) – were united by what Villeglé has called their ‘distance from the act of painting’ as characterised by the dominant abstraction of the period (interview February 2000). In this way, Klein’s monochrome paintings (see Tate T01513) and Villeglé’s affiches lacérées conform to the group’s joint declaration of 27 October 1960: ‘The Nouveaux Réalistes have become aware of their collective singularity. Nouveau Réalisme = new perceptual approaches to reality.’ The Jazzmen, of the following year, embodies Villeglé’s understanding of his ‘singularity’ as a conduit for anonymous public expression.

Matthew Gale
June 2000

 

Edward Ruscha (b.1937) 'Gilmore Drive-In Theater - 6201 W. Third St.' 1967, printed 2013

 

Edward Ruscha (b.1937)
Gilmore Drive-In Theater – 6201 W. Third St.
1967, printed 2013
Gelatin silver prints on paper
356 x 279 mm
Courtesy Ed Ruscha and Gagosian Gallery
© Ed Ruscha

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London. Photo: © Tate / Andrew Dunkley.

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Gregorio Vardanega’s Circular Chromatic Spaces 1967. Musée d’Art moderne de la Ville de Paris. Photo: © Tate / Andrew Dunkley.

 

John Divola. '74V11' 1974

 

John Divola (b. 1949)
74V11
1974
Silver gelatin print
Jack Kirkland Collection, Nottingham
© John Divola

 

Barbara Kasten (b.1936) 'Photogenic Painting, Untitled 74/13' (ID187) 1974

 

Barbara Kasten (b.1936)
Photogenic Painting, Untitled 74/13 (ID187)
1974
Salted paper print
558 x 762 mm
Courtesy the artist, Thomas Dane Gallery and Bortolami Gallery, New York
© Barbara Kasten

 

James Welling (b. 1951) 'Untitled' 1986

 

James Welling (b. 1951)
Untitled
1986
C-print on paper
254 x 203 mm
Jack Kirkland Collection, Nottingham
© James Welling. Courtesy the artist and David Zwirner, New York/London/Hong Kong and Maureen Paley, London

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Sigmar Polke’s Untitled (Uranium Green) 1992. Hans Georg Näder © The Estate of Sigmar Polke / VG Bild-Kunst Bonn and DACS London, 2018. Photo: © Tate / Seraphina Neville.

 

Sigmar Polke. 'Untitled (Uranium Green)' 1992

 

Sigmar Polke (1941-1910)
Untitled (Uranium Green) (detail)
1992
10 Photographs, C-print on paper
Image, each: 610 x 508 mm
The Estate of Sigmar Polke / VG Bild-Kunst Bonn 2017
Photo: Adam Reich/The Estate of Sigmar Polke / VG Bild-Kunst Bonn and DACS London, 2018

 

Daisuke Yokota (b. 1983) 'Untitled' 2014

 

Daisuke Yokota (b. 1983)
Untitled
2014
from Abstracts series
© Daisuke Yokota
Courtesy of the artist and Jean-Kenta Gauthier Gallery

 

 

Process is at the core of Yokota’s photographs. For his black-and-white work, such as the series Linger or Site/Cloud, Yokota sifts through an archive of more than 10 years of photographs in his Tokyo apartment. When he finds something that speaks to him – a nude figure, a chair, a building, a grove of trees – he makes a digital image of it, develops it, and rephotographs the image up to 15 times, until it becomes increasingly degraded. He develops the film in ways that are intentionally “incorrect,” allowing light to leak in, or singeing the negatives, using boiling water, or acetic acid. The purported subject fades, and shadows, textures, spots and other sorts of visual noise emerge. For his recent colour work, trippy, sensual abstractions, the process is similar, except that it is cameraless; he doesn’t start with a preexisting image. “I wanted to focus on the emulsion, on the different textures, more than on a subject being photographed,” says Yokota.

IN THE STUDIO
Daisuke Yokota
By Jean Dykstra

 

Antony Cairns (b. 1980) 'LDN5_051' 2017

 

Antony Cairns (b. 1980)
LDN5_051
2017
Courtesy of the artist
© Antony Cairns

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing the installation A Rock Is A River, 2018 by the aritst Maya Rochat. Courtesy Lily Robert and VITRINE, London | Basel © Maya Rochat. Photo: © Tate / Sepharina Neville.

 

Maya Rochat (b.1985) 'A Rock is a River (META CARROTS)' 2017

 

Maya Rochat (b.1985)
A Rock is a River (META CARROTS)
2017
Courtesy Lily Robert
© Maya Rochat

 

Maya Rochat (b.1985) 'A Rock is a River (META RIVER)' 2017

 

Maya Rochat (b.1985)
A Rock is a River (META RIVER)
2017
Courtesy Lily Robert
© Maya Rochat

 

 

Tate Modern
Bankside
London SE1 9TG
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08
Sep
12

Exhibition: ‘Art of Another Kind: International Abstraction and the Guggenheim, 1949-1960’ at the Guggenheim Museum, New York

Exhibition dates: 8th June 8 – 12th September 2012

 

Grace Hartigan.
 'Ireland' 1958


 

Grace Hartigan
 (American, 1922-2008)
Ireland
1958
Oil on canvas
200 x 271cm
The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice
© Grace Hartigan Estate

 

 

This is pure indulgence. These paintings are so delicious I couldn’t resist a posting. Just imagine having ANY of them (especially the Hartigan, de Kooning or the Soulanges) on your wall at home… oh my!

Marcus

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Many thankx to the Guggenheim Museum for allowing me to publish the pictures in the posting. Please click on the pictures to see a larger version of the image.

 

 

 

Alberto Burri (Italian, 1915-1995) 'Composition' 1953

 

Alberto Burri (Italian, 1915-1995)
Composition
1953
Burlap, thread, synthetic polymer paint, gold leaf, and PVA on black fabric
86 x 100.4cm
Solomon R. Guggenheim Museum, New York
© Fondazione Palazzo Albizzini Collezione Burri, Città di Castello/2018 Artist Rights Society (ARS), New York/SIAE, Rome

 

 

In 1943 Alberto Burri, a doctor in the Italian army, was captured by the British and sat out the remainder of World War II in a Texas POW camp. He began to paint there, covering his stretchers with burlap when other materials were unavailable. Upon his return to Italy in 1946 Burri renounced his original profession and dedicated himself to making art.

Composition is one of his Sacchi (sacks), a group of collage constructions made from burlap bags mounted on stretchers, which the artist began making in 1949. One of Burri’s first series employing nontraditional mediums, the Sacchi were initially considered assaults against the established aesthetic canon. His use of the humble bags may be seen as a declaration of the inherent beauty of natural, ephemeral materials, in contradistinction to traditional “high” art mediums, which are respected for their ostentation and permanence. Early commentators suggested that the patchwork surfaces of the Sacchi metaphorically signified living flesh violated during warfare – the stitching was linked to the artist’s practice as a physician. Others suggested that the hardships of life in postwar Italy predicated the artist’s redeployment of the sacks in which relief supplies were sent to the country.

Yet Burri maintained that his use of materials was determined purely by the formal demands of his constructions. “If I don’t have one material, I use another. It is all the same,” he said in 1976. “I choose to use poor materials to prove that they could still be useful. The poorness of a medium is not a symbol: it is a device for painting.” The title Composition emphasises the artist’s professed concern with issues of construction, not metaphor. Underlying the work is a rigorous compositional structure that belies the mundane impermanence of his chosen mediums and points to art-historical influences. The Sacchi rely on lessons learned from the Cubist- and Dada-inspired constructions of Kurt Schwitters.

Despite Burri’s cool public stance, the Sacchi are examples of the Expressionism widely practiced in postwar Europe, where such work was called Art Informel (in the U.S. it was called Abstract Expressionism). Artists used powerfully rendered gestures and accommodated chance occurrences to express the existential angst characteristic of the period.

Jennifer Blessing

Text from the Guggenheim website

 

Antoni Tàpies (Spanish, 1923-2012) 'Great Painting' 1958

 

Antoni Tàpies (Spanish, 1923-2012)
Great Painting
1958
Oil with marble dust and sand on canvas
79 x 103 1/2 inches (200.7 x 262.9cm)
Solomon R. Guggenheim Museum, New York
© 2018 Fundació Antoni Tàpies/Artists Rights Society (ARS), New York/VEGAP, Madrid

 

 

In the years after World War II, both Europe and America saw the rise of predominantly abstract painting concerned with materials and the expression of gesture and marking. New Yorkers dubbed the development in the United States Abstract Expressionism, while the French named the pan-European phenomenon of gestural painting Art Informel. A variety of the latter was Tachisme, from the French word tache, meaning blot or stain. Antoni Tàpies was among the artists to receive the label Tachiste because of the rich texture and pooled colour that seemed to occur accidentally on his canvases.

Tàpies reevaluated humble materials, things of the earth such as sand – which he used in Great Painting (Gran pintura, 1958) – and straw as well as the refuse of humanity such as string and bits of fabric. By calling attention to this seemingly inconsequential matter, he suggested that beauty can be found in unlikely places. Tàpies saw his works as objects of meditation that every viewer will interpret according to personal experience; he sought to inspire a contemplative reaction to reality through the integration of materials unexpected in fine art.

These images often resemble walls that have been scuffed and marred by human intervention and the passage of time. In Great Painting, an ocher skin appears to hang off the surface of the canvas; violence is suggested by the gouge and puncture marks in the dense stratum. These markings recall the scribbling of graffiti, perhaps referring to the public walls covered with slogans and images of protest that the artist saw as a youth in Catalonia – a region in Spain that experienced the harshest repression under dictator Francisco Franco. Tàpies called walls the “witnesses of the martyrdoms and inhuman sufferings inflicted on our people.”1 Great Painting suggests the artist’s poetic memorial to those who have perished and those who have endured.

Jennifer Blessing

1. Antoni Tàpies, La pratique de l’art (Paris: Gallimard, 1974), p. 59.

Text from the Guggenheim website

 

Kenzo Okada (Japanese, 1902-1982) 'Decision' 1956

 

Kenzo Okada (Japanese, 1902-1982)
Decision
1956
Oil on canvas
67 3/4 x 80 inches (172.8 x 203.2cm)
Solomon R. Guggenheim Museum, New York Gift, Susan Morse Hilles, 1981
© Kenzo Okada

 

 

After Kenzo Okada relocated from Tokyo to New York in 1950, his work came to represent a melding of Japanese traditions and American abstract trends. Rather than striving for pure abstraction, his work from the 1950s could be called “semi-abstract,” evoking the natural world through carefully composed form and a decidedly muted palette. These works are subtle, quiet, and poetic – more meditative in nature than the energetic gestural abstractions of some of his American-born counterparts. The composition of Decision (1956) is also organised to suggest natural topography. Blocky, softly defined shapes organically arrange the canvas into rough horizontal registers, creating a panoramic quality reminiscent of landscape painting. Meanwhile, small, irregular shapes hover and tumble rhythmically across the stable ground. Okada thus seeks a balance between heavy and delicate, tangible and abstract.

Text from the Guggenheim website

 

José Guerrero. 'Signs and Portents' 1956


 

José Guerrero (Spanish, 1914-1991)
Signs and Portents
1956
Oil on canvas
175.9 x 250.2cm
Solomon R. Guggenheim Museum, New York
© 2012 Artists Rights Society (ARS), New York/VEGAP, Madrid
© The Solomon R. Guggenheim Foundation

 

Kumi Sugaï (Japan, 1919-1996) 'Shiro' June 1957

 

Kumi Sugaï (Japan, 1919-1996)
Shiro
June 1957
Oil on canvas
63 5/8 x 51 inches (161.6 x 129.5 cm)
Solomon R. Guggenheim Museum, New York
© Kumi Sugaï

 

 

Kumi Sugaï lived and worked in Paris from 1952 until his death. Revered both in his native Japan and France, he used his early fascination with modern typography and his knowledge of East Asian calligraphy in his work. Combining and reinventing traditional aesthetics and contemporary forms, Sugaï reveals his syncretic approach to abstract painting in Shiro (June 1957). Here, his palette is restricted essentially to black, white, and blue, and the composition is at once spare and dynamic. The painting’s title is a reference to its central black form, the ideogram shiro, which means white. He has enlarged the character to occupy the entire composition and placed this abstract form on a white ground, both evoking and distorting its original calligraphic source.

Text from the Guggenheim website

 

Giuseppe Capogrossi (Italian, 1900-1972) 'Surface 210' 1957

 

Giuseppe Capogrossi (Italian, 1900-1972)
Surface 210
1957
Oil on canvas
81 1/4 x 63 inches (206.4 x 160cm)
Solomon R. Guggenheim Museum, New York
© 2018 Artists Rights Society (ARS), New York / SIAE, Rome

 

 

A decisive shift in Giuseppe Capogrossi’s career took place in 1949, when he moved away from figurative, tonal painting and experimented with an abstract geometric style that led to the development of a vocabulary of irregular comb- or fork-shaped signs. With no allegorical, psychological, or symbolic meaning, these structural elements could be assembled and connected in countless variations. Intricate and insistent, Capogrossi’s signs determined the construction of the pictorial surface. Similar to mysterious lists or sequences, his paintings were immediate in their appeal yet remained hard to decode, a quality he shared with other Art Informel practitioners. These abstract comb-sign paintings, known simply as Surfaces (Superficies, 1949-72), were first exhibited at the Galleria del secolo, Rome, in 1950. The comb sign dominated his oeuvre until the end of his career.

Text from the Guggenheim website

 

Takeo Yamaguchi.
 'Work - Yellow (Unstable Square [Fuantei shikaku])' 1958


 

Takeo Yamaguchi
 (Japanese, 1902-1983)
Work – Yellow (Unstable Square [Fuantei shikaku])
1958
Oil on plywood
182.6 x 182.6cm
Solomon R. Guggenheim Museum, New York
© Takeo Yamaguchi

 

 

In his native Japan, Takeo Yamaguchi was a pioneer of modern abstract painting. This focus led him to spend time in France, where he was much influenced by the work of Cubist practitioners in Paris, until he returned to Japan in 1931. In the 1950s, Yamaguchi began executing works consisting of simple, geometric forms – largely yellow, ochre, or russet in color – painted on a black background. His thick pigments added texture to the monochromatic compositions, and as seen in Work – Yellow (Unstable Square [Fuantei shikaku], 1958), Yamaguchi’s abstract shapes increasingly dominated the canvas. It is noteworthy that the painting was prominently displayed on the ground floor of the Guggenheim’s rotunda during the 1959 inaugural exhibition, attesting to then-director James Johnson Sweeney’s keen interest in Yamaguchi’s work.

Text from the Guggenheim website

 

Pierre Soulages.
 'Painting, November 20, 1956 (Peinture, 20 novembre 1956)' 1956

 

Pierre Soulages
 (French, b. 1919)
Painting, November 20, 1956 (Peinture, 20 novembre 1956)
1956
Oil on canvas
195 x 130.2cm
Solomon R. Guggenheim Museum, New York
© 2012 Artists Rights Society (ARS), New York/ADAGP, Paris

 

 

Pierre Soulages, a leading proponent of Tachisme (from the French word tache, meaning blot or stain), maintained that he decided to become a painter while inside the church of Sainte-Foy in Conques-en-Rouergue, near his birthplace in the South of France. The impressions of monumentality, stability, primitive force, and clearly organised volumes characteristic of the Romanesque style, as well as the mystery and sobriety of dark church interiors, were metaphorically transmitted in his mature style. Early on he was also drawn to the work of Claude Lorraine and Rembrandt van Rijn, whose rendering of light had an impact on his development. In 1938 he moved to Paris to prepare for the entrance exam to the École nationale supérieure des beaux-arts, but he soon abandoned his traditional studies at the school as a result of seeing exhibitions of the work of Paul Cézanne and Pablo Picasso and visiting the Louvre.

In his earliest work Soulages took leafless winter trees as his point of departure. Their essential, reduced network of branches – which Soulages regarded as abstract sculpture – provided him with an ideal vehicle for the exploration of structure and variation. During the German occupation of France, he met Sonia Delaunay, who introduced him to abstract art and set him on a new path. By the mid 1950s, Soulages had switched from a small brush, with which he had painted abstract calligraphic patterns, to palette knives, straightedges, and large house-painting brushes. These tools afforded him a greater range of motion in his wrist, allowing him to produce bold, dynamic strokes that resulted in a more gestural surface. Throughout his career, Soulages painted in a predominately black palette in order to explore the contrasts of light and shade, which endowed his paintings both an architectonic and a sculptural quality. In Painting, November 20, 1956 (Peinture, 20 novembre 1956, 1956), Soulages divided his canvas into three horizontal registers, articulating each with a repetition of slab-like black shapes that reveal a variety of red and brown nuances, as well as a certain luminosity.

Text from the Guggenheim website

 

 

From June 8 to September 12, 2012, the Solomon R. Guggenheim Museum presents Art of Another Kind: International Abstraction and the Guggenheim, 1949-1960. Comprising approximately 100 works by nearly 70 artists, the exhibition explores international trends in abstraction in the decade before the Guggenheim’s iconic Frank Lloyd Wright-designed building opened in October 1959, when vanguard artists working in the United States and Europe pioneered such influential art forms as Abstract Expressionism, Cobra, and Art Informel. In the 1950s, many countries ended their postwar isolationism and entered a phase of cultural openness and internationalism. The prominent French art critic Michel Tapié declared the existence of un art autre (art of another kind), a term embracing a mosaic of styles, but essentially signifying an avant-garde art that rejected a connection with any tradition or past idiom. With works by Karel Appel, Louise Bourgeois, Alberto Burri, Eduardo Chillida, Lucio Fontana, Grace Hartigan, Asger Jorn, Yves Klein, Willem de Kooning, Georges Mathieu, Isamu Noguchi, Kenzo Okada, Jackson Pollock, Pierre Soulages, Antoni Tàpies, Maria Helena Vieira da Silva, Takeo Yamaguchi, and Zao Wou-Ki, among others, the exhibition considers the artistic developments of the post-World War II period and draws greater attention to lesser-known artists in the museum?s collection alongside those long since canonised.

Abstract Expressionism encompasses a diverse range of postwar American painting that challenged the tradition of vertical easel painting. Beginning in the late 1940s, Pollock placed his canvases on the floor to pour, drip, and splatter paint onto them. This gestural act, with variations practiced by William Baziotes, De Kooning, Adolph Gottlieb, and others, was termed “Action painting” by American critic Harold Rosenberg, who considered it a product of the artist’s unconscious outpouring or the enactment of some personal drama. The New York school, as these artists were called due to the city’s postwar transformation into an international nexus for vanguard art, expanded in the 1950s with the unique contributions of such painters as James Brooks and Hartigan, as well as energetic collagist-assemblers Conrad Marca-Relli and Robert Rauschenberg. Other painters eliminated the gestural stroke altogether. Mark Rothko used large planes of colour, often to express universal human emotions and inspire a sense of awe for a secular world. Welder-sculptors such as Herbert Ferber and Theodore Roszak are also counted among the decade’s pioneering artists.

The postwar European avant-garde in many ways paralleled the expressive tendencies and untraditional methods of their transatlantic counterparts, though their cultural contexts differed. For artists in Spain, abstract art signified political liberation. Dissenting Italian artists correspondingly turned to abstraction against the renewed popularity of politicised realism. French artist Jean Dubuffet’s spontaneous approach, Art Brut (Raw art), retained figurative elements but radically opposed official culture, instead favouring the spontaneous and direct works of untrained individuals. His work influenced the Cobra group (1948-51), which was founded by Appel, Jorn, and other artists from Copenhagen, Brussels, and Amsterdam. The Cobra artists preferred thickly painted surfaces that married realism to lively colour and expressive line in a new form of primitivism.

Eventually taking root in France, Germany, Italy, Japan, and Spain, Art Informel refers to the anti-geometric, anti-naturalistic, and nonfigurative formal preoccupations of many European avant-garde artists, and their pursuit of spontaneity, looseness of form, and the irrational. Art Informel is alternatively known by several French terms: Abstraction lyrique (Lyrical Abstraction), Art autre (Art of another kind), matiérisme (matter art), and Tachisme (from tache, meaning blot or stain). The movement includes the work of Burri and Tàpies, who employed unorthodox materials like burlap or sand and focused on the transformative qualities of matter. Asian émigré artists Kumi Sugaï and Zao were likewise central to the postwar École de Paris (School of Paris) and melded their native traditions with modern painting styles. By the end of the 1950s, artists such as Lucio Fontana, Klein, and Piero Manzoni were exploring scientific, objective, and interactive approaches, and introduced pure monochrome surfaces. Other abstractionists engaged viewers’ senses and explored dematerialisation, focusing on optical transformations as opposed to the art object itself, and investigating the effects of motion, light, and colour.

Through the presentation of these varied styles and innovative developments in the post-World War II years, Art of Another Kind especially highlights paintings and sculptures that entered the Guggenheim collection under James Johnson Sweeney, the museum’s second director (1952-60). Following Solomon R. Guggenheim’s death in 1949 and the end of founding director and curator Hilla Rebay’s tenure in 1952, Sweeney championed emerging avant-garde artists and augmented the museum’s existing modern holdings with new works. Sweeney had stated, “I do not believe in the so-called ‘tastemakers,’ … but in what I would call ‘tastebreakers,’ the people who break open and enlarge our artistic frontiers.” His program of exhibitions and acquisitions considerably broadened the museum’s scope, and his vision included reconsidering the founding collection assembled by Solomon and Irene Guggenheim under Rebay’s guidance by uniting the abstract works by Vasily Kandinsky and other modernists with rarely seen representational works for a more complex perspective of the avant-garde in the first half of the twentieth century. Recently, the Guggenheim Museum highlighted his contributions to the institution in The Sweeney Decade: Acquisitions at the 1959 Inaugural, an exhibition featuring a selection of works that were first unveiled at the 1959 show in the museum’s new Wright building. On view in 2009 as part of the museum’s 50th-anniversary celebrations, The Sweeney Decade featured 24 paintings and sculptures from the 1950s collected under his leadership. Art of Another Kind offers a more comprehensive elaboration of his vision along with works that were added to the collection after his tenure.

 

Exhibition installation

While the exhibition explores individual styles, diversity within abstraction, and artists often working independently of established groups or affiliations, works are loosely organised according to artists’ locus of activity and stylistic trends: New York school; Art Brut and Cobra; School of Paris; Spanish and Italian Informalism; Kinetic art; and, finally, late 1950s experiments with matiérisme, performance-based painting, and the monochrome. Highlights within the installation include Outburst (Éclatement, 1956) by Judit Reigl, newly acquired in 2012, and Alexander Calder’s Red Lily Pads (Nénuphars rouges, 1956), suspended in the upper ramps and visible from the rotunda floor below. The exhibition also includes the work of 11 living artists.

Visitors will have the opportunity to browse through historic exhibition catalogues produced by the first full-time publications department established during Sweeney’s tenure. Designed by the Swiss-born typographer and designer Herbert Matter, catalogues from the era helped shape the museum’s visual identity and chronicle the development of the art championed by the Guggenheim under Sweeney in the 1950s. Selected books will be available in the museum at iPad stations and online at https://www.guggenheim.org/publications

Extensive content related to the exhibition will be available on the Guggenheim’s website, which features a selection of supporting materials from the museum’s archives, including letters between artists and director James Johnson Sweeney, invitations to exhibitions, and historic photos of Guggenheim exhibitions. In addition, 20 works and several exhibition themes will be explored through short texts. Multimedia content including video footage and interviews with the curators will be added to the site once the exhibition opens to the public.

Press release from the Guggenheim Museum website

 

Mark Rothko.
 'Untitled (Violet, Black, Orange, Yellow on White and Red)' 1949


 

Mark Rothko
 (American, 1903-1970)
Untitled (Violet, Black, Orange, Yellow on White and Red)
1949
Oil on canvas
207 x 167.6cm
Solomon R. Guggenheim Museum, New York
Gift, Elane and Werner Dannheisser and The Dannheisser Foundation
© 2012 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York

 

Jackson Pollock (American, 1912-1956) 'Untitled (Green Silver)' c. 1949

 

Jackson Pollock (American, 1912-1956)
Untitled (Green Silver)
c. 1949
Enamel and aluminum paint on paper, mounted to canvas
22 3/4 x 30 3/4 inches (57.8 x 78.1cm)
Solomon R. Guggenheim Museum, New York Gift, Sylvia and Joseph Slifka, 2004
© 2018 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

 

 

In the decades following World War II, a new artistic vanguard emerged, particularly in New York, that introduced radical new directions in art. The war and its aftermath were at the underpinnings of the movement that became known as Abstract Expressionism. These artists, anxiously aware of human irrationality and vulnerability, expressed their concerns in an abstract art that chronicled the ardor and exigencies of modern life. Their heroic aspirations are most evident in Jackson Pollock’s innovative “drip” paintings that forever altered the course of American art.

Arriving in New York in 1930 from the West Coast, Pollock began working with figuration of both human and imaginary beings. Most of this imagery was connected to that of American Indian sand painting and the Mexican muralists he saw as a youth and that reemerged through psychoanalysis to treat his lifelong alcoholism. His first fully mature works – dating between 1942 and 1947 – use an idiosyncratic iconography he developed in part as a response to Surrealism, popular in New York with its numerous European exiles from World War II. Employing mythical subject matter, calligraphic markings, and a vibrant and distinctive colour palette, Pollock produced emotionally charged works that retain figurative subject matter yet emphasise abstract qualities. Arising from this confluence of abstraction and figuration are Pollock’s breakthrough works, commonly perceived as pure abstraction and made over the course of an explosive period between late 1947 and 1950 as represented by Untitled (Green Silver). At the time, he also broke free from the standard use of implements, usually abandoning their direct contact with the surface. Working from above the picture plane, he dripped and poured enamel paints on canvases and papers, a method that more precisely controlled the application of line. His preference for the technique of fluid paint spilling from the can or drizzling from the tips of sticks or trowels was heralded by critic Harold Rosenberg as “action painting.” These unconventional working methods and his own physical presence while creating these works have assumed epic proportions. In the last four years of his life – he died in an automobile accident on August 11, 1956 – he produced significantly fewer works, with each further refining his pouring method. Compositionally, they hark back to his earlier style through the reintroduction of figurative elements as in Ocean Greyness, which also addresses his allover abstract technique. Its dramatic, swirling forms set against a dark ground recall Pollock’s Eyes in the Heat (1946).

Text from the Guggenheim website

 

Emilio Vedova (Italian, 1919-2006) 'Image of Time (Barrier)' 1951

 

Emilio Vedova (Italian, 1919-2006)
Image of Time (Barrier)
1951
Egg tempera on canvas
51 3/8 x 67 1/8 inches (130.5 x 170.4cm)
The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 1976
© Emilio Vedova

 

 

Emilio Vedova produced art in response to contemporary social upheavals, however his political position was contrary to that of his early modern counterparts, the Italian Futurists, who coalesced as a group in the years preceding World War I. While the Futurists romantically celebrated the aggressive energies inherent in societal conflict and technological advancement, Vedova’s feverish, violent canvases convey – in abstract terms – his horror and moral protestation in the face of man’s assault on his own kind.

Vedova expressed a political consciousness in his work for the first time during the late 1930s, when his works were inspired by the Spanish Civil War. His continuing commitment to social issues gave rise to series such as Cycle of Protest (Ciclo della protesta, 1956) and Image of Time (Immagine del tempo, 1946-59). Although the motivation behind Image of Time (Barrier) (Sbarramento) is political, its formal preoccupations parallel those of the American Abstract Expressionists, namely Franz Kline. The drama of the angular, graphic slashes of black on white is heightened with accents of orange-red. Occupying a shallow space, pictorial elements are locked together in formal combat and emotional turmoil.

Text from the Guggenheim website

 

Georges Mathieu (French, 1921-2012) 'Painting' 1952

 

Georges Mathieu (French, 1921-2012)
Painting
1952
Oil on canvas
78 3/4 x 118 inches (200 x 299.7cm)
Solomon R. Guggenheim Museum, New York
© 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

A key figure of the postwar art scene in Paris as well as a champion – and competitor – of the burgeoning movement of Abstract Expressionist painters in New York, Georges Mathieu practiced a mode of gestural abstraction that was decidedly calligraphic. His paintings were executed with controlled force, resulting in a matrix of lines bursting from a single point and thrusting outward in every direction, as seen in Painting (Peinture, 1952). The artist often squeezed paint directly from tubes onto the canvas and emphasised the necessity of rapid application in order to harness an intuitive expression. Mathieu also occasionally introduced a performative dimension to his painting in the 1950s, executing large canvases before audiences. This merger of painting and performance anticipated the work of Yves Klein and others in the late 1950s and 1960s.

Text from the Guggenheim website

 

Jackson Pollock. 'Ocean Greyness' 1953

 

Jackson Pollock (American, 1912-1956)
Ocean Greyness
1953
Oil on canvas
57 3/4 x 90 1/8 inches (146.7 x 229cm)
Solomon R. Guggenheim Museum, New York
© 2016 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York

 

 

The critical debate that surrounded Abstract Expressionism during the late 1940s was embodied in the work of Jackson Pollock. Clement Greenberg, a leading critic and Pollock’s champion, professed that each discrete art form should, above all else, aspire to a demonstration of its own intrinsic properties and not encroach on the domains of other art forms. A successful painting, he believed, affirmed its inherent two-dimensionality and aimed toward complete abstraction. At the same time, however, the critic Harold Rosenberg was extolling the subjective quality of art; fervent brushstrokes were construed as expressions of an artist’s inner self, and the abstract canvas became a gestural theater of private passions. Pollock’s art – from the early, Surrealist-inspired figurative canvases and those invoking “primitive” archetypes to the later labyrinthine webs of poured paint – elicited both readings. Pollock’s reluctance to discuss his subject matter and his emphasis on the immediacy of the visual image contributed to shifting and, ultimately, dialectic views of his work.

In 1951, at the height of the artist’s career, Vogue magazine published fashion photographs by Cecil Beaton of models posing in front of Pollock’s drip paintings. Although this commercial recognition signalled public acceptance – and was symptomatic of mass culture’s inevitable expropriation of the avant-garde – Pollock continuously questioned the direction and reception of his art. His ambivalence about abstract painting, marked by a fear of being considered merely a “decorative” artist, was exacerbated, and it was around this time that he reintroduced to his paintings the quasi-figurative elements that he had abandoned when concentrating on the poured canvases. Ocean Greyness, one of Pollock’s last great works, depicts several disembodied eyes hidden within the swirling coloured fragments that materialise from the dense, scumbled gray ground. “When you are painting out of your unconscious,” he claimed, “figures are bound to emerge.” Manifest in this painting is a dynamic tension between representation and abstraction that, finally, constitutes the core of Pollock’s multileveled oeuvre.

Nancy Spector

Text from the Guggenheim website

 

Willem de Kooning. 'Composition' 1955


 

Willem de Kooning (American, 1904-1997)
Composition
1955
Oil, enamel, and charcoal on canvas
201 x 175.6cm
Solomon R. Guggenheim Museum, New York
© 2012 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York

 

 

Although often cited as the originator of Action Painting, an abstract, purely formal and intuitive means of expression, Willem de Kooning most often worked from observable reality, primarily from figures and the landscape. From 1950 to 1955, de Kooning completed his famous Women series, integrating the human form with the aggressive paint application, bold colours, and sweeping strokes of Abstract Expressionism. These female “portraits” provoked not only with their vulgar carnality and garish colours, but also because of their embrace of figural representation, a choice deemed regressive by many of de Kooning’s Abstract Expressionist contemporaries, but one to which he consistently returned for many decades.

Composition serves as a bridge between the Women and de Kooning’s next series of work, classified by critic Thomas Hess as the Abstract Urban Landscapes (1955-58). According to the artist, “the landscape is in the Woman and there is Woman in the landscapes.” Indeed, Composition reads as a Woman obfuscated by de Kooning’s agitated brushwork, clashing colours, and allover composition with no fixed viewpoint. Completed while the artist had a studio in downtown New York, Composition’s energised dashes of red, turquoise, and chrome yellow suggest the frenetic pace of city life, without representing any identifiable urban inhabitants or forms.

Painted 20 years later, after de Kooning moved to East Hampton, New York, seeking to work in greater peace and isolation,  … Whose Name Was Writ in Water takes nature as its theme. Water was a favourite subject of the artist, and he devised a rapid, slippery technique of broad impasto strokes with frayed edges, speckled with drips, to convey its fluidity and breaking movement. The title, taken from an epigraph on Keats’s tomb, which de Kooning had seen on a trip to Rome in 1960, is, according to critic Harold Rosenberg, “the closest de Kooning can come to saluting overtly the impermanence of existence, and things in a state of disappearance.” Always aiming to reinforce the content of his work with his technique, de Kooning reworked his canvases over and over again, making each painting a composite of evanescent visual traces. The scrambled pictorial vocabulary and condensed space of the urban landscapes was gradually diffused in de Kooning’s later work. More open compositions, a less cluttered palette, and looser, liquid brushstrokes reveal a painter relieved of the nervous, claustrophobic atmosphere of city life and newly at peace with his rural surroundings.

Bridget Alsdorf

Text from the Guggenheim website

 

Pierre Alechinsky (Belgium, b. 1927) 'Vanish' 1959

 

Pierre Alechinsky (Belgium, b. 1927)
Vanish
1959
Oil on canvas
78 3/4 x 110 1/4 inches (200 x 280cm)
Solomon R. Guggenheim Museum, New York Gift, Julian and Jean Aberbach, 1967
© 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

Pierre Alechinsky was a central figure in Cobra, a European artists’ group that emphasised material and its spontaneous application. The abstract and concrete often merge in his work; in Vanish (Disparaître, 1959), Alechinsky focused on the appearance and disappearance of a female figure in the centre of the canvas. This emergent shape and the background coalesce into a vigorously brushed surface that is distinguished by thickly impastoed white pigment and a network of predominantly blue lines. There are still traces of the allover patterning that characterises the artist’s watercolours and earlier canvases such as The Ant Hill (La fourmilière, 1954). His work likewise exhibits a fluidity and vitality that points to the artist’s fascination with Japanese calligraphy, which he observed during his travels to Japan in 1955.

Text from the Guggenheim website

 

Jean Dubuffet. 'The Substance of Stars' December 1959

 

Jean Dubuffet (French, 1901-1985)
The Substance of Stars
December 1959
Metal foil on Masonite
59 x 76 3/4 inches (150 x 195cm)
Solomon R. Guggenheim Museum, New York
© 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

In Jean Dubuffet’s Matériologies series (1959-60), of which The Substance of Stars (Substance d’astre, December 1959) is an example, form is subverted by an emphasis on materials, meant to stimulate mental responses and associations in the viewer. Far from being an abstraction in the usual sense, this and other such works suggest concern with topographical reality – the earth, water and sky, and the stars. These elements are not conveyed through descriptive images or through the use of materials identical with a natural substance, but through evocative effects of their artificial counterparts, here black, gray, and silver metal foil. Nature, although closely observed, is thus rendered through artifice, and reality conjured up through elaborate illusion.

Text from the Guggenheim website

 

Karel Appel.
 'The Crying Crocodile Tries to Catch the Sun' 1956


 

Karel Appel
 (Dutch, 1921-2006)
The Crying Crocodile Tries to Catch the Sun
1956
Oil on canvas
145.5 x 113.1cm
The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice, 1976
© 2012 Karel Appel Foundation/Artists Rights Society (ARS), New York

 

 

Karel Appel, like Asger Jorn, was a member of the Cobra group, which emphasised material and its spontaneous application. Although the group was short-lived, its concerns have endured in his work. The single standing figures of humans or animals he developed during the 1950s are rendered in a deliberately awkward, naive way, with no attempt at modelling or perspectival illusionism. Thus, the crocodile in this painting is presented as a flat and immobile form, contoured with heavy black lines in the manner of a child’s drawing.

Appel’s paint handling activates a frenzy of rhythmic movement in The Crying Crocodile Tries to Catch the Sun (1956), despite the static monumentality of the subject. Drips and smears are interspersed with veritable stalactites of brilliant, unmodulated colour that buckle, ooze, slash, wither, and thread their way over the surface. The physicality of the impasto and its topographic variety allow it to reflect light and cast shadows dramatically, increasing the emotional intensity of violent colour contrasts. In 1956 Appel summarised the genesis of his work: “I never try to make a painting; it is a howl, it is naked, it is like a child, it is a caged tiger… My tube is like a rocket writing its own space.”1

Lucy Flint

1. Karel Appel, quoted in Alfred Frankenstein, ed., Karel Appel (New York: Harry N. Abrams, 1980), p. 52.

Text from the Guggenheim website

 

Asger Jorn. 'A Soul for Sale (Ausverkauf einer Seele)' 1958-59


 

Asger Jorn (Danish, 1914-1973)
A Soul for Sale (Ausverkauf einer Seele)
1958-59
Oil with sand on canvas
200 x 250cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Evelyn Sharp Foundation, 1983
© 2012 Donation Jorn, Silkeborg / Artists Rights Society (ARS), New York/COPY-DAN, Copenhagen

 

 

Asger Jorn’s career began in 1936 when he ventured from Copenhagen to Paris with the goal of apprenticing under the legendary painter Vasily Kandinsky. On his arrival, however, Jorn promptly learned that Kandinsky did not operate his own academy. Instead, the young artist enrolled in Fernand Léger’s Académie contemporaine and worked with Le Corbusier on his Pavillon des temps nouveaux at the World Exhibition of 1937, experiencing firsthand the formal restraint and balance that characterised the art and architecture of Le Corbusier’s Purism – a movement dedicated to highly rationalised geometric forms.

But Jorn preferred methods rooted in spontaneity and would ultimately reject the techniques of his teachers in favour of a life of art, writing, and activism that amounted to an assault on rationality in all its guises – painterly, architectural, and social. In 1948 Jorn and others, including Karel Appel, founded Cobra, an international collection of like-minded experimental artists. Indebted to the style of Jorn’s friend Jean Dubuffet – whose Art Brut looked to traditions of art making commonly considered debased or vulgar by the art establishment – Cobra art combined Surrealist automatism with the materiality of gestural mark making. Many of Jorn’s early paintings exist on the boundary between abstraction and figuration, aligning his practice with that of American contemporaries including Willem de Kooning and Jackson Pollock.

In 1957 Jorn merged his anti-Bauhaus group, the Mouvement internationale pour un Bauhaus imaginiste (International movement for an imaginist Bauhaus, founded in 1954), with Guy Debord’s Lettrist International, to form the Internationale Situationiste (Situationist International, SI), a Marxist, activist group of writers, artists, and theorists who sought to destabilise societal practices and structures ranging from urban planning to the art establishment. Jorn continued to exhibit an anarchic spirit even after he left the SI in 1961. As an act of rebellion against the concept of art prizes, for instance, he refused to accept the Guggenheim Museum’s 1964 International Award for his painting Dead Drunk Danes (Døddrukne Danskere, 1960), stating in a telegram that he wanted no part of the museum’s “ridiculous game.”

During his SI period Jorn focused great effort on a series of “modification” paintings, which utilised other paintings as pre-existing supports on which to produce new images or marks, but he also continued to work within his Cobra aesthetic, making paintings such as A Soul for Sale (Ausverkauf einer Seele, 1958-59). In both its use of expressive brushwork and its collapsing of foreground and background, figuration and abstraction, A Soul for Sale articulates some of Jorn’s most significant interrogations of the precepts of geometric abstraction and rationalised art making. Barely discernible amid a field of gestural marks, the work’s central figure – demarcated by fragmented contour lines that seem to merge with the abstract ground even as they define the figure’s form – appears on the verge of disappearing. Jorn seems to deny his subject even as he represents it. In a similar fashion, rational strategies of delineating form or representing depth, seen in the contour drawing or in the crosshatching at the top right of the painting, are overcome by strikingly crude or naive methods of mark making, such as scattered soil or paint smudges – techniques Jorn first developed early on as a Cobra artist.

Text from the Guggenheim website

 

Yves Klein (French, 1928-1962) 'Large Blue Anthropometry (ANT 105) [La Grande Anthropométrie Bleue (ANT 105)]' c. 1960

 

Yves Klein (French, 1928-1962)
Large Blue Anthropometry (ANT 105) [La Grande Anthropométrie Bleue (ANT 105)]
c. 1960
Blue pigment and synthetic resin on paper on canvas
280 x 428cm
Guggenheim Museum Bilbao

 

 

Yves Klein’s first passion in life was judo. In 1952 he moved to Tokyo and studied at the Ko-do-kan Judo Institute, where he earned a black belt. When he returned to Paris in 1955 and discovered to his dismay that the Fédération Française de Judo did not extol him as a star, he shifted his attentions and pursued a secondary interest – a career in the arts. During the ensuing seven years Klein assembled a multifarious and critically complex body of work ranging from monochrome canvases and wall reliefs to paintings made with fire. He is renowned for his almost exclusive use of a strikingly resonant, powdery ultramarine pigment, which he patented under the name “International Klein Blue,” claiming that it represented the physical manifestation of cosmic energy that, otherwise invisible, floats freely in the air. In addition to monochrome paintings, Klein applied this pigment to sponges, which he attached to canvases as relief elements or positioned on wire stands to create biomorphic or anthropomorphic sculptures. First exhibited in Paris in 1959, the sponge sculptures – all essentially alike, yet ultimately all different – formed a forest of discrete objects surrounding the gallery visitors. About these works Klein explained, “Thanks to the sponges – raw living matter – I was going to be able to make portraits of the observers of my monochromes, who … after having voyaged in the blue of my pictures, return totally impregnated in sensibility, as are the sponges.”1

For his Anthropométries series, Klein famously used nude female models drenched in paint as “brushes.” His system of pressing bodies against the paper support (which was later mounted on canvas) rejected any illusion of a third dimension in the pictorial space. In these works, the subject, object, and medium become confused with one another to produce a trace of the body’s presence. Klein’s unconventional activities also included releasing thousands of blue balloons into the sky, and exhibiting an empty, white-walled room and then selling portions of the interior air, which he called “zones” of “immaterial pictorial sensibility.” His intentions remain perplexing thirty years after his sudden death. Whether Klein truly believed in the mystical capacity of the artist to capture cosmic particles in paint and to create aesthetic experiences out of thin air and then apportion them at whim is difficult to determine. The argument has also been made that he was essentially a parodist who mocked the metaphysical inclinations of many modern painters, while making a travesty of the art market.

Nancy Spector

1. Yves Klein, “Remarques sur quelques oeuvres exposées chez Colette ‘Allendy’,” 1958, Klein archive, quoted in Nan Rosenthal, “Assisted Levitation: The Art of Yves Klein,” in Yves Klein 1928-1962: A Retrospective, exh. cat. (Houston: Institute for the Arts, Rice University, 1982), p. 111.

Text from the Guggenheim website

 

 

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
Monday – Wednesday, Friday 10am – 5.45pm
Saturday 10am – 7.45pm
Thursday closed

Solomon R. Guggenheim Museum website

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06
Jan
12

Exhibition: ‘Gerhard Richter: Panorama’ at Tate Modern, London

Exhibition dates: 6th October 2011 – 8th January 2012

 

Many thankx to the Tate Modern for allowing me to publish the artwork in the posting. Please click on the photographs for a larger version of the image.

 

 

Gerhard Richter. 'Reader' 1994

 

Gerhard Richter (German, b. 1932)
Reader
1994
Courtesy San Francisco Museum of Modern Art
© Gerhard Richter

 

Gerhard Richter. 'Mustang Squadron' 1964

 

Gerhard Richter (German, b. 1932)
Mustang Squadron
1964
Private Collection
© Gerhard Richter

 

Gerhard Richter. 'Abstract Painting' 1990

 

Gerhard Richter (German, b. 1932)
Abstract Painting
1990
Tate. Purchased 1992
© Gerhard Richter
Photo: Lucy Dawkins

 

Gerhard Richter. 'Forest (3)' and 'Forest (4)' 1990

 

Gerhard Richter (German, b. 1932)
Forest (3) and Forest (4)
1990
Private collection (left) and The Fisher Collection, San Francisco (right)
© Gerhard Richter
Photo: Lucy Dawkins

 

 

Gerhard Richter is widely regarded as one of the most important artists working today. Spanning nearly five decades, and coinciding with the artist’s eightieth birthday, Gerhard Richter: Panorama is a major retrospective that groups together significant moments of his remarkable career.

As evoked by the title Panorama this exhibition presents a broad look at the wide range of Richter’s practice, discovering contradictions and connections, continuities and breaks. Each room is devoted to a particular moment of his career showing how he explored a set of ideas. While the focus is on painting, the exhibition includes glass constructions, mirrors, drawings, and photographs, and explores how Richter uses these media to ask questions about painting.

The exhibition includes many of Richter’s most well-known works such as Ema (Nude descending a staircase) 1966, Candle 1982, Betty 1988 and Reader 1994. There are also important works that are rarely shown: the first Colour Chart from 1966, 4 Panes of Glass 1967, a triptych of Cloud paintings from 1970, and, for the first time outside Germany, Richter’s monumental twenty metre long painting Stroke (on Red) 1980, based on a photograph of a brush stroke. There are several groups of important abstract paintings including a room of brightly coloured works from the early 1980s, a room of monumental squeegee paintings from the 1990s, and the Cage series 2006.

Richter was one of the first German artists to reflect on the history of National Socialism, creating paintings of family members who had been members, as well as victims of, the Nazi party. In the late 1980s, looking back to the history of radical political activity in West Germany in the 1970s, he produced the fifteen-part work 18 October 1977 1988, a sequence of black and white paintings based on images of the Baader Meinhof group. At the same time as developing a complex body of abstract work, often using squeegees to drag paint across the surface of his canvases, Richter has continued to respond to significant moments in history. In 2005 he painted September, an image of the terrorist attacks on the World Trade Center in New York in 2001, which is shown for the first time in the UK in this exhibition.

Richter is often celebrated for the diversity of his approaches to painting. His practice can seem to be structured by various oppositions, with paintings after photographs as well as abstract pictures; traditional still-lifes alongside highly charged subjects; monochrome grey works and multicoloured grids. Some paintings are planned out and ordered; others are the result of unpredictable accumulations of marks and erasures. Richter sometimes maintains these oppositions, but at other times he undoes them.  This exhibition shows how he often brings abstraction and figuration together, and explores related ideas in very different looking works. The exhibition reveals breaks and new beginnings in his career, but it also reveals questions that he has asked throughout his life.

 

Short Biography

Richter was born in Dresden in 1932 and after training in the East, moved to West Germany in 1961. He was part of a group of painters working in Düsseldorf, that included Sigmar Polke and Konrad Lueg, who turned to image-based painting during the emergence of American Pop art. Major solo exhibitions include the 36th Venice Biennale in 1972, his first large-scale retrospective at Städtische Kunsthalle und Kunstverein für die Rheinlande und Westfalen, Düsseldorf in 1986 and Forty Years of Painting, a large-scale retrospective at the Museum of Modern Art, New York, 2002. He installed Black Red Gold in the foyer of the Reichstag building in Berlin in 1999 and the window that he designed for Cologne Cathedral was completed in 2007. Richter lives and works in Cologne.”

Press release from the Tate Modern website

 

Gerhard Richter. 'Abstract Painting' 1990

 

Gerhard Richter (German, b. 1932)
Abstract Painting
1990
Private Collection
© Gerhard Richter

 

Gerhard Richter. 'Demo' 1997

 

Gerhard Richter (German, b. 1932)
Demo
1997
The Rachofsky Collection
© Gerhard Richter

 

Gerhard Richter. 'Cage 4' 2006

 

Gerhard Richter (German, b. 1932)
Cage 4
2006
Tate. Lent from a private collection 2007
© Gerhard Richter

 

 

Tate Modern
Bankside
London SE1 9TG

Opening hours:
Sunday – Thursday, 10.00 – 18.00
Friday – Saturday, 10.00 – 22.00

Tate Modern website

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14
Jan
10

Review: ‘Cubism & Australian Art’ at Heide Museum of Modern Art, Bulleen

Exhibition dates: 24th November 2009 – 8th April 2010

 

Jean Appleton (Australian, 1911-2003) 'Painting IX' 1937

 

Jean Appleton (Australian, 1911-2003)
Painting IX
1937
Whitworth/Bruce Collection

 

 

Perfect summer fare out at Heide at the moment – relax with a lunch at the new Cafe Vue followed by some vibrantly fresh art in the galleries. In a nicely paced exhibition, Cubism & Australian Art takes you on a journey from the 1920s to the present day, the art revealing itself as you move through the galleries.

There are too many individual works to critique but some thoughts and ideas do stand out.

 

Cezanne’s use of passage (A French term (pronounced “pahsazh”) for a painting technique characterised by small, intersecting planes of patch-like brushwork that blend together to create an image), the transition between adjacent shapes, where solid forms are fused with the surrounding space was an important starting point for the beginnings of Cubism. Simultaneity – movement, space and the dynamism of modern life – was matched to Cubism’s new forms of pictorial organisation. The geometries of the Section d’Or (or the Gold Mean), that magical ratio found in all forms, also sounds an important note as it flows through the rhythmic movement and the sensations of temporal reality.

In the work from the 1920s/30s presented in the exhibition the palette of most of the works is subdued, the form of circles and geometrics. There are some beautiful paintings by one of my favourite Australian artists Roy de Maistre and others by Eric Wilson, Sam Atyeo and Jean Appleton (see image above). The feeling of these works is quiet and intense.

 

Following

There are some evocative works from the 1940s/50s including Godfrey Miller’s Still Life with Musical Instruments (1958, below), Graham King’s Industrial Landscape (1959) and Ralph Balson’s Constructive painting (1951). The Charcoal Burner (1959) by Fred Williams (see image below) is the Australian landscape seen through Cubist eyes, surface and space perfectly commingled in reserved palette, delineated planes. Grace Crowley’s Abstract Painting (1947, see image below) is a symphony of colour, plane and form that I would willingly take home any day of the week!

 

Now

It is the contemporary work that is of most interest in this exhibition. Spatio-temporal reality is distorted as artists push the boundaries of dimensionality. The parameters of reality are blurred and extended through the use of multiple viewpoints and lines of sight. Fresh and spatially aware (like an in joke because everyone recognises the fragmented ‘nature’ of contemporary existence) we have the sublime Milky Way (1995, see image below) by Rosalie Gascoigne and for me the two standout pieces in the exhibition, Bicycles (2007, below) by James Angus and Static No.9 (a small section of something larger) (2005, below) by Daniel Crooks.

Though difficult to see in the photograph of the work (below), Bicycles fuses three bicycles into one. “A photo finish made actual, a series of frames at the conclusion of a race transferred permanently into three dimensions.” You look and then look again: three frames into one, three tyres into one, three stands into one, three chains the only singular – like a freeze frame of a motor drive on a camera

Snap
Snap
Snap

or the slight difference of the two images of a Victorian stereoscope made triumvirate (the 3D world of Avatar comes to mind). Static, the bicycle can never work, is redundant, but paradoxically moves at the same time.

Even more mesmerising is the video work Static No.9 (a small section of something larger) by Daniel Crooks. Unfortunately I cannot show you the video but a still from the video can be seen below as well as a link to a trailer of the work. Imagine this animated like swirling DNA (in actual fact it is people walking across an intersection at different distances and speeds to the camera – and then sections taken out of the video and layered). Swirling striations through time and space fragment identity so that people almost become code, the sound track the distorted beep beep beep of the buzzer at the crossing. I could have sat there for hours watching the performance as it crackles with energy and flow – with my oohs and aahs! The effect is magical, beautiful, hypnotic.

A great summer show – fresh, alive and well worth the journey if only to see that static in all its forms has never looked so good.

Dr Marcus Bunyan for Art Blart

.
Many thankx to the Heide Museum of Modern Art for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

Cubism and Abstract Art

 

Alfred Barr’s Cubism diagram – original cover of Cubism and Abstract Art, Museum of Modern Art, New York, exhibition catalogue, 1936

 

Ralph Balson (Australian, 1890-1964) 'Painting no. 17' 1941

 

Ralph Balson (Australian, 1890-1964)
Painting no. 17
1941
Oil and metallic paint on cardboard
91.7 x 64.8 cm
Hassall Collection

 

 

By 1941 Ralph Balson had abandoned the figure for a completely abstract style. He announced this breakthrough in a solo exhibition at the Fine Art Galleries at Anthony Hordern and Sons in Sydney with paintings that evolved in part out of Albert Gleizes’s style of Cubism: uninflected surfaces, essential forms, respect for the two-dimensionality of the picture surface and the sense of a search for a deeper, universal truth.

Though at the time unusual for Australian art, such developments were concurrent with advancements in abstraction in the UK and US. This new mode of painting was to preoccupy Balson and Crowley, and to a lesser extent Frank Hinder, for the rest of the decade.

Balson’s ‘constructive’ pictures became sophisticated and intricate, characterised by Constructive painting (1945), with its overlapping translucent planes and array of discs, squares and rectilinear shapes in an animated state of flux, and perhaps culminating in Constructive painting (1951). This work has a different kind of luminosity, as if the picture has an inner light. As Balson himself said of such images, they are ‘abstract from the surface, but more truly real with life’.

Heide Education Resource p. 15.

 

Dorrit Black (Australian, 1891-1951) 'The bridge' 1930

 

Dorrit Black (Australian, 1891-1951)
The bridge
1930
Oil on canvas on board
60 x 81 cm
Art Gallery of South Australia, Adelaide
Bequest of Dorrit Black, 1951

 

Roy de Maistre (Australian, 1894-1968) 'The football match' 1938

 

Roy de Maistre (Australian, 1894-1968)
The football match
1938
Oil on canvas
71.5 x 92 cm
The Janet Holmes à Court Collection

 

Eric Wilson (Australian, 1911-1946) 'Theme for a mural' 1941

 

Eric Wilson (Australian, 1911-1946)
Theme for a mural
1941
Oil on plywood on corrugated iron
53.2 x 106.8
National Gallery of Victoria, purchased 1958

 

Sidney Nolan (Australian, 1917-1992) 'Rimbaud royalty' 1942

 

Sidney Nolan (Australian, 1917-1992)
Rimbaud royalty
1942
Synthetic polymer paint on composition board
59.5 x 90 cm
Heide Museum of Modern Art
Bequest of John and Sunday Reed

 

Ralph Balson (Australian, born England 1890-1964; worked in Australia 1913-64) 'Constructive painting' 1948

 

Ralph Balson (Australian, born England 1890-1964; worked in Australia 1913-64)
Constructive painting
1948
Oil on cardboard
106.8 × 71.0 cm
National Gallery of Victoria, Melbourne
Bequest of Grace Crowley, 1981
© Ralph Balson Estate

 

Grahame King (Australian 1915-2008) 'Industrial Landscape' 1960

 

Grahame King (Australian 1915-2008)
Industrial Landscape
1960
Oil on board
91.00 x 122.00cm
Charles Nodrum Gallery

 

Daniel Crooks (New Zealand, b. 1973) 'Portrait #2' (Chris) 2007

 

Daniel Crooks (New Zealand, b. 1973)
Portrait #2 (Chris)
2007
Lambda photographic print
102 cm x 102cm
Heide Museum of Modern Art
Purchased with funds from the Robert Salzer Foundation 2012

 

 

“With these portraits I’m attempting to make large detailed images of people in their own surroundings, images of people very much in and of their time that are both intriguing and beautiful. As with a lot of my work the portraits also seek to render the experience of time in a more tangible material form, blurring the line between still and moving images and looking to new post-camera models of spatiotemporal representation.”

Daniel Crooks

.
Portrait #2 (Chris)
forms part of Daniel Crooks’s Scanlines, a series of moving image works and prints made using digital collage techniques. This involves digitally slicing images then reassembling them sequentially, across the screen or picture plane, to create rhythmic and spatial effects through which Crooks seeks to explore ideas and themes related to our understandings of time and motion.

 

 

Elizabeth Gower (Australian, b. 1952)
City Series
1982-84
Acrylic on paper
© Courtesy the artist and Sutton Gallery, Melbourne and Milani Gallery, Brisbane

 

Elizabeth Gower (Australian, b. 1952) 'Transient' 1979

 

Elizabeth Gower (Australian, b. 1952)
Transient
1979
Synthetic, polymer paint and resin on rice paper, newsprint and garment patterns
© Courtesy the artist and Sutton Gallery, Melbourne and Milani Gallery, Brisbane

 

Elizabeth Gower found a new relevance for Cubism in her abstract series Shaped works (1978-84) … Cubist collage combined with feminist ideas to inspire her use of everyday materials such as newsprint and garment patterns. Transparent rice paper adds a delicacy and lightness to the work. The dynamic overlap of flat planes and juxtaposition of contrasting shapes, textures and patterns relates directly to the legacy of Synthetic Cubism. The work of Sonia Delaunay was also a particular inspiration for Gower.

Heide Education Resource p. 23.

 

Melinda Harper (Australian, b. 1965) 'Untitled' 2000

 

Melinda Harper (Australian, b. 1965)
Untitled
2000
Oil on canvas
183.0 × 152.3 cm
National Gallery of Victoria, Melbourne
Presented through the NGV Foundation by Robert Gould, Founder Benefactor, 2004
© Melinda Harper/Licensed by Copyright Agency, Australia

 

 

Cubism & Australian Art, one of the most ambitious and extensive exhibitions Heide has undertaken, shows the impact of the revolutionary and transformative movement of Cubism on Australian art from the early twentieth century to the present day. It uncovers a little-known yet compelling history through works by over eighty artists, including key examples of international Cubism drawn from Australian collections – by André Lhote, Albert Gleizes, Fernand Léger, Alexander Archipenko, Ben Nicholson and others – and nine decades of Australian modern and contemporary art that demonstrate a local evolution of cubist ideas.

The exhibition documents the earliest incorporation of cubist principles in Australian art practice in the 1920s, when artists such as Grace Crowley and Anne Dangar, who studied overseas under leading cubist artists, began to transform their art in accordance with late cubist thinking. It examines the influence of Cubism on artists associated with the George Bell School in Melbourne and the Crowley-Fizelle School in Sydney; and on those who participated in the cubist movement abroad including James Cant and John Power.

While its distortions and unconventional perspectives served individual styles such as the expressionism of Albert Tucker or the experimental landscapes of Sidney Nolan and Fred Williams, Cubism’s most enduring influence on postwar Australian art has been in abstraction. This exhibition traces its reverberations in 1950s abstract art by Roger Kemp, Robert Klippel and Ron Robertson-Swann and others, through to works by younger artists such as Stephen Bram, Gemma Smith and Justin Andrews.

Cubism’s formal and conceptual innovations and its investigations into the representation of time, space and motion have continuing relevance for artists today, who variously adapt, develop, quote and critique aspects of cubist practice. In this exhibition, Cubism’s shifting, multi-perspectival view of reality takes on new form in moving-image works by John Dunkley-Smith and Daniel Crooks, in paintings by Melinda Harper and sculptures by James Angus. The use of found objects and recycled materials by Madonna Staunton, Rosalie Gascoigne and Masato Takasaka extends ideas originating in cubist sculpture and collage. Other artists are critical of Cubism, bringing Indigenous and non-european perspectives to bear on its modernist history, particularly its appropriation of so-called ‘primitive art’.

Text from the Heide Museum of Modern Art website [Online] Cited 10/01/2010 no longer available online

 

Grace Crowley (Australian, 1890-1979) 'Abstract painting' 1947

 

Grace Crowley (Australian, 1890-1979)
Abstract painting
1947
Oil on board
63.2 x 79.0 cm
Private Collection, Sydney

 

Godfrey Miller (New Zealander, 1893-1964; worked in England 1933-39, Australia 1939-64) 'Still Life with Musical Instruments' 1958

 

Godfrey Miller (New Zealander, 1893-1964; worked in England 1933-39, Australia 1939-64)
Still Life with Musical Instruments
1958
Pen and ink and oil on canvas
65.5 × 83.0 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 1963
© National Gallery of Victoria

 

 

Introduction

Cubism & Australian Art considers the impact of the revolutionary and transformative movement of Cubism on Australian art from the early twentieth century to the present day. Cubism was a movement that changed fundamentally the course of twentieth-century art, and its innovations – the shattering of the traditional mimetic relationship between art and reality and investigations into the representation of time, space and motion – have continuing relevance for artists today. Works by over eighty artists, including key examples of international Cubism drawn from Australian collections, are displayed in the exhibition.

The exhibition examines not only the period contemporaneous with Cubism’s influence within Europe, but also the decades from then until the present day, when its reverberations continue to be felt. In the first part of the century, Cubism appeared through a series of encounters and dialogues between individuals and groups resulting in a range of fascinating adaptations, translations and versions alongside other more programmatic or prescriptive adoptions of cubist ideas. The exhibition traces the first manifestations of Cubism in Australian art in the 1920s, when artists studying overseas under leading cubist artists began to transform their art in accordance with such approaches. It examines the transmission of cubist thinking and its influence on artists associated with the George Bell School in Melbourne and the Crowley-Fizelle School in Sydney. By the 1940s, artists working within the canon of modernism elaborated on Cubism as part of their evolutionary process, and following World War II Cubism’s reverberations were being felt as its ideas were revisited by artists working with abstraction.

In the postwar years and through to the 1960s, the influence of Cubism became more diffuse, but remained significant. In painting, cubist ideas provided an underlying point of reference in the development of abstract pictorial structures, though they merged with other ideas current at the time, relating in the 1950s, for example, to colour, form, musicality and the metaphysical. For many artists during this decade, Cubism provided the geometric basis from which to seek an inner meaning beneath surface appearances, to explore the spiritual dimension of painting and to understand modernism.

The shift from a Cubist derived abstraction in Australia in the 1950s to a mild reaction against Cubism in the Colour field and hard-edged painting of the mid to latter 1960s reflected a new recognition of New York as the centre of the avant-garde. Cubism’s shallow pictorial space, use of trompe l’oeil and fragmentation of parts continued to inform the work of certain individuals who adapted them in ways relevant to the new abstraction. Cubist ideas and precepts also found some resonance in an emphasis on the flatness of the canvas, particularly as articulated in the formalist criticism of Clement Greenberg.

The influence of Cubism on Australian art from 1980s to 2000s is subtle, varied and diffuse as contemporary artists variously quote, adapt, develop and critique aspects of cubist practice. Cubism’s decentred, shifting, multi-perspectival view of reality takes on new form, in moving-image works and installations, as well as being further developed in painting and sculpture. Post-cubist collage is used both as a method of constructing artworks – paintings, sculptures, assemblages – and as an intellectual strategy, that of the postmodern bricoleur. Several artists imagine alternative cubist histories and lineages, revisiting cubist art from an Indigenous or non-European perspective and drawing out the implications of its primitivism. Others pay homage to local versions of Cubism, or look through its lens at art from elsewhere.

Heide Education Resource p. 3.

 

Fred Williams (Australian, 1927-1982) 'The Charcoal Burner' 1959

 

Fred Williams (Australian, 1927-1982)
The Charcoal Burner
1959
Oil on composition board
86.3 × 91.4 cm
National Gallery of Victoria, Melbourne, purchased 1960
© Estate of Fred Williams

 

 

Cubism played a fundamental role in Fred Williams’s pictorial rethinking of the Australian landscape and through him, Cubism has affected the way Australians view their natural surroundings.

Patrick McCaughey writes in the catalogue for this exhibition:

The charcoal burner, with its reserved palette and briskly delineated planes, is one of his most accomplished essays in seeing the Australian landscape through cubist eyes. Already looking for the ‘bones’ of the landscape, Williams was drawn to the early phase of Cubism, as it gave structure to the unspectacular landscape – the bush in the Dandenongs; the coastal plain around the You Yangs.

Just as Braque in his cubist landscapes of 1908-09 eschewed ‘view’ painting and disdained the picturesque, so Williams in turn generalised the landscape, constructing it and rendering it taut, modern and vivid. In his landscapes Braque made the important pictorial discovery of passage, fusing solid forms with the surrounding space. Williams exploits this innovation in The charcoal burner, where surface and space are perfectly commingled.

Heide Education Resource p. 1.

 

Robert Rooney (Australian, 1937-2017) 'After Colonial Cubism' 1993

 

Robert Rooney (Australian, 1937-2017)
After Colonial Cubism
1993
Synthetic polymer paint on canvas
122 x 198.3 cm
Heide Museum of Modern Art
Purchased through the Heide Foundation with the assistance of the Heide Foundation Collectors’ Group and the Robert Salzer Fund 2008. Courtesy of the artist

 

 

Robert Rooney’s painting After Colonial Cubism (1993) shows a vibrant streetscape rendered in deliberate and self-conscious cubist style that declares itself to be a second-hand quotation of Cubism, rather than an example of the original style. The streetscape has not been drawn from life but is a faithfully scaled-up version of a much earlier gouache sketch Buildings (1953) that Rooney did as a young student in Melbourne. The sketchbook page is indicated in the painting by the vertical bands on either side of the image which effectively serve as quotation marks.

In highlighting the second-hand nature of the image in his painting, Rooney more broadly comments on the dispersal of cubist ideas from Paris, Cubism’s place of origin, to more local contexts such as Australia. The painting carries with it the artist’s memories of his student days, of learning about Cubism through magazines and books. Rooney remembers visiting exhibitions of cubist works by Australian artists and being fascinated by how these ideas were translated locally. Further meaning in the work derives from its title which refers to the painting Colonial Cubism 1954, by Stuart Davis, an American artist whose cubist works are a further instance of the dispersal of the style to localities outside of France.

Heide Education Resource p. 29.

 

Rosalie Gascoigne (Australian, born New Zealand 1917-1999) 'Milky Way' (detail) 1995

 

Rosalie Gascoigne (Australian, born New Zealand 1917-1999)
Milky Way (detail)
1995
Mixed media

 

 

Rosalie Gascoigne is renowned for her sculptural assemblages of great clarity, simplicity and poetic power. Using natural or manufactured objects, sourced from collecting forays, that evoke the lyrical beauty of the Monaro region of New South Wales, her work radically reformulated the ways in which the Australian landscape is perceived. …

“My country is the eastern seaboard. Lake George and the Highlands. Land that is clean scoured by the sun and frost. The record is on the roadside grass. I love to roam around, to look and hear … I look for things that have been somewhere, done something. Second hand materials aren’t deliberate; they have had sun and wind on them. Simple things. From simplicity you get profundity. The weathered grey look of the country gives me a great emotional upsurge. I am not making pictures, I make feelings.”

Rosalie Gascoigne

Extract from Anonymous. “Biography (Roaslie Gascoigne),” on the Art Gallery of New South Wales website [Online] Cited 21/05/2019

 

 

Daniel Crooks (New Zealand, b. 1973)
Static No.9 (a small section of something larger) (still)
2005
Single channel digital video, colour, sound
Duration: 00:13:29 min, aspect ratio: 16:9

View a preview of the work: Static No.9 (a small section of something larger) from Daniel Crooks.

 

James Angus (Australian, b. 1970) 'Bicycles' 2007

 

James Angus (Australian, b. 1970)
Bicycles
2007
Chromed steel, aluminium, polyeurethane, enamel paint

 

 

“An object which is entirely solid yet blurry; a sculpture-in-motion that vibrates between plural and singular.” ~ James Angus

For this handcrafted sculpture, Angus melded the frames of three bicycles into one, creating a kind of platonic ideal of bike design which resolves slight differences in thickness of truss, angles of frame and fork, shape of saddle and handlebar position into an ideal form – one that seems to shift between the plural and the singular. Traces of all three bikes inhabit this final rendition, with its tripled wheel spokes and chain drive, contoured saddle and ridged handlebars.

Hovering between three sets of dimensions and proportions, the sculpture presents a visual experience akin to looking at lenticular imagery or to a stereoscopic gaze, in which two sets of slightly disparate visual information are resolved into the one three-dimensional image. These subtle differences, inhabiting the one object, speak of the slight variations between not only bikes but individual riders, for whom the bike is an extension of their body shape, size and movement. In keeping with his other works, which have distorted, shifted and played with elements of design from architecture to automobiles, Angus disrupts our expectations of an everyday object. By making us look again he reminds us that a bicycle, like a racing car, is a moving sculpture.

Text from the Museum of Contemporary Art website [Online] Cited 21 May 2019

 

Justin Andrews (Australian, b. 1973) 'Acid yellow 3' 2008

 

Justin Andrews (Australian, b. 1973)
Acid yellow 3
2008
Acrylic and enamel on composition board
75 x 60 cm
Courtesy of the artist and Charles Nodrum Gallery, Melbourne

 

Masato Takasaka (Australian, b. 1977) 'Return to forever (productopia)' 2009

 

Masato Takasaka (Australian, b. 1977)
Return to forever (productopia)
2009
Cardboard, wood, plastic, mdf, acrylic, paint, paper, soft-drink cans, tape and discarded product packaging installation
Dimensions variable
Courtesy of the artist

 

 

Heide Museum of Modern Art
7 Templestowe Road,
Bulleen, Victoria 3105

Opening hours:
(Heide II & Heide III)
Tuesday – Sunday, Public holidays 10am – 5pm

Heide Museum of Art website

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29
Nov
09

Review: ‘Emily Kame Kngwarreye: The Person and her Paintings’ at DACOU Aboriginal Art, Port Melbourne

Exhibition dates: 29th October – 6th December 2009

 

 

Emily Kame Kngwarreye (Australian, 1910-1996)
My Country
1996
Synthetic polymer paint on canvas

 

 

“One can theorise about beauty all day, but words are weak and at day’s end one will go out into the blue and golden and multifarious world, and one will know with the responsive heart, before there is time for words, what is and isn’t beautiful.”

.
Leo Rubinfien1

 

 

There are certain existential experiences in art one will always remember:

.
The maelstrom of convulsive colours in the paintings of J. M. W. Turner at the Tate in London

Being alone in a gallery at the Louvre with six self-portraits by Rembrandt and embracing their inner humanity

Sitting in the Musée de l’Orangerie, Paris and being surrounded by the elemental forces of Monet’s panels of Nymphéas

Listening to “Sorrowful Songs” from the Symphony No. 3 by Gorecki

.
to name but a few.

Added to this list would be my experience of this exhibition of paintings by Emily Kame Kngwarreye.

It was a privilege to spend time alone with the work, just wandering around the gallery that is situated in an industrial estate in Port Melbourne. It is difficult for me to describe the experience such was the connection I had with the work, with the earth. I am emotional even writing about it. Standing in front of these paintings all pretensions of existence, all trappings of society, dissolve in colour, in presence.

I am a naturalised Australian having been born in England; I have never been to the far desert. This does not matter. What I felt, what I experienced was a connection to the land, to the stories that Emily has told in these paintings. We all come from the earth and return to it.

The paintings were painted horizontally (like the painter Jackson Pollock who intuitively accessed the spiritual realm) and evidence a horizontal consciousness not a hierarchical one. Knowledge is not privileged over wisdom. There is a balance between knowledge and wisdom – the knowledge gained through a life well lived and the wisdom of ancient stories that represent the intimacy of living on this world. The patterns and diversities of life compliment each other, are in balance.

Wisdom comes from the Indo-European root verb weid, “to see,” the same root from which words like vision come.2 In this sense these are “Vedic” paintings in that they are ancient, sacred teachings, Veda meaning literally “I have seen.”

On this day I saw. I felt.

Rarely do I have such an emotional reaction to art. When it does happen it washes over me, it cleanses my soul and releases pent up emotions – about life, about mortality, about being.

As Cafe del Mar in one of their songs, “The Messenger” sing:

“We,
We got the feeling of Mystery,
We got the touch of humanity,
I know, we can’t live forever.”

.
Go and be touched.

Dr Marcus Bunyan for Art Blart

.
Thank you to Leanne Collier and DACOU Aboriginal Art for allowing me to reproduce the three large photographs of two Wildflower paintings and one My Country painting.

 

  1. Rubinfien, Leo. “Perfect Uncertainty: Robert Adams and the American West, (2002)” on Americansuburb X: Theory. [Online] Cited 22/11/2009 no longer available online
  2. Doczi, Gyorgy. The Power of Limits: Proportional Harmonies in Nature, Art and Architecture. Colorado: Shambala Publications, 1981, p. 127

 

 

Emily Kame Kngwarreye (Australian, 1910-1996)
My Country
1996
Synthetic polymer paint on canvas

 

 

Emily Kame Kngwarreye (Australian, 1910-1996)
My Country
1996
Synthetic polymer paint on canvas

 

 

Emily Kame Kngwarreye (Australian, 1910-1996)
My Country
1996
Synthetic polymer paint on canvas

 

 

Emily Kame Kngwarreye is Australia’s most important and famous female artist. Hailed as a modernist ‘genius’, she has been compared to Rothko and de Kooning. An Anmatyerre elder from Utopia in the remote central desert region of the Northern Territory, Emily first took up painting on canvas in her late 70’s. She quickly became one of the leaders in the contemporary Aboriginal art movement, transforming her style several times during her short career of eight years. Today she is known as one of the greatest abstract painters of the 20th century.

This important exhibition of over 80 pieces covering all significant series and periods of Emily Kngwarreye’s artistic career is the first commercial retrospective exhibition to be held since she passed away in 1996. It gives the public an outstanding chance to view and purchase works in each of her styles. DACOU has retained numerous magnificent pieces over the years that will be included in this exhibition, such as rarely seen works from Emily’s Ochre Series, created with ochre and charcoal she collected from her country. On show will be the sister painting to the famous Earth’s Creation (also titled Earth’s Creation, 1994, 4 panels, 211 x 596 cm) and just as splendid in colour and style.

Text from the DACOU Aboriginal Art website [Online] Cited 27/11/2009 no longer available online

 

 

Emily Kame Kngwarreye (Australian, 1910-1996)
Wildflower
1992
Synthetic polymer paint on canvas

 

 

Emily Kame Kngwarreye (Australian, 1910-1996)
Wildflower (detail)
1992
Synthetic polymer paint on canvas

 

 

Inspired by her cultural life as an Anmatyerre elder Emily produced over 3000 paintings over the course of her short eight-year painting career. Her lifelong custodianship of the women’s Dreaming sites of her clan country and in particular her yam Dreaming is the driving force behind her work (Kame meaning yam seed). Her work displays an instinct created by decades of making art for private purposes, drawing in soft earth and ritual body painting. Strong lineal structures whereupon individual dots overlap lines and appearing within others trace the appearance of seeds, plants and tracks on her country.

Text from the University of Canberra website [Online] Cited 11/05/2019

 

 

Emily Kame Kngwarreye (Australian, 1910-1996)
Wildflower
1994
Synthetic polymer paint on canvas

 

 

DACOU Aboriginal Art

This gallery has now closed.

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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