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Picasso & Abstraction
This catalogue for a show at the Royal Museum of Fine Arts, Brussels, brings Picasso's relationship to abstraction into focus.With more than 120 exceptional works of art in dialogue with some of the great works of the early 20th century abstraction movement, it addresses the major stages that punctuated the links between Picasso's work and the history of abstract art.It covers the period from the first Cubist experiments of 1907, carried out simultaneously with Les Demoiselles d'Avignon, to his later work, which is sometimes situated on the borders of gestural painting.
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Women in Abstraction
With a few notable exceptions, the fundamental role that women played in the development of abstract art has long been underestimated, and their work has not received the same critical attention as that of their male counterparts.Now, at last, the tide is turning. The latest historiographical advances illustrated by numerous recent publications, monographs and thematic exhibitions make it possible to reassess the importance of the contribution of women artists to the different currents of abstraction, while at the same time questioning the patterns of the past. Edited by Christine Macel, this catalogue and the exhibition it accompanies highlights the contributions of a hundred or so women artists to abstraction up to the 1980s, with a few unprecedented forays into the 19th century.By focusing on the careers of artists so often unjustly eclipsed, the book questions the established canons and offers an alternative history of abstraction, from the symbolist abstraction of Hilma Af Klint, to the sensual abstraction of Huguette Caland, to the purist non-objective approach of Verena Von Loewensberg.Essays by noted scholars explore the techniques, concerns and legacies of these women, shedding light on their unique experiences and offering keen new reflections on their work and the movement as a whole. With 350 illustrations
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Lost in Abstraction
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Architecture and Abstraction
A landmark study of abstraction in architectural history, theory, and practice that challenges our assumptions about the meaning of abstract forms. In this theoretical study of abstraction in architecture—the first of its kind—Pier Vittorio Aureli argues for a reconsideration of abstraction, its meanings, and its sources.Although architects have typically interpreted abstraction in formal terms—the purposeful reduction of the complexities of design to its essentials—Aureli shows that abstraction instead arises from the material conditions of building production.In a lively study informed by Walter Benjamin, Karl Marx, Alfred Sohn-Rethel, and other social theorists, this book presents abstraction in architecture not as an aesthetic tendency but as a movement that arises from modern divisions of labor and consequent social asymmetries. These divisions were anticipated by the architecture of antiquity, which established a distinction between manual and intellectual labor, and placed the former in service to the latter.Further abstractions arose as geometry, used for measuring territories, became the intermediary between land and money and eventually produced the logic of the grid.In our own time, architectural abstraction serves the logic of capitalism and embraces the premise that all things can be exchanged—even experience itself is a commodity.To resist this turn, Aureli seeks a critique of architecture that begins not by scaling philosophical heights, but by standing at the ground level of material practice.
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Gerhard Richter : Abstraction
This publication is the first to focus solely on the abstract strategies and processes contained in Gerhard Richter’s body of work.In the early 1960s, the artist began to call painting into question, an exploration that continues to occupy him to this day.In the 1970s, he responded to the rejection of painting by creating a series of monochrome works in gray.Moreover, he viewed the colour gray as a means of addressing political themes without depicting them in an idealized manner.In his Inpainting series of the 1970s, Richter made brushstrokes and the application of paint his subject.In other works, he photographed small details from his palette and transferred them onto large canvases in a photorealistic manner.In his colour charts, he subjected painting to an objective process by leaving the arrangement of the colours to chance.Since 1976, Richter has created a series of abstract works by applying paint with a brush, scraper, and palette knife, alternating between conscious decision-making and random processes.
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Howardena Pindell : Reclaiming Abstraction
Exploring the art and life of this important American artist whose work bridged the gaps between abstraction, feminism, and Blackness “A deeply informative, inventive monograph that adroitly traces Pindell’s multi-media practice, the intermingling evolution of her aesthetic and political positions, and the critical context in which her work was received and evaluated.”—Blake Oetting, caa.reviews Howardena Pindell: Reclaiming Abstraction is a fascinating examination of the multifaceted career of artist, activist, curator, and writer Howardena Pindell (b. 1943). It offers a fresh perspective on her abstract practice from the late 1960s through the early 1980s—a period in which debates about Black Power, feminism, and modernist abstraction intersected in uniquely contentious yet generative ways.Sarah Louise Cowan not only asserts Pindell’s rightful place within the canon but also recenters dominant historical narratives to reveal the profound and overlooked roles that Black women artists have played in shaping modernist abstraction.Pindell’s career acts as a springboard for a broader study of how artists have responded during periods of heightened social activism and used abstraction to convey political urgency.With works that drew on Ghanaian textiles, administrative labor, cosmetics, and postminimalism, Pindell deployed abstraction in deeply personal ways that resonated with collective African diasporic and women’s practices.In her groundbreaking analysis, Cowan argues that such work advanced Black feminist modernisms, diverse creative practices that unsettle racist and sexist logics.
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Abstract Painting and Abstraction
Abstract painting and abstraction can be a daunting and frustrating genre of art. How should you approach a surface? How can you use colour effectively? How can you make better, more expressive paintings?This inspiring book answers these questions and many more. Through a thorough analysis of his own work, Emyr Williams covers practical, theoretical and historical issues of abstract art and explains a wide range of working methods to help develop more demanding personal approaches to the making of abstract painting. He emphasizes the relationship of colour to surface and the importance of seeking a profound connection with your art.Further topics cover: the difference between abstract and abstraction; how an artist has developed expressive art in many different ways; maximize your studio effectiveness and manage your time better; discover how colour can be approached more effectively; learn about other possibilities for making abstract art - such as the role of technology and finally, be more demanding of your painting and make better abstract paintings.
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Adam Pendleton: An Abstraction
New abstract works by Adam Pendleton that expand the language of Black Dada, both visually and spatiallyThrough his dynamic paintings and text-based works, Black Dada pioneer Adam Pendleton (born 1984) continually focuses on the intersection between Blackness, abstraction and the avant-garde.An Abstraction is both a document and an evolution of Pendleton’s first solo show at Pace’s New York gallery in 10 years, epitomizing his “[fight] for the right to exist in and through abstraction.” Comprised of 12 paintings and 13 drawings from the artist’s Black Dada and Untitled (Days) bodies of work, hanging within a monumental, site-specific architecture consisting of five black triangular forms, An Abstraction reorders the gallery into new, unexpected spaces.Each new work also features a typographic letter from the phrase “Black Dada,” thus creating a new pictorial language for the movement.
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