{"id":1186,"date":"2021-08-25T08:33:25","date_gmt":"2021-08-25T00:33:25","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1186"},"modified":"2021-08-23T22:42:47","modified_gmt":"2021-08-23T14:42:47","slug":"post-spiritual-abstraction","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/post-spiritual-abstraction\/","title":{"rendered":"POST-SPIRITUAL ABSTRACTION"},"content":{"rendered":"

Being absorbed in visual\u00a0abstraction<\/a>\u00a0has been, traditionally, a very good way to get some quiet. Whether besieged by a once again noisy culture, a relentlessly beckoning internet, or just our own yammering minds, there is plenty of reason to long for wordless, lumen-less art\u2014for obstinately mute and immobile paintings and sculptures without namable content.<\/p>\n

Alas, it is not to be. As is evident in a spate of recent exhibitions and publications, including modern and contemporary art scholar\u00a0Pepe Karmel<\/a>\u2019s new book offering a global survey of the subject, abstraction has lately grown exceedingly jumpy. And voluble.<\/p>\n

Conspicuous among its agitating energies is a revived spiritualism, headlined by the runaway fame of Hilma af Klint, whose 2018 exhibition at the Guggenheim Museum in New York shattered attendance records. According to many observers, it also smashed the long-established timeline for pure abstraction, pushing it back at least to 1907, when af Klint produced\u2014under the guidance of otherworldly spirits, she said\u2014whimsically majestic compositions that predated Malevich\u2019s and Kandinsky\u2019s abstract paintings of the following decade. Other early spirit-guided artists have been quickly dusted off, as in the well-received \u201cNot Without My Ghosts: The Artist as Medium<\/a>,\u201d a 26-person exhibition that took place at the Drawing Room in London in 2020; notable among early, fully abstract contributions were Georgiana Houghton\u2019s swirling effusions of the 1860s. The acclaimed survey \u201cAgnes Pelton: Desert Transcendentalist,\u201d which opened in 2019 at the Phoenix Art Museum before traveling to the Whitney Museum in New York the following year, presented a spiritually minded midcentury painter whose semi-abstractions glimmer spectrally with astral, floral, and landscape allusions.<\/p>\n

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While striking in its fervor, this big-tent revival is not the first of its kind. At the Drawing Center in New York in 2005, Catherine de Zegher organized \u201c3 x Abstraction: New Methods of Drawing,\u201d an exhibition linking, under the sign of nonsectarian faith, three linear abstractionists: af Klint, faith healer Emma Kunz, and Agnes Martin, also designated for the purpose a saint of the desert. Twenty years earlier, there had been the monumental \u201cThe Spiritual in Art: Abstract Painting<\/a> 1890\u20131985,\u201d organized by Maurice Tuchman for the Los Angeles County Museum of Art (and met with considerable skepticism at the time). Af Klint and Pelton are both featured in its massive catalogue, which ranges widely over what Tuchman, in the title of his keynote essay, calls \u201cHidden Meanings in The Spiritual in Art<\/a>.\u201d He admits at the outset that his effort to illuminate abstraction\u2019s spiritual premises was hardly without precedent. And if the West Coast had long been especially hospitable to art that inclines toward transcendentalism\u2014for instance, in the Light and Space installations of Robert Irwin and James Turrell\u2014such leanings weren\u2019t absent back East. The Dia Foundation, institutional seat of Minimalist materialism, also bears in its DNA the mystical Sufism practiced by its founders, Heiner Friedrich and Fariha al Jerrahi (ne\u0301e Philippa de Menil). Moreover, as Tuchman pointed out, the Theosophy that af Klint and Pelton practiced was shared by a host of early modernists, Mondrian and Kandinsky among them. The latest effervescence of such cosmic tendencies is, arguably, the mostly high-tech spectacles featured in the new Superblue venture in Miami, which like Yayoi Kusama\u2019s wildly popular mirror rooms, offer blissed-out, interactive immersive experiences\u2014not altogether different in purpose from historic forms of sacred ritual\u2014by artists ranging from Turrell, Mary Corse, and Nick Cave to Jacolby Satterwhite and teamLab.<\/p>\n

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If the current alliance of abstraction with nonsectarian spiritualism is nothing new, the question nonetheless arises of why it is now thriving. Perhaps it is a warning: civilizations in decline often turn toward mysticism, for instance, the Hellenistic mystery cults of the post-Classical Mediterranean. Or it may signify the bad odor now hanging over secular humanism. Seen by some as too European and too smug, secularism is at the center of a cultural crisis in France, where the nation\u2019s vaunted, philosophically foundational\u00a0lai\u0308cite\u0301<\/em>\u00a0is pitted against the reality of a growing Muslim population, supported by those on the left favoring recognition of the country\u2019s plural identity, a situation complicated by an enduring Catholic (and anti-Semitic) heritage. Even in the US, it is clear that politically conservative white Christians have no patent on religious devotion: here, too, a turn against secular humanism has taken place on the left, while the religious right remains, naturally, allergic to it as well. But then, strange bedfellows in cultural politics are nothing new.<\/p>\n

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In any event, spiritualism is a leading but hardly exclusive element in the thoroughgoing reevaluation of abstract art, which has\u2014with good reason, I believe\u2014made it increasingly difficult to ignore a work\u2019s time and place, motivation, reception, and, above all, its latent content, in which all these conditions are reflected.<\/p>\n

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\"An<\/div>\n<\/div>
Agnes Pelton:\u00a0Messengers<\/em>, 1932, oil on canvas, 28 by 20 inches.<\/span>PHOENIX ART MUSEUM<\/cite><\/figcaption><\/figure>\n<\/div>\n

By way of a guide to this state of affairs there is Karmel\u2019s big, beautiful, and wholly nonlinear volume\u00a0Abstract Art: A Global History<\/em>\u00a0(Thames & Hudson, 2020). It is premised on the conviction, stated at the start, that \u201cabstract art is always rooted in experience of the real world.\u201d An af Klint painting appears on the cover and is discussed in the introduction to \u201cCosmologies<\/a>,\u201d one of the book\u2019s five main chapters, each further subdivided into unabashedly incommensurable categories; paragraph-long discussions of individual works, illustrated at large size, follow the essays that head the various sections. Malevich is in the \u201cCosmologies\u201d introduction too, cited for his interest in interplanetary travel, and so is Johannes Itten, the charismatic Bauhaus professor who brought esoteric rituals into the school\u2019s foundation course. With less conceptual grounding, Jackson Pollock\u2019s painting\u00a0Reflection of the Big Dipper<\/em>\u00a0(1947) and David Smith\u2019s sculpture\u00a0Star Cage<\/em>\u00a0(1950) are both illustrated and glossed under the subdivision \u201cStar Charts\u201d; illustrated here as well are installations by Kusama and Felix Gonzalez-Torres. Despite opening this chapter with a consideration of Christian mysticism, Karmel is concerned not with questions of belief but, as throughout this study, with a taxonomy of forms. Brimming with scholarship and insight, his survey is a network of linked fragments, a rhizome, a Wunderkammer\u2014in short, a book for our times.<\/p>\n

Karmel\u2019s definition of his subject is generous. \u201cThere is no either\/or relationship between abstraction and figuration,\u201d he writes, qualifying that judgment only slightly by excluding outright illusionism. Indeed, figures abound. The chapter \u201cBodies\u201d (which begins with Picasso) is divided into \u201cDancers, Athletes and Poets\u201d; \u201cWorkers and Machines\u201d (here he observes, pungently, that \u201cgeometric abstraction was the artistic equivalent to Fordism\u201d); \u201cEmbryos and Blobs<\/a>\u201d; \u201cTotems\u201d; \u201c Presences\u201d (Alberto Giacometti and Louise Bourgeois); \u201cSkins and Folds\u201d; and \u201cOrgans and Fluids\u201d (Kiki Smith, Lynda Benglis, Terry Winters, Carroll Dunham). There is a kind of cracked poetry to Karmel\u2019s categories, which recall the passage from Borges that famously opens Michel Foucault\u2019s\u00a0The Order of Things<\/em>; Borges describes an apocryphal encyclopedia in which animals are divided into a list that begins: \u201c(a) belonging to the Emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs.\u201d The thing we learn from \u201cthe exotic charm of [this] system of thought,\u201d Foucault adds, \u201cis the limitation of our own.\u201d Clearly, it is a lesson still to be absorbed.<\/p>\n

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Karmel\u2019s own intention, he writes, is to undermine the Hegelian notion of a progressive art history led by inner necessity and carried forward by heroic individuals. And while some such individuals are nonetheless wheeled onto the stage, they are allowed a measure of doubt. When Rothko declares, \u201cI\u2019m not an abstractionist,\u201d but instead a painter \u201cof basic human emotions: tragedy, ecstasy, doom, and so on,\u201d it is the \u201cand so on\u201d that stands out to me, seeming to sheepishly temper his exorbitant, and now rather embarrassing, claims.<\/p>\n

Apart from loosening the distinction between abstraction and other kinds of art by rooting it in social experience\u2014David Reed is deemed a painter of \u201cvortical landscapes,\u201d who revives a Romantic motif to reflect \u201cthe abstract image of a world in perpetual motion\u201d under the transforming effects of globalization; the flickering \u201cvibratory field\u201d seen in a painting by Roger Bissie\u0300re is said to celebrate sheer survival, after the horrors of World War II\u2014Abstract Art<\/em>\u00a0is dedicated to inclusivity. While old (or dead) white guys introduce most chapters, they\u2019re followed by plenty of women and artists from all over. Karmel embraces the decorative arts, photography, and performance, as well as outliers of many kinds; he segues from Giacometti to Jasper Johns and Robert Morris, thence to dancer Simone Forti, and on to Michael Fried and his landmark essay on the theatricality of what came to be called Minimalism. One thing leads to another.<\/p>\n

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Karmel is not alone, of course, in looking to diversify the field. When the Museum of Modern Art in New York presented \u201cInventing Abstraction<\/a>, 1910\u20131925\u201d in 2012, the organizers were confident of the invention\u2019s birthdate and place of origin (Europe, including western Russia): the emphasis on pure form was said to begin with Kandinsky, Delaunay, and Kupka. Since then, MoMA has made substantial efforts to mend its ways, for instance with its \u201cSur Moderno: Journeys of Abstraction\u201d (2019), an overview of Latin American modernism.<\/p>\n

In early 2020, New York University\u2019s Grey Art Gallery presented \u201cTaking Shape: Abstraction from the Arab World, 1950s\u20131980s.\u201d One of the two shows inaugurating the Met Breuer in 2016 surveyed the career of Nasreen Mohamedi, a pioneering Indian abstractionist; later exhibitions there featured textile sculptures by Mrinalini Mukherjee; constructions by Jack Whitten, a once-neglected Black artist; and a survey of the Brazilian multidisciplinary abstractionist Lygia Pape.<\/p>\n

The gender of abstraction, an implicit consideration in some of these shows, awaits its own survey. For many women, Minimalism\u2019s formal austerity, with its staunch opposition to anything personal\u2014narrative, touch, bodies, handcraft\u2014confirmed that reductive abstraction was a man\u2019s game. Condemning it in the 1974 essay, \u201cAn Autobiography of the Artist as an Autobiographer,\u201d Eleanor Antin, a pioneering body artist and feminist, wrote, \u201cAn abstract painting is an alienated object whose value is determined by a complex set of cultural commitments remote from all human interest. In fact, one of the major components that goes into determining its art value is the degree of its remoteness.\u201d In the 1960s and early \u201970s, women abstractionists resisted this alienation with the use of textiles, ceramics, and other materials and processes associated with handcraft, and they favored the complexities of Pattern and Decoration, all now enjoying renewed attention. Even in its early years, Minimalism was sometimes seen as softened\u2014hence feminized\u2014by evidence of the artist\u2019s hand at work. That is the case with the belatedly ascendant Agnes Martin, though she was no supporter of any links between her work and textiles, or women\u2019s work, or for that matter, femininity itself.<\/p>\n

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By disposition and age, Martin, although romantically linked with women, was not inclined to endorse the queering of abstraction, either. But Carrie Moyer is. A painter whom Karmel categorizes under \u201cBodies\u201d (subdivision, \u201cOrgans and Fluids\u201d), Moyer asserted, in a recent online DC Moore Gallery conversation with figurative painter David Humphrey, that \u201cmodernism is still present. I\u2019m still reacting to its don\u2019ts, as a woman who is queer.\u201d When Humphrey observed, \u201cI feel your work has the voice of emphatic graphics, of public enunciation. It\u2019s brassy,\u201d Moyer readily agreed, linking those qualities to her early agitprop work for Dyke Action Machine! \u201cI\u2019m not interested in sharing a tender moment with the viewer,\u201d she said. \u201cIt\u2019s much more exclamatory than that.\u201d But worrying that \u201ceverything is instrumentalized in our culture,\u201d she wondered, \u201cwhat does a painter do?\u201d<\/p>\n

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\"Large<\/div>\n<\/div>
Sam Gilliam:\u00a0Double Merge<\/em>, 1968, acrylic on canvas; at Dia:Beacon, New York.<\/span>PHOTO BILL JACOBSON STUDIO\/\u00a9SAM GILLIAM\/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK<\/cite><\/figcaption><\/figure>\n<\/div>\n

One answer for abstractionists (though not for painters) is provided by Theaster Gates, a leading proponent of hybridizing craft and social practice. A skilled ceramist, Gates makes his own imposing and very beautiful ceramic sculptures; he has also organized community-based ceramics workshops that generate marketable products. The role of the headlining artist is contested, or at least rendered uncertain, in such collaborative projects. The same can be said about the practices of af Klint and Houghton, if we accept that they were, in any sense, led by spirits of the departed. These notions also apply to early Surrealism\u2019s reliance on what Andre\u0301 Breton called \u201cpsychic automatism,\u201d a maneuver for evading conscious reflection that similarly led to things like cursive linear abstractions liberated from discernible meaning.<\/p>\n

If it\u2019s not the thinking mind (or ghosts) at work, who or what is it? How artists have construed the subconscious over the past century and more is a big, deep question. Many artists, abstract and figurative ones alike, confirm that their hands operate independently of conscious deliberation; many also describe imagery that comes to them unbidden, in vivid inspiration or in dreams. And then we have more than fifty years of argument that all art is a vessel for the creative energy that flows through a culture\u2014or, just as often, reflects its blockage. Art historian Christa Robbins aims, in her new book,\u00a0Artist as Author<\/em>\u00a0(University of Chicago Press, 2021), to \u201creturn to artists some of the agency that the \u2018death of the author\u2019 has denied them.\u201d Her penetrating analysis centers on mid-twentieth-century abstractionists of the New York School, diving deep into the closely argued definitions of individual \u201caction\u201d put forward principally by Harold Rosenberg, and diversely exemplified by Jack Tworkov, Helen Frankenthaler, Sam Gilliam, and others. But this is no bid for finding personal meaning in abstract painting. Robbins contends that the artistic action in question is a matter of placing oneself in the formal and intellectual forward march of modern art. The \u201cauthor\u201d she has in mind is not defined by internal, emotional experience; on the contrary, Robbins approvingly quotes Rosalind Krauss\u2019s 1972 complaint against \u201cthe psychologizing whine of \u2018Existentialist\u2019 criticism.\u201d In a concluding discussion of (once again) Agnes Martin, Robbins argues that the self-identified Abstract Expressionist exemplified her peers\u2019 investment in a \u201cpracticed relation to self, which places an emphasis on authorship as a site of inquiry and exploration.\u201d In other words, the meaning of Martin\u2019s grids is in the practice of their making\u2014a labor that involves a physical process but also the \u201chabits of mind and body.\u201d<\/p>\n

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As is clear from all the preceding, a final question arises about whose attribution of meaning counts, since artist, viewer. and critic seldom agree. Reviewing the New Museum\u2019s recent exhibition \u201cGrief and Grievance: Art and Mourning in America,\u201d Peter Schjeldahl enthused in the\u00a0New Yorker<\/em>\u00a0about the stormy brushwork, glowing color, and majestic scale of paintings by Julie Mehretu and Mark Bradford, who he said represent a \u201cresurgence of American art\u2019s modern breakthrough after six decades in abeyance.\u201d By contrast, Holland Cotter, writing about the same show for the\u00a0New York Times<\/em>, drew attention to these paintings\u2019 underlying political content: government surveillance maps of Black neighborhoods in Los Angeles issued after the 1965 Watts uprising, in Bradford\u2019s case, and in Mehretu\u2019s, a \u201chalf-hidden<\/a>\u201d image of the 2017 white supremacist rally in Charlottesville, Virginia. To many viewers (myself included), both of these buried images were completely invisible. But knowing about them does vivify, or at least complicate, the artists\u2019 works.<\/p>\n

This is where the exhibition\u2019s catalogue (and other explanatory material) comes in, providing the kind of information offered in Karmel\u2019s book. The dismissal of pure formalism\u2014and of the academic language supporting it\u2014has, clearly, made room for an avalanche of political thought, social and cultural history, and biographical detail that visual evidence alone doesn\u2019t reveal. In \u201cThe Circle with a Whole in the Middle,\u201d a 2020 essay on Gilliam, examples of whose unstretched canvases are now on long-term view at Dia Beacon, theorist Fred Moten alludes to Ornette Coleman\u2019s rhythms, to the \u201cunseen, stolen work\u201d of Black women hanging clothes out to dry, and to Gilliam\u2019s \u201ctenting and billowing of tint.\u201d But Moten also suggests, \u201cIf you don\u2019t try to get anything out of [Gilliam\u2019s work], you can be drawn in, too.\u201d Citing literary scholar Saidiya Hartman, he writes that it induces \u201ca rush of steady contemplation, the apposition of the unthought, which turns out to have been thinking all along.\u201d<\/p>\n

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As neuroscientist and art enthusiast Eric Kandel explains, unthought thinking, which I\u2019ll take to mean mental activity that doesn\u2019t quite reach consciousness, is inescapably associative. In\u00a0Reductionism in Art and Brain Science: Bridging the Two Cultures<\/a><\/em>\u00a0(Columbia University Press, 2016), his short book about reductive abstraction and visual perception, Kandel explains that the human visual system defaults to meaningful form\u2014that, given the skimpiest information, it will find familiar things (faces in particular). The science notwithstanding, abstractionists have long insisted that we can and should override that default. But humans are social animals; we use art, even at its most simple and spare, to communicate. Abstract art allows us, perhaps, to refresh the system\u2014to tune up the perceptual and cognitive faculties so we can see things more clearly, more actively. Just as important, it keeps us alert to metaphor and meaning. It seems time to say good riddance to the false comfort of abstraction divorced from the world. We are in it, and it\u2019s in us.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Being absorbed in visual\u00a0abstraction\u00a0has been, traditionally, a very good way to get some quiet. Whether besieged by a once again noisy culture, a relentlessly beckoning internet, or just our own yammering minds, there is plenty of reason to long for wordless, lumen-less art\u2014for obstinately mute and immobile paintings and sculptures without namable content. Alas, it […]<\/p>\n","protected":false},"author":2,"featured_media":1187,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1186","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nPOST-SPIRITUAL ABSTRACTION - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Being absorbed in visual\u00a0abstraction\u00a0has been, traditionally, a very good way to get some quiet.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/post-spiritual-abstraction\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"POST-SPIRITUAL ABSTRACTION - 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