The work in
About Abstraction suggests a kinship with the Abstract Expressionist movement of 1940s SoHo and San Francisco, and illustrates the enduring vitality and power of nonrepresentational art for well over a century.
Not exact matches
We have very little to say
about it to begin with, but we should expect that it would explain the previous orders as
abstractions of various kinds, as
suggested above.
Thinking
about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to
suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated with Greenberg and Fried.
Yet, as «
Abstraction on the Beach»
suggests, Piper's practice was not simply
about saving the past, but of redefining it.
Throughout the exhibition, McElheny
suggests that
abstraction seen through the lens of the body might be a path for returning to a conversation
about the radical hopes and ideals originally associated with this mode of seeing.
About Puryear he notes that the artist, «proves himself here a magician of forms that sit happily at the intersection of
abstraction and representation and a poet of implied and
suggested appearances and meanings.»