Though it seems like a didactic display, it also pictures
a political history of abstraction.
Not exact matches
In the under - recognized field
of Latin American geometric
abstraction, it is important to note Sanín's contributions creating artwork reflective
of the
political, economic, and social realities in Latin American
history.
The show argues that Lewis used
abstraction throughout his career, after initially working along social realist lines, commingling it with the figure to comment on
political issues involving race and civil rights, and introducing
history and narrative into a style that eschewed such content in favor
of medium specificity.
It is a
history of moments and waves, swells
of abstraction that tend to correspond with
political movements.
Nancy Spero's work valorized powerful images
of women from myth and
history, while Joan Snyder turned away from
abstraction to concentrate on imagery associated with declarations
of female sensibility that was both personal and
political.
«His use
of minimalism and
abstraction, and the social and
political issues he addresses through images
of his personal
history is strongly engaged with Lehmann Maupin's programing and has ties to the work
of Kader Attia, Teresita Fernández, Shirazeh Houshiary, Liza Lou, Cecilia Vicuña, and Nari Ward.
The
political weight
of these viruses rubs against the formally expressive character
of the final works, which seem to engage more with the
history of abstraction and the cool, detached vocabulary
of formalism than the language
of computer code.
«These artists appropriate the
history of abstraction while energizing it with new personal,
political, and aesthetic narratives.
Merging mid-century
abstraction with
political iconography, her works both compliment and critique a
history of feminist art.
The book analyzes the social,
political and personal contexts
of abstraction, including the circumstances where these artists's works have appeared formally and their public reception throughout
history