{"id":1523,"date":"2014-10-18T05:07:26","date_gmt":"2014-10-18T05:07:26","guid":{"rendered":"http:\/\/www.lifeandnews.com\/articles\/?p=1523"},"modified":"2016-08-25T02:16:50","modified_gmt":"2016-08-25T02:16:50","slug":"our-obsession-with-abstraction-then-and-now-at-londons-frieze","status":"publish","type":"post","link":"https:\/\/www.lifeandnews.com\/articles\/our-obsession-with-abstraction-then-and-now-at-londons-frieze\/","title":{"rendered":"Our obsession with abstraction, then and now at London’s Frieze"},"content":{"rendered":"

By Kate Symondson<\/a>, King’s College London<\/em><\/p>\n

One of the biggest international art fairs is back. And London\u2019s Frieze<\/a> isn\u2019t just about selling contemporary art, it\u2019s an annual exhibition that defines and showcases the international art scene of today. This year Frieze is bound to focus on the bizarre, and reviews<\/a> have been full of the fair\u2019s \u201cnuclear soup\u201d (made from radishes grown near Fukushima) and \u201ca leopard skin Jimmy Nail artwork\u201d.<\/p>\n

It\u2019s not only Frieze. This year has also blasted the abstract art of the past into our present \u2013 with major exhibitions on Klee<\/a>, Matisse<\/a>, Malevich<\/a>, Mondrian<\/a>, and Radical Geometry<\/a>.<\/p>\n

Why this sudden, convergent interest in the early years of abstraction? Perhaps the forces that originally drove artists and spectators to abstract art resonate with our own concerns today.<\/p>\n

Trying to define the abstract<\/h2>\n

Defining abstract art is difficult. In its most extreme form \u2013 \u201cpure abstraction\u201d, as Mondrian called it \u2013 it is utterly devoid of reference to the natural, material world. But as the first flourish of abstraction (not to mention today\u2019s resurgence) attests, the basic understanding of abstraction as the antithesis of the familiar and the real is woefully inadequate, and not especially helpful if we are to understand our connection to the original movement.<\/p>\n

\"\"
Kazimir Malevich, Black Square 1929.<\/span>
\n\u00a9 State Tretyakov Gallery, Moscow<\/span><\/span><\/figcaption><\/figure>\n

The early 20th century artists that we\u2019ve conveniently bulked together as \u201cabstract\u201d shared no consensus over form, concept, or even what term to designate their ground-breaking works. Their paintings sprawl across a spectrum: ranging from familiar objects represented in a defamiliarised way (the cubists, for instance), to the total non-representation of pure, geometric abstraction (of, say Mondrian and Malevich). Some called abstract painting \u201cconcrete\u201d (Arp and Kandinsky), and others, \u201cnon-figurative\u201d (Mondrian), while the Guggenheim Foundation settled on \u201cnon-objective\u201d.<\/p>\n

\"\"<\/a><\/figure>\n

Piet Mondrian, The Tree A c.1913.<\/span>
\n\u00a9 2014 Mondrian\/Holtzman Trust c\/o HCR International USA<\/span><\/span><\/p>\n

There was also no consensus over what it was that abstraction achieved or communicated. Amid the cacophony of contemporary voices attempting to answer this, German art historian Wilhelm Worringer\u2019s resonated far, reaching British culture via TE Hulme\u2019s lecture series of 1913-14. Worringer believed that the turn to abstraction articulated a desire (of some) to escape the \u201ccaprice and obscurity\u201d of their disordered quotidian existence. By \u201cwrest[ing] the object of the external world out of its natural context, out of the unending flux of being,\u201d the abstract imposed order upon chaos. Worringer\u2019s theory could describe the likes of Mondrian\u2019s absolutist, purist abstraction, but it can hardly speak of the kaleidoscopic vision of the cubists. Nor does it reconcile with, say, Kandinsky\u2019s belief that the \u201cnon-material\u201d quality of his abstract form was imbued with a \u201cspiritual perfume\u201d, an essence of reality.<\/p>\n

Diverse anxieties<\/h2>\n

So we still find ourselves no closer to a definition. In a recent guide to contemporary abstract painting<\/a>, Bob Nickas argued that we ought to do away with \u201cAbstraction with a capital A\u201d. He reminded us that any definitive definition of abstraction \u2013 what form it takes, the effect it has \u2013 is too rigid for this rich, amorphous body of art. Just as the abstraction of the past can\u2019t be understood in any singular way, our reignited interest in this past is the product of various forces. These are forces which, in many ways, correspond to the diverse anxieties and urges that first drove the movement.<\/p>\n

Abstraction was (and is) \u201can art of individuals\u201d, to borrow Wyndham Lewis\u2019s phrase. Liberated from the constraints of \u201ccopying\u201d the visible world, abstract form not only provided the artist with a new, ambiguous language with which to communicate. It also allowed a greater freedom of interpretation for the spectator. For Nicholas Serota, the director of the Tate, the joy of Matisse\u2019s cut-outs is that every time you see them: \u201cThere is potential for reading them in a different way, for seeing them in a new light.\u201d<\/p>\n

\"\"
Frieze London 2014.<\/span>
\nPhotograph by Linda Nylind. Courtesy of Linda Nylind\/Frieze.<\/span><\/span><\/figcaption><\/figure>\n

So perhaps abstraction is a celebration of the flux of our lives, evolving as we do, a measure and reflection of our ever-shifting selves. But it can also offer stasis, a moment of calm. It\u2019s unburdened by reference to political and financial catastrophes; it\u2019s an antidote to technology and the endless cascade of textureless mundanities captured by camera phones.<\/p>\n

In its move away from figuration, abstraction thwarts the conventional language of painting. In lieu of recognisable objects, abstract images promote sensory experience over cerebral apprehension. While abstraction has often been accused of being anti-real, in many ways, it develops a new way of articulating reality, by enacting something of our experience of existence, rather than our rationalisation of it. As Nickas reasons:<\/p>\n

If a representational picture offers an image of how the world looks, then doesn\u2019t it fall to abstraction to provide us with an image of how the world feels?<\/p><\/blockquote>\n

Perhaps the most obvious reason for our celebration of the art of then can be found in our art now: the explosive proliferation of abstract paintings being made today. Pepe Karmel recently announced that \u201cthe golden age of abstraction is right now\u201d. Frieze, it would appear, agrees (as any attempt to list this year\u2019s cornucopia of abstract artists would decisively show). This ambiguous form is more amorphous, more sprawling, more exciting than ever; proof that what was begun in the past, is far from being over in our present.<\/p>\n

\"The<\/p>\n

Kate Symondson does not work for, consult to, own shares in or receive funding from any company or organisation that would benefit from this article, and has no relevant affiliations.<\/em><\/p>\n

This article was originally published on The Conversation<\/a>.
\nRead the original article<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Kate Symondson, King’s College London One of the biggest international art fairs is back. And London\u2019s Frieze isn\u2019t just about selling contemporary art, it\u2019s an annual exhibition that defines and showcases the international art scene of today. This year Frieze is bound to focus on the bizarre, and reviews have been full of the […]<\/p>\n","protected":false},"author":39,"featured_media":7232,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[36,38],"tags":[],"_links":{"self":[{"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/posts\/1523"}],"collection":[{"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/users\/39"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/comments?post=1523"}],"version-history":[{"count":2,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/posts\/1523\/revisions"}],"predecessor-version":[{"id":7233,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/posts\/1523\/revisions\/7233"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/media\/7232"}],"wp:attachment":[{"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/media?parent=1523"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/categories?post=1523"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/tags?post=1523"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}