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Tag Archives: R.H.Quaytman
Painting Off
Today one often hears painters whine about the supposed marginal status of their favorite medium in the art world. In 1991 Stella offered the following words of comfort: “Because we accept so readily the idea of the manageable whole or … Continue reading
Inventors of forms
Why abstraction has to be literary in some sense, is, as Stella has also pointed out, because otherwise it may not have enough of the meanings that we care about, that it may be thin, shallow and dessicated. As Wallace … Continue reading
Vividness
It might be possible to propose a theory as to why modern art, in its later stage, has been preoccupied with scale and shape. Reduction of elements and simplification of form has the effect of making what is left more … Continue reading
So far
This blog is getting complex, and though I’m glad to be getting comments on older posts I’m also afraid that some good moments will be lost because of the very nature of a blog, which is that it is always … Continue reading
Context as Backstory
As David Court pointed out in his recent comment, what used to be backstory has been turned inside out and become context, or analysis of context. At least that is the normative history of the turn from an emptied out … Continue reading
A literary measure
I’d like to answer the question I asked about Motherwell’s work a few posts back by suggesting that it fails for both reasons; the Elegies series is both too literary and not literary enough. The works are too literary because … Continue reading
Inwardness projected
As I discussed in the posts about R.H.Quaytman, inside and outside are arbitrary distinctions, and it is this fact which is responsible for the skepticism about the self exhibited by the more sophisticated members of the art world. Perhaps art … Continue reading
Posted in Principles of Abstraction, Uncategorized
Tagged abstract art, abstraction, aesthetics, Ai Wei Wei, Linsley, nature, R.H.Quaytman, society, subjectivity
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Quaytman’s Book
The other great merit of the chapter as an organizing form is that it can’t stand alone. There have been previous chapters and there will be later ones, each of which will force us to read it differently. (Admitting that … Continue reading
Inside and Out
I think that Quaytman’s critic is right to stress a dialectic of inside and out, and it’s reasonable to ground it in the distinction between art and institutional critique, but I think it’s also important to dwell on the form. … Continue reading
The Literary Forms of Abstraction
Which is more fundamental, visual experience or the forms of abstraction? As discussed in the previous post, form does not necessarily mean shapes in a picture, rather I’m talking about the form of the tableau, the form of the open … Continue reading
Quaytman’s poem
Presumably one reads a Quaytman installation like a book, from left to right, but it operates by comparison between any two components. Like a poem. Installation poems allow the “reader” to move in any direction. I think that Quaytman’s poems … Continue reading
Quaytman’s novel
R.H.Quaytman is making a continuous work in sections that she calls “chapters,” each of which is one show. Individual panels are then paragraphs or sentences. The whole thing is a narrative in pictures, and since many of the panels don’t … Continue reading
What’s new?
Looking at the images I’ve posted so far, it may seem that I have pretty fusty ideas about what constitutes a “new” abstraction. Just to assure my gentle readers that I do have current interests, future posts will have something … Continue reading
Posted in Conceptualism and Painting, Current Affairs, Uncategorized
Tagged abstract art, abstraction, Gedi Siboney, R.H.Quaytman
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