Choreographer George Balanchine was known for rejecting the premise that his ballets were abstract. Yet, a closer look into his comments on abstraction reveals a greater degree of ambivalence toward the concept than previously noticed. His influential words found response in dance critical writing, where the term "abstract" continued to circulate, but was often applied in vague ways, such as "so-called abstraction." This and other softened terminological variations formed an ambiguous collection of abstractive terms, like a vague word cloud around the dance concept. This article explores abstraction in Balanchine's particular ballets, and makes a twofold argument. On the one hand, by emphasizing the visual aspects of Balanchine's compositions, we may uncover ways to untangle his dilemma about dance abstraction. Visual theories of "semantic abstraction" by Harold Osborne, and of "the gesture of abstraction" by Blake Stimson, may help us to understand the abstractive modes in several of Balanchine's black-and-white ballets. On the other hand, whether discussed or not, Balanchine's abstractive gestures have created powerful representational shifts in some cases. In particular, by examining the interracially cast duet from the ballet Agon (1957) as a visual case study, we may see how Balanchine's rejections of the concept, amplified by critics' vague terminological invocations of, or silence about, abstractive choreographic gestures, occluded the work's participation in the discourse of abstraction. Simultaneously, unnoticed yet potent choreographic gestures of semantic abstraction may have promoted whiteness as a normative structure, one that relies on a hegemonic "bodily integrity" (as discussed by Saidiya Hartman). Such an analysis leads to a recognition that Balanchine's abstraction could have been a subversive form of dissent similar to Kobena Mercer's concept of "discrepant abstraction." However, I posit that, as a result of the Balanchine dilemma and its influence, the interlinked gestures of an abstract nature that have not been recognized as such promoted the self-regulative structure identified by Bojana Cvejić as "white harmony." Ultimately, a more specific and clear application of the term "abstract" in ballet is needed, as it can help to dismantle or disrupt the system of white supremacy operative in dominant ballet structures.

Artigo publicado em 2018 no Boletim do Museu Paraense Emilio Goeldi - Ciências Humanas. Este artigo busca trazer informações sobre uma lacuna existente nos estudos historiográficos sobre arte em Belém, Brasil. Discute-se o papel da artista Estela Campos na consolidação das correntes abstracionistas no campo artístico desta cidade, analisando a recepção crítica de suas três primeiras exposições individuais (1957, 1958 e 1959, ocorridas nas cidades de Belém, Rio de Janeiro e Belém, respectivamente). São apresentadas as fontes, muitas das quais ainda inéditas ou pouco conhecidas, que permitem um esboço biográfico da artista. Da mesma maneira, são levantadas algumas hipóteses sobre aspectos (sexismo, provincianismo, abordagens historiográficas localistas) que teriam contribuído para sua invisibilidade na história da arte em Belém.

Cet article a pour assise l’idée selon laquelle en revalorisant une certaine forme d’imagination, il est possible de trouver dans l’art moderne et contemporain une source et un refuge pour la spiritualité. Pour ce faire, l’auteur traite de l’autonomisation séculière de l’art au xxe siècle, une sécularisation qui en apparence s’oppose à l’art proprement religieux, mais qui dans ce mouvement de séparation repense et transforme son rapport au religieux et au spirituel, moins qu’il ne l’efface. Il situe ensuite la profondeur d’horizon ouvert par la notion d’imagination et d’imaginal, ce qui permet d’introduire l’idée du mundus imaginalis. Enfin, il rapproche l’art abstrait et l’imaginal pour montrer que l’univers auquel ces deux forces rendent attentif semble mener précisément à un monde qui leur est commun : le monde imaginal.

Abstract
This paper’s contention is that through the revaluation of a particular form of imagination, it is possible to find in modern and contemporary art a source and a refuge for spirituality. To do so, this paper studies the secularisation of art through the 20th century, a secularisation that appears to stand against religious art, but which, in this opposition, re-thinks and re-shapes its relationship to the religious and the spiritual, much more so than it erases it. The depth that the notion of imagination and imaginal creates is then presented, which allows the introduction of mundus imaginalis. Last of all, this paper compares abstract art and imaginal to show that the universe
toward which these two forces draw our attention leads precisely to their
common link: the imaginal world."

Understanding visually presented stories requires intense effort from our visual imagination. Artists and theoreticians from the Renaissance onwards suggested various ways to depict stories, either to enhance their understanding and enjoyment, or to help adjust the depictions to the aesthetic ideas of the era. Alberti's concept of istoria, Leonardo's practice of visual stimulation, Lessing's advice on how to choose the most fruitful moment of a story relied both on personal experience and the scientific knowledge of the era. Visual imagination is specially needed in non-figurative and sequential narratives in modern and contemporary art, which are supported by Arnheim's notion of stroboscopic motion. Recent developments in image-making technologies enable some clarification of the processes involved in human perception with regard to the understanding of painted scenes and visually presented stories. The objective of this paper is to find the counterparts of these art theoretical concepts in psychology and neuroscience. Through the phenomena of mirror neurons, scene perception, gist of scene, and face and object recognition, these findings establish parallelisms between art history and neuroscience.

Social tags have become an important tool for improving access to online resources, particularly non-text media. With the dramatic growth of user-generated content, the importance of tags is likely to grow. However, while tagging behavior is well studied, the relationship between tagging behavior and features of the media being tagged is not well understood. In this paper, we examine the relationship between tagging behavior and image type. Through a lab-based study with 51 subjects and an analysis of an online dataset of image tags, we show that there are significant differences in the number, order, and type of tags that users assign based on their past experience with an image, the type of image being tagged, and other image features. We present these results and discuss the significant implications this work has for tag-based search algorithms, tag recommendation systems, and other interface issues.

This paper discusses the relationship between postwar Japanese avant-garde calligraphy and the abstract art of the 1950s, showing how calligraphy contributed to the international postwar discussion of materiality. Postwar Japanese art – as exemplified by the art collectives Gutai and Mono-ha – is widely recognized for its close attention to materiality. This study will introduce Japanese avant-garde calligraphy into the discussion of materiality, examining the relationship between the avant-garde calligraphers’ use of traditional takuhon ink rubbings and the technically identical surrealist technique of frottage, invented in 1924 by Max Ernst as a way to implement ideas of automatism in art and to release the ‘material’ from conscious control. The first attempt to examine the encounter between Japanese calligraphy and surrealism, this study argues that when Japanese avant-garde calligraphers such as Inoue Yūichi (1916–85) and abstract painters such as Hasegawa Saburō (1906–57) began incorporating traditional takuhon ink rubbings into their active art practice in the 1950s, they introduced a new dimension of spirituality into the international discourse on materiality.

Az egymásnak látszólag ellentmondó kognitív metaforaelmélet és a relevanciaelmélet nemcsak kiegészít- hetik egymást, de találkozási pontjaik érdekes elemzési lehetőségeket nyújtanak. Egy szigorúbb és egy lazább elemzési példán keresztül tekintem át azokat a területeket, ahol az elméleteknek tartalmi össze- függése lehet. Egyrészt a fogalmi metaforák az absztrakt fogalmak megértését konkrét forrástartomá- nyok bevonása révén segítik, amivel hozzájárulhatnak az optimális relevancia létrehozásához. Ez túl- mutat a relevanciaelmélet által nekik szánt szerepen, amely szerint csupán a laza nyelvhasználat költői eszközei lennének. Lehetséges, hogy a fogalmi leképezések nem elhanyagolható szerepet játszanak kogni- tív környezetünkben. A második elemzésben a metaforák metakommunikatív értékére próbálok rámutat- ni, ami a relevanciaelmélet kiegészítését eredményezheti. Az indirekt beszéd virágnyelve egy olyan meta- forikus réteget jelenthet a nyelvben, amelynek a szemantika szintjén is metakommunikációs értéke lehet.

art Semiology Integrational linguistics Art history Visual culture a b s t r a c t Roy Harris offers artists and the artworld an opportunity to renew and reexamine abstraction and modernism, freeing them from the fallacy of significant form, confusion about intentionality and the redundancy that comes from art that merely illustrates theory and visual culture. The author contrasts a view of art over time (art history) with a view of art at a particular time (visual cultural), and suggests that the new supercategory of media foreseen by Harris (2010) may be paralleled by the development of a new supercategory of art that is difficult to imagine today. view because those modes of inquiry center on what makes art distinct and separate from what is said about it. My sense, however, is that art is an ongoing, open-ended linguistic structure. It is what is said about it. What I attempt in this essay is an argument favoring the role of verbalization as necessary to both art making and art reception, especially as it pertains to my own focus, abstract painting. My thinking in this respect is greatly influenced by Roy Harris's Integrationist Linguistics and his idea that the linguistic act includes more than speech and writing. His insistence on an organic relationship between context and sign and the role of ''biomechanical, macrosocial and circumstantial'' (Harris, 1996, pp. 28-31) features affecting communication clarify my sense of what happens in making and viewing artworks. I am also influenced by the new neuroscience (increasingly available to nonprofessionals) that tries to understand the biology of conscious and unconscious brain structures. Of course, I am influenced by my lifelong interest in art history and visual culture and in this essay I will try to explain them as two different ways to recognize changing visualities or ways of picturing and verbalizing in different eras, suggesting that each era has its own macrosocial linguistics. Further, more than fifty years of daily studio practice and decades of teaching add to my outlook. I believe Roy Harris has opened the door to a fresh recognition of the creative function of language and its innate unity with visual form. He offers artists and the artworld an opportunity to renew and reexamine abstraction, and modernism, freeing them from the fallacy of significant form, confusion about intentionality and the redundancy that comes from art that merely illustrates theory and visual culture. In one text or another Roy Harris has examined all those issues and I can only attempt to use his perspective to add my voice to the new discourse he has initiated.

A discussion of queer formalism and the importance of attending to formal relations and their staging of social relations.  Queer readings can take on form's insurgencies and capacities as a means of discussing how varied readers/viewers locate sites of resistance and pathways of identification in unlikely or unintended cultural texts.  This is a contribution to the Editors' Forum on "Queer Form" from ASAP/Journal 2.2 (May 2017).

This essay considers the contribution of Anneka Lenssen, Sarah Rogers, and Nada Shabout's Modern Art in the Arab World: Primary Documents to global art history. In particular, the essay addresses the archival turn, the challenges of language and translations in the publication of primary sources, and the continued need to challenge Eurocentric views of and approaches to global modernism. This includes considering how Modern Art and the Arab World's contributions aim to upend Western preconceptions about modern art from the "Arab world," and demonstrating how such publications can serve as sources for critical evaluations and reconsiderations of the history of global modernism in general.

6&5 xpressionis tUto PARADISE, METROPOLIS, MRM fflfc 1 he notion of Utopia exists in every culture, capturing shared dreams and common goals. Meaning paradoxically both "no place" and "a good place," utopia also challenges humanity to bring this dream into existence. If all the arts offer a realm of fantasy where Utopian ideals can be embodied and shared, then architecture is especially captivating, in part because it provides the communal spaces of cultural identity-meeting rooms, religious structures, and government buildings-and presents the opportunity to conceive and build a new environment for humanity.

J’explore dans cet article le rôle joué par le système graphique dans la vie perceptuelle des Indiens cashinahua de l’Amazonie brésilienne, en montrant comment un dessin abstrait opère le passage entre le visible et l’invisible dans un monde amérindien caractérisé par l’interchangeabilité des formes. Je suggère la possibilité d’étendre mes hypothèses à d’autres systèmes graphiques amérindiens apparentés. Les images et les graphismes amérindiens sont des instruments perceptifs impliquant des opérations mentales qui présupposent une ontologie dans laquelle la transformabilité des formes et des corps occupe une place centrale. La reconnaissance du caractère perspectiviste (Viveiros de Castro 1996) et animiste (Descola 2005) des ontologies amérindiennes a mis en evidence l’importance de ce phénomène de transformabilité des formes, ainsi que celui d’un contraste constitutif entre intériorité et extériorité, sous-jacent au postulat qu’un être humain peut se cacher dans le corps d’un non-humain et vice versa. Ce constat a d’importantes conséquences pour l’étude des images matérielles et virtuelles produites par ces sociétés. Je démontrerai comment plusieurs procédés formels peuvent être vus comme des techniques perspectivistes, c’est-à-dire permettant au spectateur de changer de point de vue en fonction d’un « cadrage » spécifique (Bateson 1977). Outre le contexte perspectiviste et animiste dans lequel se situe cette recherche, je prends comme point de départ la proposition de Carlo Severi de considerer le graphisme cashinahua comme une « chimère abstraite». J’avais montré que ce graphisme induisait une focalisation de l’attention visant davantage à agencer et enchâsser le regard qu’à représenter des figures extérieures à lui-même, sugérant une appoximation de cet art avec l'abstracionisme.

Most scholarship on Neo-concretism tends either to ignore Ferreira Gullar's early poetry or simply reiterate the poet's own account of his book A Luta Corporal (1954) as concerned solely with the implosion of language. However, Gullar's book also engages with a sustained existential meditation on temporality and finitude through images of material expenditure, with pears and apples recurring throughout its pages as self-consuming entities that dramatize the inexorability of time. Fruit would later become a metaphor for the effect of color in the Neoconcrete production of painter Aluisio Carvão, with Gullar suggesting that the “resistance of the object” is overcome in his works by the way our vision is made to linger on “the pulp of color.” Can it be that expenditure returns within Neoconcrete theory in the guise of fruit? If so, then the movement's generally undisputed association with a redemptive phenomenology will have to be reviewed in order to accommodate a far more anxiety-ridden conceptual facet.

artists exhibit di erent conceptual processes when they describe their work. Data from ekphrastic texts written by artists to accompany their artwork show that, although both kinds of painters refer metaphorically to their art using terms such as language, vocabulary, conversation, and narrative, the two use these words in di erent ways and with different meanings. For example, representational painters refer to "languages" that consist of the systems of represented objects, people, or landscapes that they depict, whereas nonrepresentational painters write about "languages" composed of sets of colors or shapes. Moreover, representational artists claim to engage in a "conversation" with the viewers of their works, whereas nonrepresentational artists prefer to "converse" with their materials or canvases. In general, representational painters use metaphorical terms such as language to describe their subject matter and their artwork's e ect on potential viewers, whereas nonrepresentational painters use the same words to describe colors, shapes, and their own artistic process. Artists that combine representation and abstraction in the same artwork (here termed "partly representational" artists) use some of the metaphors preferred by the purely representational artists and some of the metaphors of the nonrepresentational artists, suggesting that the presence/absence of both representation and abstraction a ect the metaphors that artists use to describe their work. painters refer metaphorically to their art using terms such as written by artists to accompany their artwork show that, although both kinds of painters refer metaphorically to their art using terms such as , the two use these words in di erent ways and with different meanings. For example, representational painters refer to "languages" that painters refer metaphorically to their art using terms such as , the two use these words in di erent ways and with dif-Representational and nonrepresentational (abstract) artists exhibit di erent conceptual processes when they describe their work. Data from ekphrastic texts written by artists to accompany their artwork show that, although both kinds of painters refer metaphorically to their art using terms such as , the two use these words in di erent ways and with different meanings. For example, representational painters refer to "languages" that consist of the systems of represented objects, people, or landscapes that they depict, ent conceptual processes when they describe their work. Data from ekphrastic texts written by artists to accompany their artwork show that, although both kinds of consist of the systems of represented objects, people, or landscapes that they depict, consist of the systems of represented objects, people, or landscapes that they depict, consist of the systems of represented objects, people, or landscapes that they depict, consist of the systems of represented objects, people, or landscapes that they depict, ferent meanings. For example, representational painters refer to "languages" that consist of the systems of represented objects, people, or landscapes that they depict, ferent meanings. For example, representational painters refer to "languages" that consist of the systems of represented objects, people, or landscapes that they depict, ferent meanings. For example, representational painters refer to "languages" that ferent meanings. For example, representational painters refer to "languages" that ferent meanings. For example, representational painters refer to "languages" that ferent meanings. For example, representational painters refer to "languages" that ferent meanings. For example, representational painters refer to "languages" that ferent meanings. For example, representational painters refer to "languages" that , the two use these words in di erent ways and with different meanings. For example, representational painters refer to "languages" that , the two use these words in di erent ways and with different meanings. For example, representational painters refer to "languages" that , the two use these words in di erent ways and with different meanings. For example, representational painters refer to "languages" that , the two use these words in di erent ways and with dif-, the two use these words in di erent ways and with dif-, the two use these words in di erent ways and with dif-, the two use these words in di erent ways and with dif-, the two use these words in di erent ways and with dif-

We present Pollite (Pollock-lite), an artificial abstract artist with the capability to evaluate, augment, and generate video game visual elements. Our system is based on a cognitive model of abstract artists built from self-reports and interviews. The main intelligence behind our system is a Convolutional Neural Net (CNN), a deep neural network approach that has shown great success in image tagging tasks and that can learn associations between shapes, colors, and concepts. We demonstrate initial results with our system across three case studies.

In the aftermath of World War II, South American artists and critics saw color as a key to liberation from the crisis of the art object and the related crisis of modernity. In so doing, they resisted an entrenched postwar suspicion of color's expressive qualities that elsewhere resulted in color either being repositioned as readymade or purged outright. The essays comprising “Color and Abstraction in Latin America” investigate what was at stake in this resurgence, in 1950s and '60s South American abstraction, of color as a central problem of perceptual experience and subject construction. First, color was conceptualized in relation to material experience, as a corporealization (whether individual or collective) that relocates us as subjects. Second, color became the basis for a complex negotiation that laid claim to chromatic abstraction as a universal project through its localized articulation within the developmentalist contexts of postwar South America. Third, all of these artists and writers contextualized their aesthetic maneuvers in relation to Europe, positioning their work as a resuscitation of the historical avant-garde's utopian aspirations in the wake of the latter's failure in the aftermath of World War II. The essays collected here reassess the role of color in postwar art, to reconsider in light of the varied experiences of developmentalist South American nations what are by now familiar concerns regarding the effects of the commercialization of human imagination and memory, the pervasiveness of culture industry spectacle, and the corrosion of subjectivity imposed by industrial capital.

Artworks can be said to metaphorically " speak " to their viewers (Sullivan 2006, 2009) in a form of fictive interaction (Pascual 2002). The current study examines the fictive speech of different types of artworks in a corpus of 1,105 examples extracted from DeviantART, the world's largest online artwork community. In the corpus, abstract artworks are less often presented as " speaking " directly than figurative artworks. That is, a figurative painting might say, " Look at me! " in directly presented speech, whereas an abstract work is more likely to scream for attention without any direct speech attributed to the artwork. I suggest three reasons for this disparity. I also find that artworks depicting named characters participate in fictive conversations not shared by other works.

The bulk of this document is the Introduction to a book called 'What Drawing and Painting Really Mean: The Phenomenology of Image and Gesture' . The book  was published by Routledge in its 'Advances in Art and Visual Studies' series on 26th April 2017. IT IS NOW AVAILABLE IN PAPERBACK !
The book’s main theme is as follows.             
        There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their  making  embody unique meanings  that transform our  perception of space-time and sense of finitude. (These are even found in drawings and paintings done by computers) Such intrinsic meanings have not been addressed by art history  or visual studies hitherto. Indeed, the dominant tendency has been to reduce the visual image to models derived from literary theory. This amounts to a kind of existential mutilation of drawing and painting. Some philosophers (notably in the phenomenological tradition) have addressed the meanings of these practices more insightfully, but mainly by assimilating them to their own general philosophies rather than by offering a genuine phenomenology of what is involved in the very making of an image – pictorial or abstract.  By explaining  and developing this, our understanding of art practice can be significantly enhanced.

Barnett Newman’s narrow, vertical canvas of 1950 entitled The Wild (with dimensions of 243 x 4.1 cm) is an unprecedented painting in which the thin vertical painted stripe is only slightly narrower than the canvas itself. The painting is context dependent and, given its extreme dimensions and the limitations of visual perception, The Wild cannot do otherwise than to produce a perceptually heightened surround as much as it attracts attention to itself. The essay considers the perceptual problems arising from the unusual dimensions of the work, and the related consequences of framing, or not framing, The Wild.

This paper discusses several aspects of the “art des masses” concept that flourished in Paris during the Popular Front years (1936–1938) and the contribution of three of the most important Parisian art magazines to the establishment of a visual imagery: Cahiers d'art, Minotaure, and Verve. These magazines addressed in each case the ideological and formalist concerns of their editors in respect to the contemporary discussions on the place of the artist in society, the leftist anti-capitalist discourse against social inequality, and the Popular Front cultural policy as reflected in the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne. Discussing the period of the 1930s, it is pertinent to consider the conditions of artistic production during the Great Depression along with the sociopolitical turmoil that the rise to power of Adolf Hitler (1889–1945) and Joseph Stalin's (1878–1953) dominion in the Union of Soviet Socialist Republics reinforced. Focusing on Verve magazine, this article seeks to identify the factors that led this publication to put into practice, as early as 1937, the idea of a “museum without walls” that André Malraux (1901–1976) would explore on a theoretical level during the following decades and the editorial lines that this luxurious art magazine adopted in reference to the developments in the artistic and intellectual spectrum only a few years before the outbreak of World War II.

This project aims to produce new material and understandings about audio/visual installation art and immanence. Immanence describes a subjective state that emphasises an embodied sense in time and space. It is explored in the project artworks by using materials and techniques that heighten one’s sense of being a receptor – of seeing and hearing, rather than being an identity formed in language. The research works through the derivation of my notion of immanence from my environmental listening experiences. I have used artistic and philosophical material to aid and extend these concepts in relation to their investigation through the practical works.
The research is conducted using non-linear audio/visual technologies to create installation art works that elude narrative sequencing through generative techniques. Typically this involves a computer generated image and sound, projected into space in ways that seek to heighten the audience’s sense of embodiment. These works are non-repetitive, and close attention to the materials reveals a structure of non-hierarchical variation, and of continual change. Philosophically, this emphasises immanent notions of the self as being in a state of becoming – of being simultaneously complete in the present moment yet continually in change.
The research explores and reveals a number of outcomes and shifts of position. At a technical level, a number of ways of combining generative sound and image are explored, and methods for creating variation within a continuum are implemented. A number of presentations of the works are made in installation spaces, and these document the tension between the framed format of video and the immersive and surrounding embodiment which is activated in installation practice.

Review of the exhibition "Sol LeWitt – Structures 1962-1993" at Villa Stuck, Munich.
In this exhibition of the sculptural oeuvre, as it was  developed by LeWitt within 30 years, the spectrum ranged from serial grid structures to the  models for combinations of ash blocks. A few black and many white mostly stereometric elements corresponded with the art nouveau architecture of the Villa Stuck, as the HTML-version of the criticism documents it with 16 illustrations. The review of the exhibition reconstructs the most important aspects of LeWitt´s development of his sculptural oeuvre.
Source: Kritik. Zeitgenössische Kunst München. Nr.3/1993, p.26-32.
URL: http://dreher.netzliteratur.net/3_Konzeptkunst_SolLeWitt2.html

Amid the ongoing spate of anniversaries of tumultuous world-historical events of the second decade of the twentieth century, it is perhaps unsurprising that Adventures of the Black Square: Abstract Art and Society 1915-2015 should not be the first among recent historical shows to exhibit a mode of curatorial 'centenary thinking'. Major anniversaries can, it seems, be just the right occasion for the dusting off and provisional resurrection of old origin myths in order to revisit and challenge rather than to simply impede archaeologies of the present. At the larger end of the scale, last

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

Resumen:
A partir de una serie de pinturas murales que el artista estadounidense Mark Rothko realizó en los años 1963-66 para una capilla que lleva su nombre en la ciudad de Houston (Texas), se establece un recorrido por la teología negativa en las tres Religiones del Libro (judaísmo, cristianismo, Islam). El fin es establecer una relación entre la denominada «Escuela de Nueva York» (Mark Rothko, Ad Reinhardt, Barnett Newman...) y la mística especulativa, fundada en las ideas comunes -a la teología apofática y a la «abstracción contemplativa»- del 'Deus absconditus', la visión ascética, el despojamiento y la esencia de la imagen.

Summary:
From a set of mural paintings performed by the North American artist Mark Rothko during 1963-66 for a chape1 called after him in Houston (Texas), we can recognize a way through the negative theology of the three Hollybook Religions (Judaism, Christianism, Islamism). The aim is the establishment of a connection between the so called «New York School» (Mark Rothko, Ad Reinhardt, Barnett Newman...) and the speculative mysticism based on the common ideas -to the apophatic theology and to the «contemplative abstractionn»- of 'Deus absconditus', the ascetic vision, the dispossession and the image essence.

This book uncovers how we make meaning of abstraction, both historically and in present times, and examines abstract images as a visual language. The contributors demonstrate that abstraction is not primarily an artistic phenomenon, but rather arises from human beings' desire to imagine, understand and communicate complex, ineffable concepts in fields ranging from fine art and philosophy to technologies of data visualization, from cartography and medicine to astronomy.

This article is about women artists who created abstract art in the early decades
of the twentieth century. Within the broad context of exclusion of women from
the history of art, and particularly from modern art, its case has some specific
features relating to the nature of the theory that underpinned the origins of
abstraction, and the artistic practice that it supported. This theory was based on
a dualistic thinking in which the feminine represented the 'other' to purify and
remove, in association with the material, the sensual, the body and finally the
decorative. The abstract artists met the contradiction of working in a language
that was based on the rejection of the feminine, which culminated in great
difficulties to do his work, often retreating to the field of applied arts. Feminist
historiography of art, meanwhile, has not paid specific attention to these
contributions.

En la primera parte de este escrito presento una aproximación a Galáxias de Haroldo de Campos como un proyecto en prosa que explora nuevas posibilidades en un campo artístico paradojal, surgido en los años 60, que he denominado semi-abstracto.  Sin  renunciar  a  principios básicos del arte abstracto, esta nueva prosa se orientaría hacia la vida cotidiana retomando principios figurativos. En la segunda parte, trabajando dentro de este marco histórico-artístico, he analizado dos pasajes de Galáxiascon el propósito de elaborar el sentido de crisis que los textos tardíos de esta obra pueden provocar.

En el presente artículo se estudia una nueva serie del artista extremeño afincado en Sevilla, Joaquín González “Quino”. Varias han sido las muestras en las que ha participado, y no menos los premios que atesora, que lo certifican como uno de los artistas más prolijos y de mayor éxito del panorama sevillano actual. Su inquietud y trabajo infatigable, los pone al servicio de la investigación conceptual y plástica, que plasma en el lienzo dando lugar la mayoría de las veces a magníficas series que abordan temáticas, conceptos y estilos de lo más variopinto. En este contexto se sitúa Sociedad líquida, una nueva serie en la que se encuentra trabajando desde hace unos meses, y que centra la atención de estas páginas, en las que se presenta una primera aproximación.

Despite sustained scholarly interest in the politics of modernism, astonishingly little attention has been paid to its relationship to Conservatism. Yet modernist writing was imbricated with Tory rhetoric and ideology from when it emerged in the Edwardian era. By investigating the many intersections between Anglophone modernism and Tory politics, Conservative Modernists offers new ways to read major figures such as T. S. Eliot, Ezra Pound, T. E. Hulme, and Ford Madox Ford. It also highlights the contribution to modernism of lesser-known writers, including Edward Storer, J. M. Kennedy, and A. M. Ludovici. These are the figures to whom it most frequently returns, but, cutting through disciplinary delineations, the book simultaneously reveals the input to modernism of a broad range of political writers, philosophers, art historians, and crowd psychologists: from Pascal, Burke, and Disraeli, to Nietzsche, Le Bon, Wallas, Worringer, Ribot, Bergson, and Scheler.


Read more at http://www.cambridge.org/us/academic/subjects/literature/english-literature-1900-1945/conservative-modernists-literature-and-tory-politics-britain-19001920#kfO4Ca1gbgl8qDOh.99

Where is art in the digital era? This essay identifies the digital as an abstract, formal system. Since art has always relied on formal, abstract systems to carry and deliver itself, what are the implications for art in the digital era? Is the digital a site for art, or is it the other way around? Can there be digital art? Identifying limit and boundary problems as the crucial existential problems for the digital, the essay shows that art has always concerned itself with such problems. This prompts the question as to whether it is possible that human existence and art become the same thing in the digital. Because the digital is currently primarily manipulated in the service of globalist economics, this is clearly not (yet) the case, so what does this mean for art? The essay then briefly examines the self-declared movements of dada, post-digital and post-internet art, concluding that these movements are not capable of questioning the digital as digital, before going on to examine some artists whose practice may be providing guiding lights toward a genuinely digital art.

The essay concerns 15 Polish Painters, the now slightly forgotten, but once famous exhibition of Polish contemporary art that took place at the Museum of Modern Art in New York in 1961. Initially, the exhibition was conceived as an expression of a thaw in relations between the United States and Poland, and it was organised at the diplomatic level. Organisational works began during Vice President Richard Nixon’s visit to Warsaw in August of 1959. They were coordinated by Porter McCray (who was responsible for MoMA’s touring exhibition programme) and Peter Selz (an art historian of German origin and a curator cooperating with MoMA). The Polish side withdrew from the project because of the abstract character of the works that Selz had selected and his disregard for the “offi cial” artists of the People’s Republic of Poland. The project was completed with the collaboration of American private galleries which bought the paintings in Poland and then loaned them to MoMA to be exhibited. The essay presents the behind-the-scenes history of organising the exhibition and its political context. It discusses the artistic message of the exhibition and the key used in the selection of its works. Finally, it touches upon the issue of Polish art’s reputation in the United States and the question as to why the Americans, wishing to present modern art from behind the Iron Curtain, decided, of all the countries of the Soviet bloc, to focus on none other than Poland. The aim of the essay is to fi ll the gap in the historiography, since the 15 Polish Painters exhibition is usually referred to only briefl y and has never been the subject of a scholarly enquiry. The event seems worth recalling also because it adds a nuance to the still current – as was confi rmed by Catherine Dossin’s much-talked-of book, The Rise and Fall of American Art, 2015 – and yet schematic view that in the middle of the 20th century there existed only two art centres, New York and Paris, thus completely overlooking the distinct character of the countries of the Communist bloc.

nell'estate del 1954, nell'ambito degli Incontri Internazionali della Ceramica ad Albisola Marina sulla costa ligure. L'intenso sperimentalismo e le evoluzioni incentrate su un grafismo intricato e complesso che l'artista indaga in questi anni, lo pongono alla stregua delle ricerche più avanzate del panorama artistico europeo e la sua poetica risalta per originalità e singolarità. A partire dall'autunno dello stesso anno inizia tra i due uno scambio epistolare che durerà fino al 1969. Tale carteggio, finora inedito, costituisce un importante contributo alla ricostruzione sia della vicenda artistica di un giovane Scanavino alla ricerca di stimoli nella cultura artistica d'oltralpe e di un riscontro della propria pittura all'estero, sia della personalità di Édouard Jaguer, poeta, critico d'arte e attento osservatore dell'avanguardia europea, impegnato nell'elaborazione di un progetto di evoluzione oltre l'esperienza "informale" -di cui è stato un precoce propulsore -dall'ambizione "internazionalista" quale il movimento Phases, connesso all'omonima rivista editata a Parigi a partire dal gennaio 1954. Grazie alla pubblicazione di questo carteggio, presentato nel volume da due capitoli introduttivi e corredato da un ampio apparato di note e indicazioni bio-bibliografiche volte alla ricostruzione filologica del ricco entourage artistico e intellettuale europeo con riferimento alle singole lettere, non soltanto è possibile ripercorrere la dinamica delle collaborazioni intercorse tra i due, come la rara raccolta di poemi La nuit est faite pour ouvrir les portes, illustrata da sei litografie originali di Scanavino nel 1957 (presentato in reprint in appendice al volume), ma si arriva a riscoprire il tessuto di una ricca "geografia" fatta di piccole riviste, gruppi e movimenti di tendenza europei ed extraeuropei in serrato dialogo con la cultura artistica italiana nel corso degli anni cinquanta. Il volume propone anche, per la prima volta dopo la redazione dei cataloghi generali dell'artista dedicati a pittura e scultura, l'identificazione di alcune opere del pittore genovese destinate alle mostre Phases.

Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of ceramics to the artistic avant-garde by looking at the central role of women in the field: potters who popularized ceramics as they worked with or taught male counterparts like John Cage, Peter Voulkos, and Ken Price.

Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.

A pesar de su imposibilidad de culminar sus estudios de arquitectura, el legado de los conocimientos adquiridos en Oxford influye de tal manera que parece llegar a condicionar el proceso de trabajo de Pablo Palazuelo. Con el empleo de las herramientas brindadas por el dibujo arquitectónico, en este escrito se pretende profundizar en el estudio de su producción a partir de una selección de los hallazgos gráficos descubiertos durante el trabajo de inventariado y catalogación realizada para la Fundación Pablo Palazuelo. Se pretende establecer una relación entre su proceso productivo y la sintaxis gráfica arquitectónica legada por su formación, para ello se han seleccionado cinco obras y cinco proyectos que cuentan con el condicionante añadido de un locus ajeno a los límites del soporte elegido. /

In spite of the impossibility of finishing his architectural university studies, the legacy of the knowledge acquired in Oxford influenced Pablo Palazuelo in such a way that it seemed to condition his work process. Employing the tools provided by architectural drawing, In this article, I intend to examine Palazuelo’s production in depth, beginning with a selection of graphic findings discovered during inventory and catalog work which have been carryied out in the Fundación Pablo Palazuelo. I aspire to establish a relationship between his productive process and the architectonic graphic sintaxis bequeathed by his education. For this reason, five works and five projects, which deal with the added condition of a locus separated from the limits of the support chosen, have been selected.

"Camaradas, alzáos, escapad a la tiranía de las cosas" 1 A pesar de su aparente serenidad, sin duda Cuadrado negro sobre fondo blanco (1915) (figura 1) y Cuadrado blanco sobre fondo blanco (1918) (figura 2), de Kassimir Malevich, son de los más inquietantes cuadros no únicamente de los movimientos de vanguardia del primer tercio del siglo XX, sino probablemente de todo el siglo pasado. 2 Cuadrado negro sobre fondo blanco detenta el privilegio (decisivo para la vanguardia en cuanto vanguardia) de representar una novedad en el ejercicio de la abstracción que llamaremos "radical" o minimalista, en tanto supone un ejercicio extremo de epojé o puesta entre paréntesis del mundo así llamado "objetivo", que había ocupado no sólo el modelo del realismo mimético de arte occidental, sino que se había mantenido aún, aunque sin duda trastornado, en los restos de figuración del impresionismo, el expresionismo, el cubismo e incluso, aunque imaginariamente muy metamorfoseado, en el surrealismo. Por su parte, y aunque con alguna incidencia más dinámica, Cuadrado blanco sobre fondo 1 Cit. por Néret, G., Kasimir Malevich y el suprematismo, Taschen, Köln, 2003, p. 7. 2 Se encontrará un laudatorio y muy minucioso estudio del cuadro de Malevich en Wajcman, G., El objeto del siglo [1998], Amorrortu, Buenos Aires, 1998. Las sugerencias de Wajcman son demasiado prolijas como para que pudieran ser aquí objeto del minucioso comentario que se merecen por su lucidez. En cualquier caso, es un texto completamente recomendable para quien desee profundizar en el pensamiento en torno al Cuadrado negro.