Archivi categoria: abstract

from “untitled asemic scene”, #2 / cecelia chapman

click to enlarge

can’t do much when ruskies bomb your electric grid / volodymyr bilyk. 2022

.

aveva bisogno di riflettere 0179 / differx. 2013

contro lo stile: l’anti-comunicazione dei graffiti senza alfabeti e senza bei disegni (magari colorati)

graffiti art by runegraff

(C) by runegraff

A differenza di un buon numero di altre realizzazioni dello stesso artista, mi piace molto  questo murale  perché non ha nessuna intenzione comunicativa ‘normale’. Innanzitutto è complesso, è formato da numerosi elementi grafici, fitti, che hanno richiesto non poco tempo per essere organizzati: segno che l’autore si è impegnato coscientemente, intenzionalmente, a evitare i due classici clichés di tutti i graffiti.
Voleva cioè evitare tanto l’uso alfabetico o simil-afabetico quanto il bel disegno, magari colorato, la pittura.
Non si tratta cioè di un’opera lasciata a metà sul cammino verso la comunicazione alfabetica o …cromosemantica. Lavora su un proprio fronte, che è altro. (Ma non è nemmeno asemico).

Non fa calligrafia né del segno verbale né del segno pittorico. Né, a ben vedere, si caccia nei vicoli ciechi del trash neo-neoespressionista.
L’impressione è semmai quella di trovarsi davanti a una macchina-ragno, accattivante e insieme ostile, perfettamente disinteressata ai nostri canoni estetici.

*

E non è un caso che due tra i vari tag contenuti nell’immagine siano @antistylers e @othersidegraff, ossie due luoghi di instagram dove il bel disegno e la bella (ma anche brutta) scrittura sembrano avere poco spazio.

hans richter interviewed by cecile starr (1972)

canon / helen saunders. ~1915

from:
https://twitter.com/dreamingbulb/status/1484884806844440581

o x / miron tee. 2022

installance #0162: abstract, asemic (abstrasemic)

 

installance n. : # 0162
type : abstrasemic (abstract+asemic) piece
size : ~ cm 6,5 x 2,2
record : highres shot
additional notes : abandoned
date : Aug 26th, 2021
time : 11:29am
place :  Rome, via E. Pantano
footnote : none
copyright : (CC) 2021 differx

abstraction and calligraphy towards a universal language

da un post di Sandro Ricaldone:

Abstraction and Calligraphy
Towards a Universal Language
Louvre Abu Dhabi
17 February – 12 June 2021
In collaboration with Centre Pompidou

What’s the driving force behind Cy Twombly’s emotive expressions? Behind Kandinsky’s vibrant canvases?
Abstract artists set out to form a universal language that could be understood by all. That idea was influenced by the calligraphy of Asia and North Africa.
There was something about eastern script that fuelled the imagination of western artists. The Arab world was full of signs and symbols they could draw from. Both raw and precise, expressive and restrained, calligraphy unlocked a new way for them to express the inexpressible: emotion, empathy, ideas.
For visitors of all ages, this exhibition is a rare chance to appreciate masterworks by Henri Matisse, Paul Klee, Joan Miró, Lee Ufan, André Masson, Dia Azzawi and Jackson Pollock, alongside contemporary works by Sanki King, Mona Hatoum, and a monumental installation by eL Seed.
In this first exhibition of 2021, we explore masterworks from the Centre Pompidou, Guggenheim Abu Dhabi and others – many shown here for the very first time – and discover how East and West come together on the same canvas.

Image: Nasser Al Salem, An Adornment of Stars , 2014

facebook.com/story.php?story_fbid=10222501944275107&id=1165115780

per peter ganick

https://gammm.org/2018/03/22/cci00000-peter-ganick-2012/

it.scribd.com/document/66166987/Peter-Ganick-ERLEBNIS-2011

https://gammm.org/2017/06/01/from-notes-toward-infinity-1-peter-ganick-2017/

https://gammm.org/2017/07/13/from-notes-toward-infinity-2-peter-ganick-2017/

&

Fai clic per accedere a ganick_properties_small.pdf

 

due opere

di pietro d’agostino, a sinistra — di marco giovenale, a destra

ultra-abstraction in painting and drawing / Peter Ganick. 2015

UA is the taking-to-the-extreme of any of conventional abstraction’s principles.

the first aspect is that an UA picture will have no reference to any representational-reality and will, therefore, be totally non-representational as a totality though representational objects like color, language, form, variation, and all possible combinations of these aspects can be included.

it is not a parlor game, though it can have rules—all meant to be provisional and non-binding.

ultra-abstraction is not conceptual art—the art is in-the-object, not in-the-idea-of-the-object.

like all quality art, it must satisfy a certain visual quality i’ll call temporarily ‘having-character’.

this ‘having-character’ is a quality of the picture or the object primarily—how an artist’s personal development courses through his/her life UA is ‘considered’ and without doubt, has the most carefully planned importance.

this pre-planning is not from the beginning of the exemplar’s existence.

the best way to talk of this pre-planning is: choosing the parameters of the piece, namely the tools to be used—perhaps that would be enough.

if we’re talking of a painting, perhaps a palette to be used, a type of ground, a means to apply color, and any other means the artist deems important, for instance, some music to enhance creativity—anything to make the artist feel painterly.

compositional aspects are in ‘free-flow’—there is no ‘one [or many] true’ compositional form[s] that will be guaranteed to work successfully in the making of this art-form.

in some manner, UA, like the quality that makes any art-piece ‘of-quality’, cannot be taught.

unlike developing talent by ‘practice’, the sort of experimental aspect that comes into play in UA is more of a poetic, irrational quality.

‘free-flow’ in this case means, considering compositions as structures, any structure can be considered to have this ‘of-character’ quality, but how that is determined is of the utmost importance.

chaos is not UA, which has some intentional-inner-structure that is recognizable.

by ‘taking to the extreme’ and ‘poetic irrationality’ is meant the unplanned, accidental, surprise occurrence that can come up in a painting.]

these, most definitely, as not ‘errors’—rather are opportunities-for-changing-direction-in-the-painting’s-midstream, so to speak.

a simpler way would be to encourage on-the-spot-improvisation.

this is and has been all along the touch-stone of jazz-music.

one must be open to ’the moment’— in this case the pictorial/compositional moment.

so, throw away ideas of ‘balance’ as a sure-fire way to enhance a picture; but keep aware of color-values, so dark-medium and light work together in a new way.

what i mean when i wrote earlier of ‘poetic irrationality’ as a thought to have in-the-back-of-the-artist’s-mind when creating is probably the best way describe UA is free-flow composition with the spontaneous improvisational aspect of utmost importance—or—if it’s different that what’s been seen before, it is worth considering—not necessarily ‘of-character’ but worth considering.

the poet, ezra pound, told poets to ‘make it new’ while some wise people would say, ‘there’s nothing new under the sun’—  i do not claim to have an answer to the discussion but think it’s valuable to consider it.

i.0069, untitled (two triangles in one)

 


installance n. : # 0069
type : tiny piece of paper
size : unknown
record : lowres shot
additional notes : abandoned
date : Aug. 5th, 2013
time : 02:40 pm
place : Rome, p.le Dunant
  

i.0052, untitled

untitled


installance n. : # 0052
type : paper piece & scribble
size : unknown
record : lowres shot
additional notes : abandoned
date : Aug. 1st, 2012
time : 04:18 pm
place : Rome, via Bacchiglione