patternsthatconnect

abstract art, a systems view

Posts Tagged ‘capitalism

Does Analysing Stunt Creativity?

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Does Analysing Stunt Creativity?.

Rachael Pinks asks an important question and comments on the relationship between what in NLP and Self Relations we might refer to as ‘cognitive mind’ and ‘somatic mind’.

It could be argued that technology separates cognitive thinking and somatic doing, attempting to mediate them by inserting ‘controlling’. Capitalism arranges them hierarchically, with thinking at the top, doing at the bottom and controlling in the middle.  ‘thinkers’ have power and wealth, whilst ‘doers’ generally lack both.

I want to say that art integrates thinking and doing, though I am aware that it is not always the case, take conceptual art for example, are not thinking and doing often separated along exactly the same lines as in capitalist production?

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Written by Andy Parkinson

November 17, 2011 at 8:00 am

Industrialism and the Genesis of Modern Architecture (via The Charnel-House)

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Another brilliant post from Ross Wolfe and a continuation of the guest blog post at my site a week or so ago. Here he emphasises the link between modernism and industrialisation, and especially the influence of the machine and the techniques of Taylorism.

Industrialism and the Genesis of Modern Architecture MODERNIST ARCHITECTURE — POSITIVE BASES (CONTINUED) The spatiotemporal properties of architecture that were developed by experiments in abstract art reached their highest expression in the work of Lissitzky and Moholy-Nagy.  Stepping back from our analysis of this development, however, we may witness a crucial conjuncture between the realm of abstract art and the other major positive basis for the existence of modernist architecture — industriali … Read More

via The Charnel-House

…much of which seems to confirm the Ellulian stance I blogged about a short while ago: according to Jacques Ellul, modernist art is either an imitation of technology or a compensation for technology.

Whilst Kandinsky’s treatise Concerning the Spiritual in Art could be seen as a compensation for technology (along with the appreciation of the Theosophy of both Kandinsky and Mondrian), the paintings often turn out to be an imitation of technology.

Ellul suggested that Kandinsky painted like a computer. I think that was unfair, but it is also a point that is difficult to argue against! I think that the same criticism (it was meant as a criticism) could be levelled at a lot of the painters I admire, and the practice I have adopted.

Ikon Gallery (via The Cultural Bible Blog)

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I noticed someone else blogging about Ikon Gallery and it reminded me of the John Salt show

Ikon Gallery The Ikon is small but the exhibits it homes are something different, and it was definetly a huge contrast from the Birmingham Museum and Art Gallery. Although we weren’t welcomed on arrival we were greeted by a girl in the Robert Orchardson exhibit “Endless façade”. This was an odd exhibit – very contemporary, but quite exciting to see. The way the space was utilised was interesting and was worth seeing. The other exhibition that was on was by Ma … Read More

via The Cultural Bible Blog

I visited wanting to see abstract art yet knowing I would be seeing photrealist paintings of cars, so I really wasn’t expecting to like what I saw. In an earlier blog I commented on this painting.

Tree 2001

Tree 2001, Casin on linen, 109 x 166 cm, Tellenbach Collection, Switzerland, Image courtesy of Ikon gallery

There are 18 paintings on view, shown more or less in chronological order, the first room with earlier work, paintings with images taken from catalogues, close-up cars, monochromes in red like Bride 1969, or grey like Sports Wagon 1969, the open door or window creating a frame through which to view the interior, and then the car wrecks of the early 70s: Falcon (Patchwork Surface) 1971, Desert Wreck, 1972; Pontiac with Tree Trunk, 1973. The second room has the more recent works, from the eighties to the present day, vehicles now more abandoned than wrecked, and shown in landscapes, usually a car or caravan, in its immediate surroundings.

At first I was frustrated at being unable to find much evidence of paint being worked or the artist’s touch. I thought I had found actual brush-strokes in Falcon (Patchwork Surface). Did I have the impression here that the artist actually enjoyed painting the surface? Then, I realised that the the surface being worked was the car body, with spray-painted graffiti. Those painted gestures looked like they had been enjoyed! And then photographed and then painted, or rather airbrushed. I attempted to inspect the canvas edges for evidence of painterliness, only to be thwarted by the aluminium frames, tight to the stretcher.

Then, once I  had resolved to stop messing about looking far what wasn’t there and to enjoy the work for what it was, the first thing I noticed was the calm. Galleries are not noisy places, but these works seemed to elicit a quietness that was more than gallery quiet alone. I think it was my emotional state, rather than the physical environment. The paintings are still, still lives in a way, yet they are also memento mori, or as Dieter Roelstraete says in the gallery booklet “that type of still life that is much more eloquently rendered as nature morte“. The Car not as status symbol,shiny and triumphant, but as wrecked, decaying, lonely or abandoned.

Although, according to the booklet, Salt claims not to be offering any social comment I agree with Roelstraete that it is difficult not to find here a comment on capitalism and its future. What I don’t find is anything about imagined alternatives. I think I read somewhere in Zizek the criticism that we find it easier to imagine the destruction of the planet than we do to imagine a future alternative to global capitalism.

(John Salt, curated by Jonathan Watkins and Diana Stevenson, is showing at Ikon Gallery, Birmingham, UK, until 17 July 2011)