What Is Abstract Art? Jerry Saltz gives us something to think about (from the New York Magazine)
“I can’t tell you what abstraction is, but I can tell you a number of things that I think that it allows artists to do. What I say about abstract art could also be applied to representational art. With that in mind here’s “The Jerry Saltz Abstract Manifesto, in Twenty Parts.”
1. Abstraction is one of the greatest visionary tools ever invented by human beings to imagine, decipher, and depict the world.
2. Abstraction is staggeringly radical, circumvents language, and sidesteps naming or mere description. It disenchants, re-enchants, detoxifies, destabilizes, resists closure, slows perception and increases our grasp of the world.
3. Abstraction not only explores consciousness — it changes it.
4. All art is abstract. A painting of a person or a still-life is a two-dimensional representation of three-dimensional reality and therefore infinitely abstract. Whenever an artist sets out to make something it turns into something else that he or she could never have imagined or predicted.
5. Think of an abstract painting as very, very low relief — a thing, not a picture.
6. Abstraction exists in the interstices between the ideal and the real, symbol and substance, the optic and the haptic, imagination and observation.
7. Abstraction brings the world into more complex, variable relations; it can extract beauty, alternative topographies, ugliness, and intense actualities from seeming nothingness.
8. Abstraction, like ideas, intuitions, feelings, and life, is not mimetic.
9. Abstraction is as old as we are. It has existed for millennia outside the West. It is present on cave walls, in Egyptian and Cypriot Greek art, Chinese scholar rocks, all Islamic and Jewish art — both of which forbid representation. Abstraction is only new in the West.
10. Abstraction gained ground in Western art after centuries of more perfected systems of representation. By the mid-19th century, representation felt like a trap, and seemed empty, false, or limiting. A similar situation existed in the early aughts, after artists of the ‘90s re-deployed realisms in numerous ways. The field appeared closed off for younger artists. That’s why contemporary artists have not only begun to reexplore the possibilities of abstraction, they’re shedding much of the Greenbergian cant and academic-formalist dogma that attached themselves to it over the last 50 years. Abstraction is breaking free again.
11. Abstraction offers ways around what Beckett called “the neatness of identification.”
12. Rothko’s glowing floating rectangles of color are more than abstract patterns. They are Buddhist TVs or what Keats called “good oblivion. One sees what nothing looks like in them. They make you ask, “What light through yonder painting breaks?” (Now do you see how full emptiness and abstraction can be?)
13. Abstraction is just a tool. It is no less “real” than philosophy or music.
14. Abstraction is something outside of life that allows us to be present at our own absence or alternatively absent in our own presence.
15. Abstraction creates patterns of meaning and its own extremely flexible intricate syntax. It is astral synthesis.
16. Abstraction teeters on making empty gestures while also making deep statements.
17. The camera was supposed to supplant painting but didn’t. Instead, painting — ever the sponge, always elastic — absorbed it and discovered new realms.
18. Abstraction may speak in a sort of intra-species visual-electronic-chemical-pheromonal code, creating optical-cerebral networks and wormholes, organic maps of unknown yet familiar territories, may have a kind of plant intelligence that allows it to grow, proliferate, flower, change directions and survive relentless aesthetic predation from a lay public.
19. Abstraction contains multitudes.
20. I’ve left out No. 20, because I want to hear your opinion: What else does abstraction do that’s special?
JERRY SALTZ is art critic for New York magazine, where this essay first appeared. He can be reached at email@example.com.
New work at Gallery 54
Winter of content has produced a new series of Encaustics on view now at the Gallery 54 in Skaneateles, NY.
New work at the Nan Miller Gallery
Celebrating the Arts
Art is Music and Music is Art
First Friday open gallery reception: November 5th 2010 6-9PM
New work opening at the Nan Miller Gallery in Rochester
Nan Miller Gallery
invites you to attend
Celebrating the Arts
3450 Winton Place
(585) 292-1430 or firstname.lastname@example.org
Show through December 1
A New York Mood
New work is happening with a New York Broadway attitude. As I create these works my happy memories of the many visit to the Big Apple surface. Always on my mind are the great plays and musicals on Broadway. In these tough economical times one has to keep the arts at the front of their agenda. With out art we have no place to get lost in and take refuge from the everyday humdrum of making a living.
Looking forward to a few shows coming up and will keep you posted with dates and details.
The line never ends.
OPEN STUDIOS AT THE DELAVAN! WOW! THANK YOU TO ALL MY PATRONS AND FRIENDS WHO MADE IT TO THE OPEN STUDIOS. MANY OF THE ARTISTS WERE OPEN AND EVERYONE HAD A GREAT TIME. ALSO, A VERY BIG THANK YOU TO MY PAST PATRONS AS WELL AS NEW PATRONS WHO VISITED STUDIO 245 AND ACQUIRED PAINTINGS FOR THEIR COLLECTIONS. A VERY HAPPY AND WONDERFUL HOLIDAY TO ALL OF YOU. LB
Club Sushi Art Exhibit Opening
Thank you all for coming to the opening art exhibit at Club Sushi. The show runs through January 1, 2010 and other events will be featured on this blog. I appreciate all the patrons and friends that supported my opening event. Also thanks to the Club owner Dennis Sick for the beautiful reception and gallery space.
Edgewood Gallery Exhibit