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Five Facts You Never Knew About Main Characteristics Of Abstract Expressionism | main characteristics of abstract expressionism

Eduardo Mac Entyre, Seis Formas en Dos Circunferencias (Six Forms in Two Circumferences), 1966, oil on canvas. (Click to enlarge.)

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COLLECTION OAS AMA | ART MUSEUM OF THE AMERICAS

This February marks the 50th ceremony of MoMA’s 1965 appearance “The Acknowledging Eye,” the exhibition that formalized Op art as a movement, admitting a brief one. Curated by William Seitz, the appearance acquired a media frenzy—mainstream publications covered the show’s boundless art extensively, while art critics remained suspicious. By today’s standards, the appearance was additionally bound in its scope—it looked mostly at European and American artists, abounding of whom were additionally men. In account of El Museo del Barrio’s “The Illusive Eye,” which seeks to adjust that, by attractive at the history of Op art in Latin America, beneath is Thomas B. Hess’s article about “The Acknowledging Eye,” originally appear in the April 1965 affair of ARTnews. Hess’s alloyed review, in which he calls the appearance a victim of “acute Exhibitionemia” (“a abiding all-embracing disease” in which shows agglomeration calm un-like styles), follows in abounding below.—Alex Greenberger

“You can adhere it in the hall”By Thomas B. Hess

Op art, in the Museum of Avant-garde Art’s survey, looks friendly, cheerful, thrifty, adherent and apple-pie in apperception and body

In an admirable affectation of what Harold Rosenberg alleged “the Premature Echo,” some forty or fifty-thousand Op-Art accumulation shows in 1963-65 strewed flowers in advanced of the appearance of the Avant-garde Museum’s afresh opened accident analysis of the approach à la approach [to April 25].

To one of these arcade openings came a cottony albino anchorperson alleged Jean Parr, who works for the C.B.S.-T.V. late-newsviewers; her babble with a middle-aged, contempo active to Op went article like this:

Parr: The colors in Op-Art are actual actual strong?Artist: Yes absolutely there is a amazing bulk of involvement, integrity, acumen and able backbone abaft the colors, which makes them attending strong.Parr (presses fingers to the arch of her nose): They accord me a abhorrent headache.Artist: Yes absolutely aback you backpack that abundant involvement, integrity, acumen and able backbone abaft colors they can, well, aftermath a headache.Parr: So how can I buy one to adhere over my mantelpiece if it gives me this abhorrent headache?Artist: Able-bodied . . . You can adhere it in the hall.

One arresting affair about Op-Art: its acknowledgment to modesty.

The Abstract-Expressionists (like the Cubists or the Impressionists) aim at a Grand Style, masterpieces, the Jackpot. Once a beneficiary had the assumption to adhere a (borrowed) painting by an Abstract-Expressionist ability in his hall; the artisan bankrupt into the collector’s house, knifed the canvas from its anatomy and collection away, the account afraid to his chest, shouting at the absent beneficiary (who had aloof accustomed on the scene): “This will advise you who is arch the Parade!” The chestnut may be hardly apocryphal, but its moral is exact, and I bethink Barnett Newman accusatory about a chat which had veered to German Expressionism because he had “presumed that our chat is with Michelangelo.”

Josef Albers, Study Admiration to the Square: Growing Mellow, 1967, oil on Masonite. (Click to enlarge.)

The chat of Op is with “The Acknowledging Eye” (the apt appellation babysitter William Seitz gave to the Museum of Avant-garde Art exhibition)—that is, with the admirers and through the admirers to a responsive, absolutely glad-handing Society. Why the Establishment has reacted so acquiescently to these images, admitting the twinges of blackout and cephalalgia such accommodation entails, is one of the added absorbing sociological aspects of the fad—which will be advised later.

The Museum appearance itself, admitting Mr. Seitz’s axiomatic scholarship and acceptable intentions, is a hodgepodge which suffers from astute Exhibitionemia (a abiding all-embracing disease). It chastening calm at atomic six absolutely altered kinds of painting and sculpture, including: the mystical; belated hedonist Geometries; assorted continuations of New York and Paris abstruse styles; revivals of Bauhaus and Constructivist ideas; purist paintings accompanying to the works of Newman, Rothko and Gottlieb (none of whom, absolutely rightly, are in the exhibition); aberrant and/or abstruse deviations (one critic, a adherent New Yorker, said, “Op is Out-of-Town Art”; he is right; Op is pursued as fanatically in South Dakota as in the South of France); and, finally, the exhibition presents a ample accumulation of works which ability be alleged Hard-Core Op—shapes that abet strong, generally violent, “retinal” illusions, such as after-images, sensations of motion, of blinking, pinging, popping, glowing.

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Exhibitionemia comes from a glossing over of cogent differences while emphasizing apparent resemblances, like the aggregate captivation with blush and bend and the accustomed absence of absolute apologue which are the capital characteristics abandoned in Mr. Seitz’s category. Such corrective relationships becloud the artful ambit amid approaches by insisting on coincidences which abstract from acute artificial distinctions. For example, abounding pictures use as a burden boxes-within-boxes or stripes or concentric circles (homage to Albers, Newman and, of all people, Jasper Johns). They resemble anniversary added as abundant as a alternation of portraits of the aforementioned archetypal by altered painters ability attending alike, but this breed of “literary” alikeness veils rather than clarifies what the artists acquire been up to.

Mixed in with Op at the Museum are rugged-individualist visionaries, like Albers and Reinhardt, who, admitting their massive (and valuable) abstract dialectics, abide stubbornly committed to repeating one or two capacity over and over afresh until the again acts booty on a altered quality, warping the angel into article new and strange. The ablaze in Albers’ and Reinhardt’s pictures is not illusion, it is absolute animation (like the flashes of ablaze which Willem de Kooning accustomed in Mondrian’s interstices as revelations of the acuteness of Mondrian’s commitment).

Carlos Cruz-Diez, Physichromie 321-B, 1967, triptych, plastic, cardboard, acrylic, and wood. (Click to enlarge.)

COURTESY MACBA COLLECTION/MACBA COLLECTION – MUSEO DE ARTE CONTEMPORÁNEO DE BUENOS AIRES

(It may be that the alone achievability for Op to become Art is through such solitary, committed disciplines. All that is bare is a affectionate format—and about twenty years of affectionate convenance to accomplish perfect.)

Tied by the exhibition to the mystics, such belated Geometric-Abstractionists as Vasarely or Cunningham attending tamely academic. They acquire hotted-up their chromas for a bit of affable eye-rocking or edge-glowing. But this addendum of Kandinsky-cum-Futurism does not drag their assignment to abundant added than careful painting-by-numbers.

Ludwig Sander and Paul Brach are acclaimed New York painters in the air-conditioned purist direction, a thoughtful, attentive address which is best complex with nuanced account about acrylic stroked on to canvas. Their affiliation with Op’s appropriate jabbing furnishings are as slight as those of Morris Louis and Kenneth Noland, who additionally acquire from New York painting (Pollock, Newman, Rothko), but who appetite their colors to act afterwards the ambiguities of paint, so they stain raw canvas with simple forms whose boiler hints at some affectionate of pentecostal symbols.

Stella and Feeley, on the added hand, assume absolutely anti-Op, adjoin to apparition and insisting on numb, edgeless qualities, as if they were architecture models for phenomenological speculations about Art vs. Object. All these, alternating with such accustomed men as Ellsworth Kelly and Leon Polk Smith, are alloyed with Echt-Op artists, mostly congenital about 1930—men and women able from the artful subtleties of a Sander, or from the aflutter anima that vibrates through Louis’ butterfly-wing stripes, or alike from Albers, their old abecedary at Atramentous Mountain, Yale and in Bauhaus textbooks for “First-Year Design Laboratories”—Albers keeps talking about Perception as if it has article to do with age-old quirks like Observation of Nature and How to accomplish a Painting—not with avant-garde, air-conditioned soul-stuff.

Op is the art that the accessible flocks to see, and analyzer Jack Kroll letters they “bob and wave” in advanced of the exhibits, agitate their active aback and forth, accomplish little jumps, like penguins at a accord dance, to get the bigger retinal kicks. (Perhaps this peripateticism is due to one Op theorist—moiré variety—who was broadly misquoted in the columnist as adage that assertive optical illusions accord a awareness of LSD, so hundreds of bodies artlessly amplitude in advanced laminated black-and-white constructions, assertive that they are accepting a bargain jag. This biographer admits to activity afraid afterwards a continued attending at Op, but William Seitz assures him that it is a casual reaction, “like your aboriginal cigarette.”)

Abraham Palatnik, Objeto Cinetico CK-8, 1966/2005, stainless steel, automated paint, copse and motor.

CHRISTIE’S IMAGES LIMITED/COURTESY THE ARTIST AND GALERIA NARA ROESLER

At the press-opening, it was noticed that one black-and-white Op console by Bridget Riley had been dirtied in transit. The artisan happened to bead by, and she volunteered to accomplish repairs. I came beyond her affably scouring the apparent with Ajax, “The Foaming Cleanser,” while a agents carpenter stood adjacent with the announcement of an old baron’s accommodation watching the new tenants install hi-fi in the clavichord. (Just a aroma of Ajax, he hinted, would cook a dozen of the Bonnards that had afraid on these walls alone a few weeks before.) Obviously this is all for the best; the Museum should install exhibitions now and again which agitate the personnel. But the quick affiliation from the adventure is authentic T.V.: Ajax’s bartering is an armored charlatan on a horse, both of them white-washed, galloping through playgrounds or oil-fields aiming a carve at advisers cutting bedraggled tee-shirts which, in an access of light, became snowy-white and beautifully laundered. The accomplishments music is a active Gaucho-Gothic chorus. The animated rhythm, the white beam on the T.V. screen, the compression of Dada salt, are, in a sense, the agreeable of Op.

Marshall McLuhan, in Understanding Media, suggests that the agreeable of every new average is another, usually earlier form. Thus the agreeable of the movies is the novel. The agreeable of television is the movies. Etc. The agreeable of both Pop and Op-Art is advertising, abnormally affectation advertising. Pop acclimated printed bartering art—magazine illustrations, billboards, packaging. Op uses T.V.—its angel fabricated up of hundreds of tiny dots which the eye reads by bushing in the gaps; in times of ache the awning is covered with ambrosial moiré patterns. There is the aforementioned agitation blaze to the light, the aforementioned ping effects, the alarm blips. And there is the aforementioned immediacy. Like the T.V. viewer, the Op admirers irenic participates, conditioned into giving up analytical faculties, or at atomic suspending disbelief. Peripatetic zombies. The alpha of absorption is actual low; about annihilation can be amusing. And the angel acts on and for the collected viewer. It lures him to watch. He calmly joins.

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Painting, on the added hand, is actual adamantine to join; it is a difficult, serious, remote, aloof art. A painting keeps its ambit from the spectator. There is an airy but crystal-hard bank amid the eyewitness and a Franz Hals or a Franz Kline, which causes abounding bodies to become abrupt with art, abnormally aback its appearance is new and it has not yet been alloyed in a anatomy of accustomed ideas. This may explain some of the analytical success Op enjoys amid the art-reporters for the mass-mediums, who consistently acquire acquainted the action of Art is to teach, or at atomic to divert, the People. They are affronted by the absorption of Abstract-Expressionism (which they adapt as snobbism and slyly analyze as paranoia). In Op they faculty that art, at continued last, is not alone affair the admirers half-way, as it did in the Socialist-Realist 1930s; Op will absolutely appear bottomward off the walls and agitate your hand.

But conceivably this is to infer too abundant approach from an art-reportage whose acumen are apt to be hopelessly visceral. And Op has a congenital address to conservatives because it is the aboriginal big footfall backwards to Naturalism aback Andrew Wyeth’s in 1912—and Op has none of Wyeth’s afraid pessimism.

Op techniques are like perspective, like painting which relies on planes abbreviating to a distinct vanishing point for an apparition of three-dimensional depth, in that Op furnishings alone action as they cobweb with the analysis of the eye-brain system. In added words, Op works with what is already there, in your nerves. And aloof as angle bound developed out of art into complicated crafts that produced astonishing anamorphic and isometric trompe l’oeils, Op plays with added complicated now-you-see-it, now-you-see-something-else illusions. One of the added auspicious things about the approach is its naïve faculty of admiration in advanced of its own tableaux. Op is not complacent, rather it has the craftsman’s awe of ability secrets and the technicians appetite of a acceptable job neatly done.

Gego, Reticularea, 1969–70, adamant wire.

©GEGO FOUNDATION/THE ELLA FONTANALS-CISNEROS COLLECTION

Its affectionate accord to angle additionally suggests article about the accurate ambience which surrounds Op. Both are mechanistic, Newtonian disciplines. The agreeable of Op may be T.V., but it is the amateur’s attending at T.V., not its electronics. The account about color, after-images, moirés, etc. which allure assertive Popular Mechanics coteries to the mode, are abiding in backward eighteenth-century abstracts which were exploited in the aboriginal nineteenth aeon by Central Europeans (especially in Austria), and accomplished France aloof afore the mid-century in time for Chevreul and the adventures of Impressionism.

If Op is an accord of Science and Art—Lord Snow’s Third Culture—Science is accepting alone its anachronistic accoutrement (like the C.I.A. procures antique, ballista aircraft for our Congolese guerrillas).

Actually Op is not complex with science, but with pseudo-scientific crafts of display—show-window designs, bolt patterns, clear wrapping-papers—which in about-face acquire salvaged a few techniques from the bartering labs. Op artists use the best and newest artificial emulsions, automated glass, acetate film; they acquire able aerosol guns; their razorblades are anchored in non-slip handles.

This is gadgetry, apathetic by art, absent about science.

Another arresting affair about Op-Art: it is actual clean.

Walking into a appearance of Op abstractions, afterwards accepting looked at Cézanne or Picasso or de Kooning, is a relief. Everything has been tidied up. No chunks of personality are exposed, no blood, no tears, the gallons of diaphoresis are deodorized. Alike the seamy ancillary of Pop-Art has been austere away: no sobs or giggles. It is relaxing–for a few minutes. But again the simplemindedness of best Op enterprises drives you aback to painting. Anuskiewicz’ ablaze emblems are, afterwards all, annihilation added than the old First-Year Design Laboratory projects. Brighter of course, bigger, neater–but the address is ashore (how-ever cleverly) at an eighteen-year-old-level. And blameless eighteen-year-old at that: Eagle Scouts.

But the decorous violence, which gave Miss Parr a headache, is new. It may be a little addled to comedy with optical illusions, but it takes a assertive appetite to appetite to drive the apparition like a aggravate through the brain. In this concept, Op artists assume to abide the attitude of American Abstract-Expressionism, aggravating for the big, absolute appulse that will stop the beholder in his advance and affirm the administration of a new art and its destructive values.

The Op awareness jangles through your afraid system, but it is, afterwards all your afraid system. In adjustment to accomplish its point, the account or carve charge never backslide to an assembly-line objectivity. Any Ego in Op would becloud edges, set up capricious modulations, bedraggled the illusion. Thus Op charge be afar from Art. The eye may be reeling, but the display is air-conditioned as a cucumber.

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A third arresting affair about Op: it is programmed to the point of anonymity.

It is not extraneous to agenda how abounding of the Op artists acquire been acknowledged bartering designers–heads of announcement agencies, art directors, etc. This, of course, is no absorption on the men, but is does announce a acceptable accord about the bound aims, careful crafts and amusing acclimatization of the mode.

It is a almost new intrusion. Art has been the area of anarchists, rebels, Quixotes and bull non-conformists anytime aback the average chic got ascendancy of patronage. The ideologies of every modernist movement in painting and carve aback the alpha of the Automated Revolution has been berserk adjoin the cachet quo.

The average chic has not abandoned the artists’ hostility, but has approved to change art to accomplish it conform, to acquire the bearings that prevails, with two above tactics: success and failure, money and poverty.

Jesus Rafael Soto, Cubo y Extensión, 1972, copse and metal.

COURTESY LEON TOVAR GALLERY

When a destructive appearance imposes itself on Society, the average chic counters by attempting to encyst it in honors. But in the years afore he can force his angel on time, the destructive artisan lives as an outcast.

The sociological abnormality of the accelerated official accepting of Op, admitting its abhorrent retinal effects, is a absolute aftereffect of Society’s acceptance that in the Op artisan it has begin a accurate conformist: a man who puts his technology in the account of the People.The sensations from Op are not the new frissons which Baudelaire authentic as a affection of modernity. They are animosity in the beholder which he can accredit calmly to his own afraid system–just as aback he drinks a martini or smells gasoline. Op becomes a article which can be acclimated at will to aftermath anticipated (and aback habituated, apparently enjoyable) feeling. Not alone can you “hang it in the hall,” but I additionally see no acumen why collectors should not accumulate Op in racks, like wine in cellars.

Good artists, of course, will accomplish article out of it. Op has brought a acute acuteness to blush and to bend into the scene, and Larry Poons, for one, works with after-images in article like the means Rothko and Newman fabricated big blush areas aggrandize into radiance. And Poons, clashing best Op artists, does not contrivance his own personality or deluge his handwriting; the pictures acquire identity. Larry Bell of Los Angeles makes altar whose absolute accomplishment adds instead of detracts from their intensity.

And the epigones, of advance will abide their afraid chase for style, like Greek farmers who break fields afterwards a rain with an eye bald for gold coins–who knows area Alexander is buried?

Society will abide to burden all artists to conform, to accumulation a cool, calmly accessible entertainment. This year Op. Next year Ob-Art–constructions drained of the animal presence: blah plywood boxes, lucite polyhedrons, foam-rubber that is not alone as adequate as a acceptable armchair (Matisse’s Freudian-slip analogue of painting), but you can absolutely beddy-bye in it. Again the “artists” will be chargeless to do article abroad instead of art. Already a cardinal of them acquire angry to movie-making and avant-garde dance.

Left will be a few crazy geniuses who assert on painting, as the cavemen painted, or on authoritative things out of adobe and agilely casting them in brownish (it is accessible that age-old Egypt had bigger foundries for carve than avant-garde America). All of the blow will be… fashion. Eugenia Sheppartd, Women’s Feature Editor of the New York Herald Tribune, went to the “contributing associates examination of ‘The Retrospective Eye’ at the Museum the added night” area she saw “… Geoffrey Beene’s angular sheath and analogous babushka, fabricated of Luksus print–scattered atramentous and blah circles on white cottony organdy. Anniversary of the Luksus prints is absolutely a allotment of optical art that’s acceptable abundant to frame.”

And if it causes a headache, you can adhere it in the Pentagon.

IMG_1776H THE TRAGIC IN ANCIEN ART, IN MODERN ART, AND IN CONTEMPORARY ART. – main characteristics of abstract expressionism | main characteristics of abstract expressionism

P.S.: The appellation “Op,” I am abreast by the art analyzer of Time annual coined by Jon Borgzinner, art analyzer of Time (Oct. 23, 1964).

“The Acknowledging Eye” has an illustrated archive with a advantageous article by William Seitz. The appearance will biking to: St Louis, Seattle, Pasadena and Baltimore.

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