“My infant daughter could have done that.”
(Somebody, somewhere, all the time.)
Either a modern horror, or a mind-bending window into the sublime, abstract art is both an historical turning point, and an anxiety that the art world willingly offers the greater population. The emergence of abstraction – a monumental high-brow piss-take, really from our post-ironic viewpoint – was the Twentieth Century’s art world’s creative leap, as affecting to art as photography was to the Nineteenth.
In the new religious art for an atheist society, the recognisable devolved so novelty, ambiguity would prevail. It marked a revolutionary and radical diversion from art’s formal convention of resembling something in the real world, so goodbye subject, and hello subjectivity.
When the notion of representation escapes, colour and form (composition) are freed up to express elemental ideas, intangibles, and even feelings, directly relative to the artist. Something else must connect the shared art object with its maker’s viewer, and it’s no longer resemblance and recognition. For some, this is alienating, polarizing, and requires a whole new understanding of how to look at a sculpture, or canvas, and requires considering how the art before them encodes other world views. A re-cognition, really. How do I relate? Is that a dog? From the world? A mountain? Nothing? Damn.
Non-objective, hard-edged, abstract expressionist, colour field; ‘isms’, schisms and prisms. red gallery assembles a glimpse of contemporary abstraction among artists from Melbourne-and-beyond. From the minds of the artists straight to yours.
Anne Hastie / Max Lawrence White / Rowena Silk / Louise Blyton / Kate Dambach / Thalia Robertson / Alex Moncrieff / Roz Esplin / Polly Hollyoak / Lilach Mileikowski / Wendy Busch / Yumemi Hiraki / Timothy Greaves
Another World 7 -25 June 2017