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In 1912, in several European cities, a handful of artists--Vasily Kandinsky, Frantisek Kupka, Francis Picabia and Robert Delaunay--presented the first abstract pictures to the public. Inventing Abstraction, published to accompany an exhibition at The Museum of Modern Art, celebrates the centennial of this bold new type of artwork. It traces the development of abstraction as it moved through a network of modern artists, from Marsden Hartley and Marcel Duchamp to Piet Mondrian and Kazimir Malevich, sweeping across nations and across media. This richly illustrated publication covers a wide range of artistic production--including paintings, drawings, books, sculptures, film, photography, sound poetry, atonal music and non-narrative dance--to draw a cross-media portrait of these watershed years. An introductory essay by Leah Dickerman, Curator in the Museum’s Department of Painting and Sculpture, is followed by focused studies of key groups of works, events and critical issues in abstraction’s early history by renowned scholars from a variety of fields.
- Sales Rank: #700976 in Books
- Brand: Leah Dickerman
- Published on: 2013-01-31
- Original language: English
- Number of items: 1
- Dimensions: 12.50" h x 9.75" w x 1.50" l, 5.46 pounds
- Binding: Hardcover
- 376 pages
- Inventing Abstraction 1910 1925
Review
Featuring twenty-four contributors, this MoMA catalogue explores the evolution of early modernist abstraction across various mediums, countries and movements. (Arne Glimcher Art in America)
Dickerman urges against defning abstraction in terms of forward progress... less interested in the invention of abstraction than abstraction as invention. The main impact of this horizontalist approach is geographic, bringing peripheral sites into focus without denying the importance of major hubs. (Daniel Marcus Art in America)
Three quarters of a century after Alfred Barr, founding director of New York's Museum of Modern Art, mounted the landmark 1936 exhibition Cubism and Abtract Art, MoMA curator Dickerman returns to the realm with a vast exhibition and comprehensive catalogue depicting the incipient stages of abtraction in the plastic arts. Situating the movement from a representation toward abstraction as a synchronic historical moment, as well as one of modernism's principal activities, this Eurocentric organizational feat elaborates a network based on cross talk, spontaneity, and simultaneous development. The front endpapers of the catalogue offer a graphic spread that plays off Barr's legendary chart - the cover to his exhibition's catalogue - acanonical lineage of begotten isms. Dickerman's updated diagram turns reader's view to a distributed web of networks and memes in an endeavor that highlights connectivity over paternity. Even with his intended catholic aopproach, painting and the two - dimensional flattened spatial constructs of pictorial space overwhelmingly predominate. Music is accorded a seminal role; sculpture and film are underrepresented; typographic space and artists' books are thankfully recognized. A terrific collection of diverse short essays by nearly 30 scholars complement this intelligently edited, well- illustrated, and indispensable resource. (E. Baden Choice)
Most helpful customer reviews
16 of 16 people found the following review helpful.
valuable overview of originators of abstract art
By Ivor E. Zetler
It is around a century back that artists such as Kandinsky, Picibia, Mondrian, Malevich and Delauney turned the visual art world on its head and presented creations with no recognizable subject matter. This catalog of an exhibition held at the MOMA successfully presents an overview of important originators of this revolutionary and disparate art movement.
After a short introduction to abstraction the structure of the catalog is to present a brief essay on a featured subject (normally concerning a noted artist) and this is followed by related color reproductions of the works from the MOMA exhibition. Some sections might describe works emanating from pivotal countries such as Holland, the USA and importantly Russia. There is also some coverage of contemporary composers such as Schoenberg and Varese. The essays are generally highly informative, lucidly written and easily understood.
I strongly recommend this book for its content and the excellent quality of its printing and the many well reproduced color illustrations. There is much to learn from it.
16 of 16 people found the following review helpful.
Focus on Early Abstract Art
By Kunoichi
This is a very informative book with many large color plates of paintings, and other visual arts made in the first 15 years of the transition to Abstract Art in Europe and the US. This pivotal period between tradition with its subject matter to abstraction without, was one of the most exciting and influential periods in art history. It turned art and the viewers' response to art on its head. How did this happen? This book about the foundation of the movement shouldn't be missed by anyone interested in art or art history. Not just one author, but 36 different scholars, each writing on a specific artist and his or, rarely her works, give a well rounded look at works that are not as well known as they should be. One of my favorite art books.
7 of 8 people found the following review helpful.
"Must we not then renounce the object altogether throw it to the winds and instead lay bare the purely abstract?" Kandinsky,1911
By Gloria Fondiller
Abstract art was developing rapidly in the period just prior to WWI. Inventing Abstraction 1910-1925, the exhibit at MOMA celebrates the centennial of the radical new idea that swept across nations and developed a powerful network of artists and intellectuals. It encompassed not only the visual arts of painting, sculpture, photography and film but also music, dance, poetry, et al. The exhibition is a fabulous display of many of the key works by Kandinsky, Frantisek Kupka, Picabia, Sonia and Robert Delaunay, Arthur Dove and many others. I saw the exhibit last month, was overwhelmed, and knew I needed a copy of the this catalogue.
Leah Dickerman , the curator, has contributed an excellent, clearly written introduction. There are 36 short essays by historians on individual artists, Cubism, Vorticism, Dadaism, Early Russian Abstraction, also Abstract Dance, Abstract Environment, The Absolute Film. For example, Hal Foster's essay "Sense and Non-Sense" describes the thoughts relating to Dadaist Abstraction in the work of Hans Arp and Sophie Taeuber-Arp. The ideas are unusual, quite astonishing and related to the work of Claude Levi-Strauss.
The book is elegantly designed; the color reproductions quite good, though not always absolutely accurate. Anyone who is seriously interested in early 20th century cultural history will find this book to be a valuable and fascinating resource.
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