Ivins – &

what matters has always been disputed. Photography hasn’t solved the long running fundamentalist positions.

A short slide set of early thinkers’ attempt to tease out the hidden source from beneath the fabric of art.

the theory part, the finding your meaning, building your dictionary, your support structures is much harder to learn, build, hold, than is all the craft skill you occupy yourself with —

using the pencil is harder than sharpening it

Bibliography: Abstraction

Keeping the wonder world filled is easier with lists. Better sill would be annotated list. Left to you to do.

I wonder about abstraction, mainly with regard to things like typing into a screen, or making camera pictures. Those things that wrap fully around themself.

  • Barr. Alfred H., Cubism and Abstract Art (New York: The Museum of Modern Art, 1936); reprinted edition (Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1986) Battcock, Gregory, ed., Minimal Art: A Critical Anthology (New York: E.P. Dutton, 1968)
  • Bois, Yve-Alain, Painting as Model (Cambridge, Massachusetts: The MIT Press, 1993)
  • Bois, Yve Alain, and Rosalind Krauss, Formless: A User’s Guide (New York: Zone Books, 1997) Blom, Ina, ‘The Logic of the Trailer’, Texte zur Kunst, no. 69 (March 2008)
  • Carlsund, Otto, and Theo van Doesburg, Jean Helion, Leon Tutundjian, Marcel Wantz, ‘The Basis of Concrete Painting’, Art Concret (April 1930)
  • Castro, Amilcar de, and Lygia Clark, Ferreira Cullar, Claudio Mello e Souza, Lygia Pape, Th eon Spanudis,
  • Franz Weissmann, Neo-Concrete Manifesto ( 1959)
  • Chave, Anna C., ‘Minimalism and the Rhetoric of Power’, Arts, vol. 64, no. 5 (january 1990) Clark, Lygia: Lygia Clark, ed. Guy Brett (Barcelona; Fundaci6 Antoni Ta pies, 1997)
  • Cooke, Lynne, ‘Palermo’s Porosity’, in Blinky Palermo: Retrospective 1964-1977 (New York: Dia Art Foundation/New Haven and London: Yale University Press, 2010)
  • Davies, Anthony, and Stephan Dillemuth, Jakob Jakobsen, ‘There is No Alternative: The Future is Self- Organized’, in Art and Its Institutions, ed. Nina Montrnann (London: Black Dog Publishing, 2006) Fer, Briony, On Abstract Art (New Haven and London: Yale University Press, 1997)
  • Fer, Briony, The Infinite Line: Re-Making Art after Modernism (New Haven: Yale University Press, 2004) Foster, Hal, The Return of the Real (Cambridge, Massachusetts: The MIT Press, 1996)
  • Gillick. Liam, Proxemics: Selected Writings (1988-2004), ed. Lionel Bovier (Zurich: JRP Ringier, 2006) Gillick. Liam: Aguirre, Peio, et al., Meaning Liam Gillick (Zurich: Kunsthalle Zurich/Cambridge, Massachusetts: The MIT Press. 2009)
  • Gillick, Liam, ‘Abstract’, in Microhistorias y macromundos, vol. 3 – Abstract Possible, ed. Maria Lind (Mexico City: lnstituto Nacional de Bellas Artes y Literatura, 2011)
  • Guilbaut, Serge, How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom and the Cold War (Chicago: University of Chicago Press, 1985)
  • Halley, Peter, ‘Abstraction and Culture’, tema celeste (Autumn 1991)
  • Holmes, Brian, ‘Artistic Autonomy and the Communication Society’ (2003), Unleashing the Collective Phantoms: Essays in Reverse lmagineering (Brooklyn: Autonomedia)
  • Houston.joe, Optic Nerve: Perceptual Art of the 1960s (London and New York: Merrell, 2007) Jameson, Fredric, ‘The End of Ternporality’, Critical Inquiry, vol. 29, no. 4 (Summer 2003)
  • Judd, Donald: Donald Judd, Complete Writings, 1959-1975 (Halifax, Nova Scotia: The Press of the Nova Scotia College of Art and Design/New York: New York University Press, 1975)
  • Kracauer, Siegfried, ‘The Mass Ornament’ (1927); trans. in New German Critique, no. 5 (Spring 1975) Lind, Maria, ed., Microhistorias y macromundos. vol. 3 – Abstract Possible, (Mexico City: Instituto Nacional de Bellas Artes y Literatura, 2011)
  • Lind, Maria: Selected Maria Lind Writing, ed. Brian Kuan Wood (Berlin and New York: Sternberg Press. 2010)
  • Lippard, Lucy R., ‘Eccentric Abstraction, Art International, vol. 10, no. 9 (November 1966) Liitticken, Sven, ‘Living With Abstraction’, Texte zur Kunst, no. 69 (March 2008)
  • Meyer, James R., Minima/ism. Art and Polemics in the Sixties (New Haven and London: Yale University Press, 2001)
  • Meyer, James R., ed., Minima/ism (London and New York: Phaidon Press, 2000)
  • Mondrian, Piet, ‘Abstract Art (Non-Subjective Art)’ (October 1941 ); reprinted in The New Art – The New Life: The Collected Writings of Piet Mondrian, ed. Harry Holtzman and Martin S James (New York: Da Capo Press, 1993)
  • Montmann, Nina, ‘Opacity: Current Considerations on Art Institutes and the Economy of Desire’ (including statements by the artists), in Art and Its Institutions, ed. Nina Montrnann (London: Black Dog Publishing, 2006)
  • Neue Abstraction, special issue of Kunstforum Uanuary/February 2011)
  • Newman, Barnett, ‘The Plasmic Image’ (1945); reprinted in Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill (Berkeley and Los Angeles: University of California Press, 1990) Nickas, Bob, Painting Abstraction: New Elements in Abstract Painting (London/New York: Phaidon, 2009) Oiticica, Helie, ‘Colour, Time and Structure’ (1960); reprinted in Painting at the Edge of the World, ed. Douglas Fogle (Minneapolis: Walker Art Center, 2001)
  • Oiticica, Helie: Helio Oiticica: The Body of Colour, ed. Ann Gallagher (London: Tate Publishing, 2007) Pape, Lygia: Lygia Pape: Magnetized Space (Madrid; Museo Nacional Centro de Arte Reina Sofia/Rio de Janeiro: Projeto Lygia Pape, 2011)
  • Paternosto, Cesar, ed., Abstraction: The Amerindian Paradigm (Brussels: Societe des Expositions du Palais des Beaux-Arts de Bruxelles, 2001)
  • Perez-Barreiro, Gabriel, ed., Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros Collection (Austin, Texas: Blanton Museum of Art/New York and Caracas: Fundaci6n Cisneros, 2007)
  • Perret, Mai-Thu, ‘The Crystal Frontier’, in Mai-Thu Perret: The Land of Crystal (Zurich: JRP Ringier. 2008) Oueloz, Catherine, ‘At the Crossroads of Disciplines: An Economy of Regard’, in Gunther Forg (Paris: Musee d’art moderne de la Ville de Paris, 1991)
  • Raunig, Gerald, ‘Instituent Practices: Fleeing, Instituting, Transforming in Art and Contemporary Critical Practice’, in Art and Contemporary Critical Practice: Reinventing Institutional C1itique, ed. Gerald Raunig and Gene Ray (London: May Fly Books, 2009)
  • Raymond, Yasmil, ed., Abstract Resistance (Minneapolis: Walker Art Center, 2010) Rider, Alistair, Carl Andre (London and New York: Phaidon Press, 2011)
  • Riley, Bridget: The Eye’s Mind: Bridget Riley, Collected Writings 1965-2009, ed. Robert Kudielka (London: Ridinghouse Editions/Thames & Hudson, 2009)
  • Rogoff, Irit, ‘Smuggling: An Embodied Criticality’ (2006), in Under Construction: Perspectives on Institutional Practice (Cologne: Verlag der Buchhandlung Walther Konig, 2006)
  • Roysdon, Emily, Ecstatic Resistance, poster work (2009); reprinted in Microhistorias y macromundos. vol. 3 – Abstract Possible, ed. Maria Lind (Mexico City: lnstituto Nacional de Bellas Artes y Literatura, 2011)
  • Schapiro, Meyer, ‘Nature of Abstract Art’, Marxist Quarterly Uanuary/February 1937)
  • Stepanova, Varvara, On Constructivism ( 1921), in Alexander Lavrentiev, Varvara Stepanova: The Complete Work, ed.John E. Bowlt (Cambridge, Massachusetts: The MIT Press, 1988)
  • Steyer!, Hito, ‘Documentary Uncertainty’, A Prior, no. 15 (2007); also http://re-visiones.imaginarrar.net Tuchman, Maurice, and Judi Freeman, eds, The Spiritual in Art: Abstract Painting 1890-1985 (Los Angeles: Los Angeles County Museum of Art/New York: Abbeville, 1986)
  • Varnedoe, Kirk, Pictures of Nothing: Abstract Art Since Pollock (Princeton: Princeton University Press, 2006)
  • Worringer, Wilhelm, Abstraction and Empathy: A Contribution to the Psychology of Style (1907) (Chicago: Ivan R. Dee, 1997)
  • Zelevansky, Lynn, ed., Beyond Geometry: Experiments in Form, 1940s-1970s (Los Angeles: LACMA/ Cambridge, Massachusetts: The MIT Press, 2004)
  • Zepke, Stephen, Art As Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari (London and New York: Routledge, 2005)

I used to ask if it was possible to make abstract photographs … that was when I was still trying to follow the direction sheets packed into the film box. Now, I know that all pictures are abstractions — some just look less like the first grade imagery that came from the Kodakery.

We oscillate; abstraction, pictures, abstracted pictures… forms with shadows, without shadows. Our edges of the dictionary change, both from poor diction, or noisy duplication. Failures of detail aren’t always abstraction; neither is failure of abstraction a …[your answer goes here]