- Shakira.When medium-specificity directs creativity, the act of painting can become something more than simply laying pigments down on a flat surface with a hairy stick; it can also be about exploring the viscosity of paint and the effects of gravity and air-resistance as the paint is dripped and dribbled onto a canvas while it lays flat on the floor.When painting becomes an action instead of an object, then the PROCESS of applying paint to a surface takes on an importance well-beyond anything that might have been attributed to a classical artwork, with its naturalistic imagery and illusory pictorial space. It's more akin to managing an addiction, rather than the common misconception that "endless repetition equals a lack of new ideas". It's a meta-experience that all painters will share, but is not accessible to the viewer.Of course, different art-making processes — carving marble, throwing clay vessels, drawing with graphite on paper, making lithographic prints, welding steel forms, etc. The starting point takes nothing from visual reality. Few of them could guess correctly, but everyone saw the resemblance when I told them that the title is,"My paintings are certainly non-objective; they're just horizontal lines." (Click this link to hear Duchamp read an excerpt from his essay.I would recommend these excellent videos about art:The Rules Of Abstraction With Matthew Collings, 2014.
At times, these sensual aspects of art-making will endear a particular process or a material to an artist, making repetition of one particular type of work desirable and even irresistible. Without knowledge of Brancusi's intentions or the information provided by a title, a viewer might assess his sculpture as having NO discernible object in its subject matter. This category of non-representational painting and sculpture typically uses geometrical imagery, which is one of the few sources of non-naturalistic motifs.
And that's what artists do, is stimulate the senses in any possible way." - Sloane Crosley.The flattening of pictorial space, simplification of forms and generalization of features are all hallmarks of abstraction. This is where understanding begins. All of these forms of representationalism represent actual subjects from reality.
The viewer, unburdened with the distraction of unnecessary details, is given a figurative "lens" through which she might better examine and appreciate certain aspects of the phenomenal world.
Often, abstraction is confused with non-objective art. This small protuberance is the only feature that provides a clue as to the subject of the work: it's an abstraction of the wide-open mouth of an infant, frozen in mid-scream, with its lower lip curving downward in the unmistakable gesture of anguish and emotional distress.I've asked my students to identify the source of inspiration for this sculpture. "), she's more likely to recognize the work's most important characteristics. Did I choose the title.Perhaps Marcel Duchamp — prankster, iconoclast, founder of Dada, a father of Modern Art and adherent to the belief that concepts are as important to an artwork as any of its other properties — was very wise when he cautioned against making art that consists of nothing more than the "tasteful arrangement" of formal elements. In an essay that he wrote in 1957, Duchamp suggested that "... art-making has to be based on other terms than those of arbitrary, formalistic, tasteful arrangements of static forms." The term "Non-Objective Art" (also known as concrete art) describes any type of abstract art (including abstract sculpture) which is wholly devoid of any reference to the natural world. Here we discover an uncomfortable truth about making abstract artworks: namely, the artist must be sensitive enough to recognize that moment when only the most vitally-important characteristic of her subject remains.In other words, she must be aware that if she pulls away one more feature, the work may lose its connection to the original subject and fall into the world of non-objective forms. "Simplicity is complexity resolved."
"Minimalism had to be born, not out of a mere spur-of-the-moment idea or yearning for a new lifestyle, but from an earnest desire and fervent need to rethink our lives." Subcategories under representational art include Realism, Impressionism, Idealism, and Stylization. Instead of drawing people, trees, buildings or any other observable things, non-objective artists use the elements of art as their subject; lines, shapes, forms, values, colors and textures. If it's a non-objective artwork (with no analogue in the physical world), then the contextual hook may need to be something very familiar, such as Tony Smith's sculpture.For the artist, a post-facto title becomes an exercise in trying to anchor a non-objective artwork to something that's relatable for the viewer.
She might therefore conclude that.She would not be wrong, because in this instance her understanding of the artwork is incomplete: to her, it IS a non-objective artwork. Non-objective art is abstract or non-representational art. In other words, NO SPACE exists beyond the picture plane, so why pretend that it does by painting naturalistically? If the only thing essential to a painting is the application of paint to a surface, then depicting illusory space and naturalistic forms are incidental and completely unnecessary; therefore, most of a painter's efforts (from a medium-specific stance) should, ideally, be directed toward applying paint to a surface and NOT the creation of illusory space inhabited by illusory people and illusory objects.Greenberg (among others) insisted that a well-defined territory of material-specific activity is extremely useful because it informs and guides the artist's choices while making an artwork.
In a manner of speaking, the artist renounces the traditional depiction of physical reality and, instead, focuses on a "meta-aesthetic" exploration of her chosen medium. As an example: the medium-specific approach of,Whenever a specific formal element or an idea is privileged above all others, a preference for a certain kind of imagery (a "style") will PRECEDE (or supplant) any mimetic considerations, which is why it's almost impossible to find a Colour Field painting with depth (illusory space).
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