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Abstraction: practice, theory and history, 1913 to the present (module)

by John Harvey

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1.
The Delimitation of Subject: Austerity and Simplicity in the Calvinist Netherlands (part 1) 25:41
2.
The Delimitation of Subject: Austerity and Simplicity in the Calvinist Netherlands (part 2) 19:10
3.
Towards Contentless Form: From Whistler and Late Monet to Cézanne (part 1) 25:41
4.
Towards Contentless Form: From Whistler and Late Monet to Cézanne (part 2) 19:42
5.
Sight and Vision: Cubism and Orphism (part 1) 25:28
6.
Sight and Vision: Cubism and Orphism (part 2) 24:07
7.
Communism and Transcendentalism: the Russian Avant-garde and Malevich (part 1) 17:37
8.
Communism and Transcendentalism: the Russian Avant-garde and Malevich (part 2) 27:13
9.
New Religion; New Form: Theosophy, Kandinsky, and Mondrian (part 1) 26:31
10.
New Religion; New Form: Theosophy, Kandinsky, and Mondrian (part 2) 28:00
11.
Modernism, Abstraction, and Theory: Preliminary Considerations (part 1) 27:12
12.
Modernism, Abstraction, and Theory: Preliminary Considerations (part 2) 23:40
13.
Modernism and History: Political Interpretations of Abstraction During the Cold War Years (part 1) 25:44
14.
Modernism and History: Political Interpretations of Abstraction During the Cold War Years (part 2) 20:51
15.
Modernism and Tradition: Form as Content (part 1) 24:57
16.
Modernism and Tradition: Form as Content (part 2) 22:04
17.
Modernism in America: the Roots of Abstraction from the Armory Show to the Late 1930s (part 1) 23:26
18.
Modernism in America: the Roots of Abstraction from the Armory Show to the Late 1930s (part 2) 18:36
19.
Action as Content: Jackson Pollock and Abstract Expressionism (part 1) 24:58
20.
Action as Content: Jackson Pollock and Abstract Expressionism (part 2) 22:34
21.
The Existential Sublime: Mark Rothko and Barnett Newman (part 1) 25:24
22.
The Existential Sublime: Mark Rothko and Barnett Newman (part 2) 12:38
23.
Bridging the Divide: Pop Art v Abstraction (part 1) 24:53
24.
Bridging the Divide: Pop Art v Abstraction (part 2) 20:26
25.
The Seduction of Reduction: From Post-Painterly Abstraction to Minimalism (part 1) 25:02
26.
The Seduction of Reduction: From Post-Painterly Abstraction to Minimalism (part 2) 21:21
27.
Landscape and Abstraction: Richard Diebenkorn's 'Ocean Park' Series (part 1) 22:45
28.
Landscape and Abstraction: Richard Diebenkorn's 'Ocean Park' Series (part 2) 12:00
29.
Beyond the Crisis in Late Modernism: Abstraction v Figuration (part 1) 24:06
30.
Beyond the Crisis in Late Modernism: Abstraction v Figuration (part 2) 20:51
31.
'Off the Wall': Neo-Minimalist and New-Conceptualist Sculptural Abstractions (part 1) 24:53
32.
'Off the Wall': Neo-Minimalist and New-Conceptualist Sculptural Abstractions (part 2) 16:19
33.
The New-Modernism: Abstract Painting Since 1970s (part 1) 24:46
34.
The New-Modernism: Abstract Painting Since 1970s (part 2) 34:33

about

The focus of the historical inquiry is the period from 1913 to the present. In particular, it examines the growth of abstraction in Europe and Russia within the framework of Modernism, and its transplantation in America after the Armory Show. The module also addresses abstraction to other forms of cultural expression, and to the philosophical and political climate of the period. In particular, the lectures will discuss the bifurcation of art culture around the 1950s, consequent to the development of Pop Art on the one hand and various modes of subjectivist and empirical forms of abstraction on the other, and the abstraction of abstraction itself to the condition of art-as-idea in the late 1970s. Finally, the module will map and explain the re emergence of abstraction (as a practice and historical/theoretical concern) at the close of the Postmodern period -- in which figurative and neo conceptual art had be predominant -- and to question whether abstraction is a spent force or able to chart new territories for its operations.

Further information about this module is available at:
johnharvey.org.uk/wp-content/uploads/2014/01/Abstraction_curriculum.pdf

credits

released May 7, 2021

Personnel: John Harvey

Context: The lectures represent my contributions to this module. The module ran from 2015 to 2019, biennially, at the School of Art, Aberystwyth University, UK.

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John Harvey Aberystwyth, UK

I’m a practitioner and historian of sound art and visual art, and Emeritus Professor of Art at the School of Art, Aberystwyth University, UK. My research field is the sonic and visual culture of religion. I explore the sonic articulations of the Christian religion by engaging visual, textual, and audible sources, theological and cultural ideas, and systemic and audiovisualogical processes. ... more

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