![]() Ultimately, I regard the issue of an “ideological abstraction” as a concern with legibility, and use semiotic models to bring together my explorations of my own visual encounter, the artist’s desired encounter as per manifestos, and the role of the object as per the Wollheim, Goodman, and Mitchell models. ![]() how they are actually received and interpreted. ![]() Mitchell, and Nelson Goodman) to classify how these paintings “should” work vs. Using my own visual encounter as the model against which to evaluate the artists’ philosophies, I relied on the logic behind representational painting (as described by Richard Wollheim, W.J.T. The text is structured as a sequential exploration of the roles of viewer, artist, and object to describe the ideal, desired circumstances for an abstract composition to directly convey an ideological content. ![]() "Malevich, Mondrian and Ideological Abstraction" uses the abstract paintings of Kazimir Malevich and Piet Mondrian as case studies to examine the conditions supporting and preventing an “ideological abstraction”-abstract paintings which purport to inspire a specific philosophical transformation in viewers. ![]()
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