Ideologies of Pure Abstraction
Amy Chun Kim
This dissertation presents a history of the development of abstract art in the 1920s and
1930s, the period of its expansion and consolidation as an identifiable movement and
practice of art. I argue that the emergence of the category of abstract art in the 1920s is
grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of
abstract art as a movement emerged out of the Parisian reception of a new Soviet art
practice that contained a political impetus that was subsequently obscured as this moment
passed. The occultation of this historical context laid the groundwork for the postwar
“multiplication” of the meanings of abstraction, and the later tendency to associate its
early programmatic aspirations with a more apolitical mysticism.
1930s, the period of its expansion and consolidation as an identifiable movement and
practice of art. I argue that the emergence of the category of abstract art in the 1920s is
grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of
abstract art as a movement emerged out of the Parisian reception of a new Soviet art
practice that contained a political impetus that was subsequently obscured as this moment
passed. The occultation of this historical context laid the groundwork for the postwar
“multiplication” of the meanings of abstraction, and the later tendency to associate its
early programmatic aspirations with a more apolitical mysticism.
درجه (قاطیغوری(:
کال:
2015
خپرندویه اداره:
University of California
ژبه:
english
صفحه:
183
فایل:
PDF, 4.49 MB
IPFS:
,
english, 2015
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