James Shannon

Contents

Introduction

Chapter 1 - Viewing and interpreting abstract art

1a.

But does it really matter?

1b.

Does it have to matter?

Chapter 2 - How do we respond to abstract art?

10

2a.

11

Is it supposed to be hard? Or easy?

Chapter 3 - Is there a way to experience abstract art?

14

3a.

How to experience abstract art

14

3b.

Context in relation to display

16

Chapter 4 Is it representational?

18

4a.

19

Non-representational

Chapter 5 - How has abstract art been perceived as something non-representational? 21

Conclusion

24

Account of sources/ Bibliography

25

Picture credits

27

Does abstract art stand for something or is it supposed to be understood as just itself?

Within this dissertation I will be exploring abstraction and how it is and can be perceived not just visually but
also conceptually within our modern day culture and society.
Understanding abstract art within our modern culture can be very difficult at times due to the fact that
abstraction and its many varieties and forms have become such a strong presence within the art world.
Abstraction itself can be anything from a cubists rendition of still life to broad colours and shapes existing
inside a reality the artist has invited you to witness.
Also as the modern generation we are not subdued to the consistency of foreign culture in our lives, the
constant reminder that abstraction exists outside of our comfort zone can be a healthy reminder of how much
art is developing and shaping the world we live in.
This is why I believe it can be difficult to fully understand all forms of abstraction while abstract art doesnt
necessarily jump out and declare what it is about but instead requires the viewer to have an open inquiring
mind, whether the piece invites you in or looms into your vision creating a separate atmosphere where only
you and the piece are.
Abstract art can also confuse some people because of the nature of it and doesnt automatically convince
people it is non-representational, simply because of the fact that it doesnt look like anything recognisable so
people assume it must not be about anything.
This is because abstract art doesnt hold onto any real world objects so from the viewers perspective there is
technically nothing real there apart from the apparent formal parts which collectively create abstraction
which is line, colour, form, pattern, process and composition.
Everyone wants to understand art. Why not try to understand the song of a bird? Why does one love the night,
flowers, everything around one, without trying to understand them? People who try to explain pictures are
usually barking up the wrong tree.

Picasso has a point; sometimes it is frivolous trying to explain what art means, as abstraction speaks to the
nonverbal part of our existence which I believe is connected to emotion which in turn makes art an
experience. By just accepting that what it is, is simply that in itself and not trying to pinpoint certain aspects of
meaning to the art allows the viewer to become involved with that piece and allows emotion, sensation or
memories to emerge.
Personally I believe seeing any (abstract)art in person has a far greater impact on a person individually
opposed to seeing the artwork online or in a book, by seeing it in the flesh helps the viewer fully experience
the piece by noticing how the media is manipulated, how the texture has been created and how refreshing
and comforting it is to see it up close, the size of the piece is heavily manipulated when introduced to the
viewer inside a book or online so even though you may have seen it you may have not experienced it.
You can involve yourself with the painting, stand where the artist once stood in front of their piece, feel and
express the emotion through every small detail they created, abstract art is purely up for personal
interpretation because it isnt conventional like a portrait, landscape or a still life; of course these subjects can
still be abstracted but referring to classical/stereotypical interpretations of these types of subject matter are
completely representational.

Picasso, Pablo. GoodReads. N.p., 2016. Web. 1 Jan. 2016.

Fig.1 Rudolf Stingel, Untitled, 2007

Fig.1.5 Rudolf Stingel, Untitled, 2007

Close-up

In some circumstances, to appreciate a piece of art work it is helpful to understand the artists reasoning or
motivation behind a piece or series, a certain story or an aspect of their life in which they want to connect with
you through their own means. Furthermore as the viewers of abstract art we can bring our own personal
experiences and meaning to the table which in turn lets us assign our own context to the work. We as viewers
do not need to know exactly what the artists work is in order to be able to have a deeper appreciation for it.
Another important part of abstract art is the context of display and how and where you as the viewer view it in
person opposed to where the artist wants you to view it whether it be in a gallery, exhibition or as an
installation.
th
th
Recently in 2015 between the 26 of August to the 4 of October the TATE gallery created a display open to
the general public called TATE Sensorium visitors are encouraged to eat certain food products and smell
certain fragrances to improve their experience.
As part of the experience, visitors will be asked to wear a wristband device measuring electrodermal activity, a
measure of your physiological response to the experience. Wearing a wristband is optional. Data collected from
2
these devices is anonymised and used to give you feedback about your experience.

Tate.org.uk,. "Information For Tate Sensorium Visitors". N.p., 2016. Web. 1 Jan. 2016.

Chapter 1 - Viewing and interpreting abstract art

In recent years viewing art has never been so accessible to such a broad audience, this is due to the rise of the
internet and personal publication, at this stage I would like to talk about how effortless social media and other
displays of public or personal advertising for artworks have become and if this way of viewing art can be
considered a better and more conventional way of exhibiting art.
Furthermore exploring art through the means of modern technology has been around for years and is also
incredibly useful due to the fact of sheer convenience and compliance, nowadays an exceptional proportion of
galleries, exhibitions and festivals etc. from all around the world have websites in which you can view
information about artists and their pieces and more importantly past, present and future exhibitions that
theyre holding and involved with.
Also a good percentage of modern artist now have their own website to catalogue their artworks to make it
even easier for the general public to view and gather information about their practice, not only that but
blogging their daily exploits onto social media such as Facebook, Instagram, Reddit etc. to ensure that their
target audience can witness, collect and more importantly discover who these artists are.
This is a sign of collective advertising; to ensure that an artist can appeal to their target audience they will
comply with the rules and regulations of their chosen social media(s).
But this is not only to ensure that the users of these social media(s) notice their artwork but it also acts as free
advertising as certain artists will post/upload other images or URL links to their own personal selling pages
such as Etsy (an online store) or advertising books/magazines they have been a part of.

Fig.2 Mobile screenshot, Instagram

This in a sense can create great connections for certain artists, but is it advised for the viewer or in this case
the consumer to be bombarded with this information? The images and information given is not necessarily
forced upon us as a society, but it is seen a choice that the audience makes to involve themselves with their
chosen artist and helping them fund their personal artistic practice.

1a.
On the other hand viewing abstract art in person is more inclined to be the actual way the artist intended
their audience to experience their piece(s). This in my personal opinion is because the intended artist wishes
to open up and enable viewers into their practice to create a more personal experience with the viewer.
Viewing pieces whether it is in a gallery, a personal exhibition or even on the street as graffiti or an installation
conjures up certain motif which can help the viewer understand and have a clearer perception of what the art
is trying to say or do. Usually curators for galleries tend to include more than one artist while exhibiting this is
because the art together usually (but can contrast) speaks the same language, while intentionally this is
required sometimes it is just a lone artist and their work within the space, even if their work media is mixed it
still has the intention and information to correctly convey what they intended.
But does it really matter?
Looking at artwork within certain galleries can pull you away from the pieces and leave you asking the
question Was that it? you can take from a minute up to an hour or more to walk around and view art even in
a small gallery, so why is the context of display important to artwork?
Simply hanging a painting on a wall or setting a sculpture down in the centre of a room can radiate different
feelings at one time, but by disrupting what is the norm can also be unique, questionable and rather
interesting. This is why artists tend to explore and experiment with countless methods of display, by slightly
tilting the canvas or instead putting a piece flat on the ground will give a different but severe impact on how
we understand that piece and the artist due to how the visual information has been conveyed.

Fig.3 Angela De La Cruz, Deflated 21 (Red), 2011

"I like slapstick and silly humour. I like the idea of paintings behaving badly."

Classically (stereotypically), paintings hang on walls at eye level so the viewer can take it in and briefly
understand what it is and move on, but by placing it on the ground will give the viewer a view in which they
are above the painting looking down onto it creating a more dominant complex which reveals a completely
different side to that piece, or if the canvas was removed from the frame entirely and hung freely onto a wall
how would you react to that? Does the painting have to be connected to the framing or anything for that
matter, why does abstract art have to coexist with such figurative real things? Is it because we need it to just
so we can have an inkling of connection or understanding or is it because our minds cannot create a
realistically rational explanation for it.
This attention can also be turned to sculptures where the abstraction can manipulate the space around you,
distorting reality and promptly instructing you of its intentions, sculptures can have a tendency to lure people
into them such as Anish Kapoors Leviathan for the 2011 Monument Project held at the Grand Palais, Paris
th
rd
(11 May 23 June)

Fig.4 Anish Kapoor, Leviathan, 2011

Anish Kapoor's Monumenta sculpture alludes to the idea of the cathedral: the body as living, breathing sacred
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space.

3
4

de la Cruz, Angela. "Turner Prize 10: Angela De La Cruz". Channel 4 News. N.p., 2010. Web. 1 Jan. 2016.
Hudson, Mark. The Telegraph. N.p., 2016. Web. 2 Jan. 2016.

1b.
Does it all matter, does any of it matter, and does it have to matter?
These are the questions artists, audiences and critiques alike have plagued themselves with since the dawn of
art. Everyone nowadays is a critique one way or another determining what they like and dislike within art,
everyone has a personal preference so why can some people connect dramatically with a piece and others
cant?
Some people can argue that it is clearly stubbornness and have no interest in the art world which is fair
enough and is easily understood but more often enough some particular viewers can completely disregard a
piece and show no interest at all which again is completely understandable.
But why do some people not know why they dislike a piece?
Occasionally viewers have a likelihood of ignoring certain artworks all together even if they prefer one piece
to another; the reason is this is due to comparison which also connects with the context of display. Certain
pieces are created for a gallery life, sitting and waiting for their audience to come to them within an exhibition
while some pieces are scattered around the world in which people tend to look out for them to visit them in
their desired environment. Now as I said before Everyone nowadays is a critique which may be the reason
some people do not resonate with a piece due to the placement of the artwork since they seem to disagree
with the context of display.
But does it matter; can you not view art anywhere? Surely since it is art it can be respected within any context.
Undoubtedly yes it does matter and more so if a piece can be understood and perceived as abstraction,
bending and moving the display around itself is mostly what abstract art can be created to do but in some
cases it has been used to completely describe a space with its presence.
In the period between the two world wars, artists developed new forms of abstract art based on aesthetic
idealism and the vision of a more perfect society.Developments in engineering and architecture helped to
shape this new artistic vision. Sculptors turned from modelling or carving to assembling and constructing in
order to delineate space. Painters replaced the drama of colour and brushwork with measured restraint and
5
uniformity

Tate.org.uk,. "Around Abstract Art 19201935". N.p., 2016. Web. 1 Jan. 2016.

Chapter 2 How do we respond to abstract art?

They way each and every one of us that responds to abstract art is different depending on the person, how
their personal life is going, the context of display or more importantly how we individually interpret colour.
The easiest way people seem to interpret abstract art is through breaking a piece down into the categories of
form, colour, line, texture, pattern, composition and process, because of this viewers tend to have a
more narrowed vision of what they expect to see when viewing abstract art instead of opening their
minds and letting in as much visual information given to them instead of trying to structuralise
everything that is conveyed.
Understanding colour and how it is, can or will be interpreted can be very valuable to a viewer.
Colour can be also be interpreted completely the wrong way seemingly just by the actual colour and the
appliance of said colour can convey the wrong thing which can be confusing if the viewer is susceptible
to this. Stereotypically a bright red may indicate caution or danger, something to be weary of while on
the other hand a darker red can be interpreted as lust, love or aggression. Blue can also be conveyed
completely differently while as a bright blue can appear to be more energetic a dimmer navy blue ca n
be suggested as sadness or loneliness to a certain few.
This is not to say that every colour equals an emotion because really it is up for personal interpretation,
I am trying to express the fact that colour can be an unimaginable thing at times as it can represent
itself and this can be accentuated due to the context of its display.
a prestigious law firm sends a message of confidence to potential clients by using rich, deep colors in
its office and on its letterhead. Conversely, a dentists waiting area in bright red or orange sends a
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stressful message to patients, rather than the calm feeling the dentist wishes to convey

Just as Kandinsky applying the lessons of musical composition to his paintings each painting exists as a
whole which is created up of smaller but just as significant pieces just like musical notes to a song.

Painting, he believed, should aspire to be as abstract as music, with groups of colour in a picture relating to
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one another in a manner analogous to sequences of chords in music

Colours opposite each other on the colour wheel have the same intensity and pla cing them side by side
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causes what he called an optical vibration Eugene Chevreul Matthew Collings
Sonia Delaunay absorbed this scientific rule in which Chevreul set and took it over as her own rule while
representing painterly evocation of the emotional lift of light, softened colour has been subjectified to a
wavering grid which acts as the form she is using and is completely unafraid of breaking it in which colour
overlaps the borders and colours of the circular grid she has set out which hungers for a colour need.
Where there is a chance of the relationship between the colours which appears to be the visual equivalent of
out of tune she overlaps adjacent colours so certain ones may be more apparent serving as a step in the right
direction for her used colours and also contrast.

Whelan, Bride M. Colour Harmony 2.page 7. Rockport, Ma.: Rockport Publishers, 1994. Print
Tate.org.uk,. "Kandinsky: The Path To Abstraction, Room Guide". N.p., 2016. Web. 1 Jan. 2016.
8
Collings, Matthew. "2/6 The Rules Of Abstraction With Matthew Collings". YouTube. N.p., 2014. Web. 1 Dec. 2015.
7

10

Fig.5 Sonia Delaunay, Electric Prisms, 1914

2a.
Is it supposed to be hard? Or easy?
Abstract art allows the viewer to interpret and decide themselves what the work is about on a very personal
level. There is nothing physically real to hold onto when interpreting a piece of abstract art so the viewer is
encouraged to open up their intuition to see where the piece can take you. You must engage with the piece if
you are willing to learn more from it otherwise it will not tell you what it is about.
On the other hand it is also important to understand and inform yourself on how and why the piece was made.
Understanding the reasoning behind an artists piece can also influence the viewer about what information
they will receive, but this is not a bad thing.
Certain artists are more inclined to respond with their practice by telling you why they are doing a certain
something with their piece.
Im experimenting with making a painting just in black and white, I usually use colour but
And whats the reason to not use colour?
I dont know quite how to express that in a positive way but I suddenly felt incredibly fed up with colour and I

11

wanted to start again by clearing everything out and go back to a very basic black and white beginning
9
Fiona Rae speaking with Matthew Collings

Where does the idea of abstract art having to be difficult come from? Is it the viewer or the artist?
Often enough when a piece of abstract art has been created it is difficult to control its meaning but this
doesnt make abstraction difficult, it may seem hard to understand at times because it can consist of only nonobjective forms.
Id like to think of abstract art as being similar if not the same as figurative at times, while visually they are
different the stylisation and the appliance of the art can be redeemable to either side which in my opinion can
be made to become similar.

Fig.6 Juan Gris, Harlequin with Guitar, 1919

Collings, Matthew. "2/6 The Rules Of Abstraction With Matthew Collings". YouTube. N.p., 2014. Web. 1 Dec. 2015

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Fig.7 Josef Albers, Segments, 1934

Furthermore knowing that Juan Gris being a cubist painter/ sculptor and Josef Albers being an activist in
abstraction creating his Segments piece through woodcut printing, even though these two separate artists
are visually and constructively different I cannot help but see a similarity within these pieces.
There are forms that are figurative to me, and if they develop into figurative image thats its all right if they
do. I dont have the feeling that something has to be completely non-associative as far as figure form is
concerned
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Franz Kline
The way Gris understands colour harmony and contrast within his interlocking shapes creates an
understandable form of what we could vaguely expect to be a figure holding an instrument of some kind and
how Albers forms all exists on the same level at the same time, this interests me in a way only abstraction can.
10

Haftmann, Werner. Abstract Art Since 1945. Page 154. London: Thames and Hudson, 1971. Print.

13

Visually Gris and Albers are different but by looking at their forms and choices we can see that they follow the
same guideline of peering into the non-objective world. Physically neither of these forms exist as a unique
lonesome creation but instead are a part of a much larger picture (figuratively speaking) which we, the viewers
have only seen a snippet of, we have seen through the artists eyes into their mind and back into this real
world, or as Theosophy would have you believe that everything we see around us is only an illusion so purely
abstract painting is more true to the real reality that lies behind everything, rather than a painting that
attempts to capture aspects of the illusion version of that higher reality.
th

At the start of the 19 century a new movement within art emerged which was a response or more of a
recording of a higher awareness of cosmic truth that surrounds us. Modern abstractionism was entirely built
upon a visual manifestation of spiritual ideals professed throughout the teachings of what we know about
Theosophy, the artists such as Kandinsky, Kupka, Mondrian and Malevich described themselves as scribes
who painted words in which they believed our physical bodies could not say.

Chapter 3 Is there a way to experience abstract art?

To view art and experience it has been argued as being separate things, which in my personal opinion at the
time of typing this I believe that they are separate but I am going to elaborate and argue my claim in hope of
not to seem naively confident about this subject.
There's no substitute for the experience of walking into a professional gallery and viewing work
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John Patrick Weiss
Nowadays hundreds of thousands of people view art every day and it has never been more easily accessible
whether it is on a mobile phone, computer or a tablet through the use of the internet. Also more traditional
methods: a book, magazine or a poster the list is possibly endless but I am certain that the average art lover
has seen more pieces of artwork online than in person, even though I am not suggesting that viewing art
online is equal to viewing art in person but the line between these ways of seeing abstract art is becoming
more blurred the more our modernist culture develops.
Viewing art online is a fantastic way of discovering hundreds of artists in a relatively short time frame opposed
to taking gallery visits, this is allowing people to constantly be connected to their favourite artists mainly
because of convenience and how technology has helped art to be discovered.
The business mind of an artist is also being used within these methods of online discovery while the artist still
must take high quality photographs (or their own personal means of recording their artwork) to ensure that
the viewer can view it as clearly as they possibly can and understand what they are seeing. The way I can
imagine this being a more effective means of making sure the artwork is always being viewed is having a
personalised web page of some sort since galleries can close their doors for months or years at a time and
some pieces are only available in certain countries opposed to websites and artists pages that can be
accessible for 24 hours a day 7 days a week internationally.

3a.
Furthermore I would like to argue the fact that there is no correct or intentional way of viewing abstract art
but instead more along the lines of a suitable, more appropriate way of viewing and experiencing abstract art
to the fullest. So what is the best way to experience abstract art? Personally I believe that I as a viewer and a
11

Weiss, John Patrick. "The Way We View Art Has Changed". theartedge.faso.com. Web. 3 Jan. 2016.

14

gallery attender can vouch that experiencing abstraction in art can fully be completely experienced only in
person.
This is because I would like to think that the strongest part of seeing art in person is how it can define the
space it is in and how enlightening and comforting this is, to be able to see the real thing has always been
considered a bigger event than seeing a replication on a postcard or a picture of it taken where the lighting is
perfect and nothing is left to chance. This way makes the piece feel more real for me instead of touching the
image up prior to posting it online or having it professionally printed into a magazine, I find myself having more
appreciation for the piece if I can witness it throughout its displayed life, the way it has been placed within the
gallery amongst other pieces can say a lot more for a piece than if it were a static image.
The way light, tone, contrast and atmosphere have become a constant and relevant motion for these exhibited
pieces really intrigues me to explore these possibilities and interests me further to explore why the intended
artist has done what they have.

Which leads me onto what the artist intends, how should you view artwork?
It all comes down to personal preference honestly on how you personally view it but to experience it the
viewer must be willing to put themselves inside a designated space of where the artist intended which can
help fulfil that need of experience.
A viewers ability to experience new art in an inviting setting will have a huge impact on that viewers
interest
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Jason Horejs

Fig.8 Cathy Wilkes, Untitled, 2014

While looking at Cathy Wilkes installation piece you can see why it would be so important to view this in
person rather than as a static image, Wilkes has been known to create haunting installations that recall
domestic like spaces this has been created through the bringing together and assembling familiar objects

12

Horejs, Jason. "Effective Art Display | How Galleries Work". RedDotBlog. N.p., 2015. Web. 3 Jan. 2016.

15

which she collects that range from fish tanks, mannequins, toys and jars.
Viewing her installations has been deemed a process of discovery filled with unexpected surprises.

3b.
Does the context of the piece in relation to its display help abstract art be understood as itself?
So does art that has been displayed in a professional gallery have a higher stance in hierarchy opposed to art
which is displayed in a coffee shop? No not really that all whittles down to the artists name if I were to talk
about a more well-known artist but no matter the display of the artwork it must help be relative to the piece
itself.
Some artists may have reasoning behind why they want a certain piece to be presented while others are happy
to take the space they have been given in order to display their piece.

Fig.9 Arturo Herrera, Faculty Band, Thomas Dane Gallery,

2015

Fig.9.5 Arturo Herrera, Faculty Band, Thomas Dane

Gallery, 2015
Close-up

As seen in the images above the piece on the far right Bundestag Red was displayed behind a window while
all of the other pieces were not but instead placed on walls just below eye height while in the picture below

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the piece has been taken out of context and photographed in front of the window to then be used for the
galleries website.

Fig.10 Arturo Herrera, Bundestag Red, 2014

To take a piece out of its intended context like this can potentially become damaging for its context for people
that did not view this exhibition at the time, all that has happened with this piece is that the window it was
behind no longer matters and is open and free to the gallery environment just like the others. So what?
When this piece was behind the glass of the window it felt untouchable, free but also confined to the space it
was allowed to be experienced in, the haplessness of the texture you were stopped from defining has now
been removed and what you thought was the real piece has been changed to make the photographers life
easier to capture this image for the gallery.
But let us not be too hasty with blaming maybe Herrera wanted his piece to have this two sided view to it
where in person it is behind the window where it feels encased and important for it to sit freely on the bars,
but online when viewed can be more open and accessible, could this thought be used to trick the viewer into
thinking about the concepts of his pieces and the spectrums of his abstraction?

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Chapter 4 Is it representational?
Abstract art nowadays has become increasingly more varied visually and conceptually so people tend to
wonder what does abstract art mean, I would like to explore the relationship between abstraction and
representation by firstly looking at Roy Lichtensteins Bull Profile Series, 1973.

Fig.11 Roy Lichtenstein, Bull Profile Series, 1973

While firstly examining Bull I we notice that it is purely a piece of a representational work of art perhaps a little
boring and simple but still very nice, while in Bull II Lichtenstein has now included colour and is distorting
shapes a bit by introducing diagonal lines across the background to give a more considered design and still
fairly true to how it is visually representing a bull.
By Bull III, you can really now start to see abstraction taking place as now the body of the bull has been
reduced into geometric shapes, while there is still a body there the idea of a bull comes through more than
the realistic impression of the previous representational pieces.
Bull IV and Bull V have now only become the essence of a bull the idea of it, the broad shapes and colour
placement is all that represents a bull now but can rely on very simple visual cues to give the impression it is

18

still there, the blue marks to delineate a multi-coloured hide and the curved shape in the same position where
the head would be.
In his final piece Bull VI Lichtenstein produces pure abstraction where only the impression exists and our
imaginations are used to conjure up the idea of a bull, these steps between the representational side of reality
and abstraction act as a narrative in which I can strongly agree with.
Representation within abstract art has changed and does not necessarily need to be categorised to be
understood as I believe abstract art should be seen as a whole without individually exploring the visual and
contextual substance.
While to represent something in art means to depict the physical appearance of things I believe that abstract
art can be found to be similar in ways to representational art. As to abstract the real world you would first
have to abstract representation. While the words representation and abstraction are the defined complete
opposite, representation is depicted to mean the description or portrayal of someone or something in a
particular way while on the other hand abstraction means existing in thought or as an idea but not having a
physical or concrete existence which in turn means it can only purely exist as itself and nothing else.
Furthermore I believe that there is a sense there is also continuity between representation in abstraction while
abstract pieces of art can describe themselves but cannot be encouraged to represent real world things.

What one must paint is the image of resemblanceif thought is to become visible in the world.
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Renne Magritte

4a.
Abstract art visually is seen as being non-representational but the semiotic nature of abstraction conveys a
different wave of information, while semiotics refers to the study of signs, symbols and meaningful
communication I believe abstract art can compare greatly to that.
Semiotics can translate a picture from an image into words. Visual communication terms and theories come
from linguistics, the study of language, and from semiotics, the science of signs. Signs take the form of
words, images, sounds, odours, flavours, acts or objects, but such things have no natural meaning and become
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signs only when we provide them with meaning.
Figurative art describes artworks-such as paintings and sculptures-which are clearly derived from real world
sources and therefore are by definition representational. Since the arrival of abstract art the term figurative
has been used to refer to any form of modern art which retains those strong references to the world as we
know it.
Abstraction indicates a departure from reality in depiction of imagery in art. Abstraction exists along a
continuum; abstract art can formally refer to compositions that are derived (or abstracted) from a figurative or
other natural source. It also can refer to non-representational art and non-objective art that has no derivation
from figures or objects. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at
least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes

13

Magritte, Renne. "How Useful Is Semiotics As A Method For Analysing Works Of Art? | Art & Perception".
Artandperception.com. Web. 6 Jan. 2016.
14
Ferreira, Angela. "How Useful Is Semiotics As A Method For Analysing Works Of Art? | Art & Perception".
Artandperception.com. N.p., 2007. Web. 6 Jan. 2016.

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liberties, altering for instance color and form in ways that are conspicuous, can be said to be partially
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abstract

When discussing representation with abstract art the term non-objective tends to come up, while nonobjective art may attempt to visualise the more emotional, mindful or spiritual can be seen conveying a strong
moral movement within its dimensions which stood for purity and simplicity.

Fig.12 Kazimir Malevich, Dynamic Suprematism 1915

In the 1960s a group of American artists, including Sol LeWitt and Donald Judd, embraced the philosophy of
non-objective art. By creating highly simplified geometric art out of industrial materials they elevated these to
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an aesthetic level. Their work became known as minimal art.
15

Boundless. Representational, Abstract, and Nonrepresentational Art. Boundless Art History. Boundless, 21 Jul. 2015.
Web. 6 Jan. 2016

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Chapter 5 - How has abstract art been perceived as something non-representational?

The term abstract simply speaking means to withdraw from something or to separate, art which is not
representational could be based on a subject or may have no existing source in the external world.
The term abstract art can also be applied to art that is based an object, a figure or a landscape where forms
have been simplified to create an abstracted version of it.
Many forms of art have gained visual and conceptual connections with abstract art such as cubism, fauvism
and romanticism as these artists depend on real world visual subject matter but have the availability to
proceed through the open door of more extreme approaches to abstraction.
While cubism distorts our interpretation of reality with hard edges and geometry it also can reassure us that
life can exist while passing through abstraction. By breaking down objects and figures into distinct specific and
varied viewing points the artist can create different visual points at the same time within the same space and
can also suggest a three-dimensional form. By doing so cubist paintings can emphasize the two-dimensional
flatness of a canvas while contradicting their own illusion of depth, this marked a breakthrough for European
representation and a stepping stone for the tradition to walk onto by creating the illusion of real space from
fixed view point.

Fig.13 Jacques Lipchitz, Sculpture, 1915-16

16

Tate.org.uk,. (2016). Non-objective art. ". N.p., 2016. Web. 1 Jan. 2016

21

Lipchitz described his sculptural pieces as abstract architecture, during this period of work Lipchitz wrote:
building up and composing the idea of a human figure from abstract sculptural elements of line, plane and
17
volume
Even though this is seen to be pure abstract art the piece also indicates that in spite of the obvious visual
implication to the creation of the work it was initially based upon the upper part of a human figure seated at a
table.
Furthermore cubism was favourably influenced by the later works of Paul Czanne, who at the point of
impression was a post-impressionist painter who seemed to capture his subjects from slightly different viewing
points.

Fig.14 Paul Czanne, The Gardener Vallier, 1906

17

Tate,. (1915). Jacques Lipchitz, 'Sculpture' 19156. Web. 2 Jan. 2016

22

Abstraction has also been used to describe art which uses simple more visually basic forms such as geometrical
shapes or gestural marks to convey the artists information instead of solid visual representation. Some could
argue that abstraction is the purest form of art since it does not ideally represent anything we can distinguish
in a relative sense,
The term non-objective describes art which has no representational subject matter and is created from
18
purely pictorial elements.

While cubism and general abstraction are quite close and similar, the fauvists were interested in the scientific
colour theories of the nineteenth century. Complimentary colours were a must for fauvist paintings and
painters and the way colour harmony could balance out everything became their main standing point as a
movement.
Fauvism can be explored and seen as a more expressive and extreme extension of post-impressionism while
combining with neo-impressionism and their influences. These were the influences in which Matisse began to
reject the traditional three-dimensional space and instead began to use and interpret the understanding of
flatness and that patches of colour can be used to simulate tonal differencing.

Fig.15 Henri Matisse, Andr Derain, 1905

18

Juda, A., Jones, A. and Centre, S. B. (1998) The non-objective world. pag 7: [exhibition. London: National Touring
Exhibitions (Hayward Gallery)

23

Fauvism can also be seen throughout the history of expressionism and can now be seen as part of it due to the
use of bright non-naturalistic colours and creative spontaneous brushwork. But while fauvism tends to be a lot
more representational than expressionist pieces of artwork expressionism tends to be created through the
freer application of paint which tends to be better known to the generous side of painting with highly textured
outcomes. Expressionism can be seen as a continuation of romanticism which was a term used to describe the
art within literature movement distinguished by an interest in human psychology, expression and personal
emotion which included feeling and interest into the natural world.

Conclusion
From my research I have found that abstract art can be interpreted individually and have explored the
reasoning behind why people view art by researching valid points of reference, imputing my personal opinions
and taking into consideration a contrasting point of view. I have also explored the importance of the context of
display by looking at how certain artists display their work by researching and discovering a broader variety of
opinions and references.
I have also explored the stages of abstraction and how it can become relative to the interpretation of
representing something and how my personal beliefs are influenced and interested because of these findings.
Secondly I have also explored the findings on the experience of abstract art and if there is a way to view and
experience it what should it be, I have taken into consideration other means of exploring art and varied ways
of seeing abstract art but I have also concluded my findings into a reasonable and understandable outcome.
Furthermore I have also concluded that abstract art can be interpreted as representational by exploring
certain artists and their practise focusing on mixing media/ installation and certain artists and artistic
movements such as cubism, fauvism, expressionism and romanticism, while on the other hand taking
contrasting opinions and merging them with my own helped me conclude this question of abstract art and its
acknowledgment as representational regarding semiotic and visual information.

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Account of sources
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to computer facilities, and a historic review of period styles. 2nd edn. United States: Schiffer
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1990)
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Picture credits
Fig.1, 1.5 Own photographs, White Cube Gallery, Masons Yard.
Rudolf Stingel, Untitled, 2007, Oil and enamel on canvas, 95 x 87in. (241.3 x 221cm)
Fig.2 Screenshot taken from mobile phone, Instagram mobile application, Social media
Fig.3 Angela De La Cruz, Deflated 21 (Red), 2011, Oil on canvas 190 x 80 x 40 cm,
http://www.annaschwartzgallery.com/works/exhibitions?artist=3&year=&work=13213&exhibition=386&page
=1&future=&projects=&current=1&c=m
Fig.4 - Anish Kapoor, Leviathan, 2011, sculpture composed of 4 semi-transparent PVC spheres, 120 x 35m,
http://artshehearts.com/2011/05/23/monumental-anish-kapoor/
Fig.5 Sonia Delaunay, Electric Prisms, 1914, oil on canvas, 243x243cm
http://www.tate.org.uk/about/press-office/press-releases/ey-exhibition-sonia-delaunay
fig 6 Juan Gris, Harlequin with Guitar, 1919, oil on canvas
https://en.wikipedia.org/wiki/Juan_Gris
fig 7 Josef Albers, Segments, 1934, linoleum cut, 23.8 x 28.3cm
https://www.artsy.net/artwork/josef-albers-segments-1
fig 8 Cathy Wilkes, Untitled, 2014, installation
http://generationartscotland.org/features/what-is-an-installation/

fig 9/9.5 Arturo Herrera, Faculty Band exhibition, Thomas Dane Gallery
http://moussemagazine.it/arturo-herrera-thomas-dane-2015/
fig 10 5 Arturo Herrera, Faculty Band exhibition, Thomas Dane Gallery
http://www.thomasdanegallery.com/exhibitions/107/works/
http://www.thomasdanegallery.com/usr/documents/exhibitions/press_release_url/107/ah-press-release-listof-works.pdf
fig 11Roy Lichtenstein, Bull Profile Series, 1973, linecut, approx. 68.6 x 88.9cm
http://www.artnet.com/WebServices/images/ll802613llgzZfDrCWBHBAD/roy-lichtenstein-bull-profileseries.jpg

27

fig 12 Kazimir Malevic, Dynamic Suprematism, 1915-1916, Oil on canvas, frame: 1015 x 1015 x 80mm
http://www.tate.org.uk/art/images/work/T/T02/T02319_9.jpg
fig 13 Jacques Lipchitz, Scultpure, 1915 1916, Limestone, 980 x 280 x 180mm
http://www.tate.org.uk/art/artworks/lipchitz-sculpture-t03397
fig 14 Paul Czanne, The Gardener Vallier, 1906, oil on canvas, frame:869 x 762 x 103mm
http://www.tate.org.uk/art/artworks/cezanne-the-gardener-vallier-n04724
fig 15 Henri Matisse, Andr Derain, 1905, oil on canvas, frame:550 x 471 x 75
http://www.tate.org.uk/art/images/work/N/N06/N06241_10.jpg

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