000			02152nam a22002417a 4500
005			20230905102528.0
008			230905b |||||||| |||| 00| 0 eng d
020			_a9780854882083
028			_a: Raghav Books Pvt. Ltd. _b: A-184, A, Nand Gram, Ghaziabad, UP. _c: 4019 _d: 01/09/2023
082			_a709.040 LIN
100			_a Lind, Maria.
245			_aAbstraction _c/ Maria Lind.
260			_a, London _b: Whitechapel Gallery _c,2023.
300			_a239 p. _c; 21 cm.
365			_b2243
520			_a"This anthology reconsiders crucial aspects of abstraction's resurgence in contemporary art, exploring three equally significant strategies explored in current practice: formal abstraction, economic abstraction, and social abstraction. In the 1960s, movements as diverse as Latin American neo-concretism, op art and "eccentric abstraction" disrupted the homogeneity, universality, and rationality associated with abstraction. These modes of abstraction opened up new forms of engagement with the phenomenal world as well as the possibility of diverse readings of the same forms, ranging from formalist and transcendental to socio-economic and conceptual. In the 1980s, the writings of Peter Halley, Fredric Jameson, and others considered an increasingly abstracted world in terms of its economic, social, and political conditions -- all of which were increasingly manifested through abstract codes or sites of style. Such economic abstraction is primarily addressed in art through subject or theme, but Deleuze and Guattari's notion of art as abstract machine opens up possibilities for art's role in the construction of a new kind of social reality. In more recent art, a third strand of abstraction emerges: a form of social abstraction centered on the strategy of withdrawal. Social abstraction implies stepping aside, a movement away from the mainstream, suggesting the possibilities for art to maneuver within self-organized, withdrawn initiatives in the field of cultural production"-
650			_aArt abstrait
650			_aAbstraction
650			_aArt and Design
650			_aNonfiction
700			_aMaria Lind.
942			_cBOOK
999			_c60796 _d60796