Notes onNotes Abstraction on Abstraction/ Detroit/ Detroit/ Rick Vian/ Rick Vian

The soulThe is soulcreated is created in a place in a between place between Time and Time Eternity: and Eternity: with its with highest its highest powerspowers it touches it touches Eternity, Eternity, with its with lower its Time.lower Time.

MeisterMeister Eckhart Eckhart

[As] we[As] enter we a enternew century,a new century, abstract abstract painting painting is respectable is respectable again. [Abstractagain. [Abstract art has]art re -has]emerged re-emerged as a subject as a subject of serious of serious critical critical discussion. discussion.

Roald Nasgaard,Roald Nasgaard, Pleasure Pleasure of Sight of and Sight States and ofStates Being: of Being:Radical Radical Abstract Abstract Painting Painting since 1990since.1 1990.1

1. From1. theFrom moment the moment I arrived I arrived in Detroit in Detroit some ten some years ten ago years to agoteach to Critical teach Critical Theory Theory and and CriticalCritical Studies Studies at the Collegeat the College for Creative for Creative Studies, Studies, I have Ibeen have driven been drivenaround around – I – I have neverhave learned never learned to drive to – driveand all – andmanner all manner of things of havethings been have pointed been pointed out to meout byto me by long-timelong Detroiters,-time Detroiters, and many and people many peoplehave shown have shownme things me inthings weeks in andweeks months and months of of which whichit might it mightotherwise otherwise have takenhave onetaken years one toyears uncover, to uncover, or at least,or at graspleast, thegrasp the significance.significance. There Thereis, though, is, though, a little aunassuming little unassuming and “contemporary” and “contemporary” building, building, a a buildingbuilding utterly utwithoutterly without architectural architectural distinction distinction, which, whichsits, snug sits, like snug a likelittle ashop little shop front infront the camouflagein the camouflage of suburban of suburban shop fronts shop, frontsat 27745, at 27745Woodward Woodward Avenue Avenue on the on the west sidewest of sideWoodward of Woodward in Royal in Oak:Royal the Oak: Theosophical the Theosophical Society Society in Detroit. in Detroit. (As with (As with so manyso things, many things,such as such the Frenchas the French School Schoolof Detroit of Detroitwhich iswhich in Birmingham, is in Birmingham, no one no one outsideoutside Michigan Michigan will have will heard have ofheard Royal of Oak,Royal so Oak, Detroit so Detroitbecomesbecomes the marker the marker, or , or better, better,the container the container of recognition of recognition.) Its website.) Its website has the has following the following statement statement from the from the great medievalgreat medieval (German) (Ger Christianman) Christian mystic mysticMeister Meister Eckhart Eckhart (1260 –(12601328) – –1328)admired – admired by the greatby the Romantics great Romantics and later and Heidegger later Heidegger - “The -soul“The is soulcreated is created in a place in a between place between Time andTime Eternity: and Eternity: with its with highest its highest powers powers it touches it touches Eternity, Eternity, with its with lower its Time.”lower Time.” I I have yethave to yetmeet to anmeetyone an whoyone attends who attends this Church this Church of Theosophy of Theosophy or who or has who even has even noticednoticed its existence its existence on Woodward on Woodward Avenue. Avenue. From timeFrom to time time to I timemention I mention it in my it in my

1 Roald Nasgaard,1 Roald Nasgaard, Pleasures Pleasures of Sight ofand Sight States and of States Being: of Radical Being: RadicalAbstract Abstract Painting Painting Since 1990 Since(Tallahassee: 1990 (Tallahassee: Florida StateFlorida University State University Museum Museum of Fine Arts,of Fine 2001), Arts, 7. 2001), 7. classes at CCS to blank stares – and no, I would not expect a single student to have ever heard of Madame Blavatsky or the theosophical movement so popular at the end of the nineteenth century and which for a while looked as though it might become the spirituality of a certain educated middle-class both here in the USA – or at least in major classescities likeat CCS Chicago, to blank Boston, stares an– dand New no, YorkI would - and not inexpect London a single and Parisstudent and to have elsewhereever inheard Europe. of Madame2 Blavatsky or the theosophical movement so popular at the end of the nineteenth century and which for a while looked as though it might become the Paul Sspiritualityérusier, The of Talisman a certain, 1888,educated oil on middle wood.-class Paris: both Mus hereée d’Orsay in the USA – or at least in major cities like Chicago, Boston, and New York - and in London and Paris and Rick Vian,elsewhere Reflection in Europe. VII, 2014,2 oil on canvas.

2. For eachPaul of S theérusier, great The painters Talisman at the, 1888, origin oil of on a wood.systematic Paris: working Musée d’Orsayout of an account of abstract painting - Kandinsky, Kupka, Mondrian, Malevitch - there is a direct and easily Rickdemonstrable Vian, Reflection lineage VII coming, 2014, fromoil on thecanvas. great Symbolist painters, especially Gauguin and his followers in the Nabis (Vuillard, Bonnard, Sérusier, Ranson, with classesÉmile2. For Bernardat eachCCS oftooccupying theblank great stares paintersa special – and at no, positionthe I originwould apart) of not a ;systematic expectthere ais single also,working studentlike out the ofto Nabis anhave account ever(Prophets), heardof abstract ofa demonstrableMadame painting Blavatsky - Kandinsky,fact about or the these Kupka, theosophical abstract Mondrian, painters movement Malevitch that so sometimes popular - there at hasis the a been directend and ofheld the to easilynineteenth be central demonstrable century to the and verylineage which existence coming for a whileand from emergence looked the great as thoughof Symbolistabstraction it might painters, proper becomely especially theso- spiritualitycalledGauguin – which of aisand certain to hissay, followers educatedan explicitly middlein thetheoretical -Nabisclass both(Vuillard, account here of inBonnard, a the new USA mode S é–rusier, ofor paintingat Ranson,least in with majorthe Western Écitiesmile frameBernardlike Chicago, – but occupying which Boston, is oftena specialan d(and New positionnow York increasingly) -apart)and ;in there Londonoccluded, is also,and namely, Parislike thethatand Nabis elsewhereall the(Prophets), major in Europe.artists a demonstrable at2 the source factof abstraction about these were abstract deeply painters and affective that sometimesly engaged has been with someheld aspectto be centralof theosophy to the asvery a spiritual existence activity and emergenceand a motivation of abstraction for their pursuitproperly so- Paulof abstraction. Scalledérusier, – whichThe In Talismanmore is to technicallysay,, 1888, an explicitly oil philosophical on wood. theoretical Paris: – butaccountMus stillée d’Orsay ofaccessible a new mode – terms of painting, it in might thebe Westernsaid that frametheosophy – but was which part is ofoften the (anddescription now increasingly) under which occluded, they acted namely, and that Rickso in Vian,allsome the Reflectionsense majorcausally artists VII, at2014,related the oilsource to on their canvas. of abstractionpractice. (Of were course, deeply it isand the affective adverbially engagedin some withsense somethat aspect makes of lifetheosophy anything as abut spiritual straightforward activity andsince a motivation nothing for is theirmore pursuit 2. Fortroubling eachof abstraction.ofthan the to great invoke paintersIn morecausation attechnically the in origin what, philosophicalofcorrectly, a systematic is fundamentally – workingbut still out accessible aof her anmeneutic account – terms , it ofquestion abstractmight.) painting be said -thatKandinsky, theosophy Kupka, was part Mondrian, of the description Malevitch -underthere which is a direct they actedand and easily sodemonstrable in some sense lineagecausally coming related from to theirthe greatpractice. Symbolist (Of course, painters, it is theespecially adverbial in Gauguinsome and sense his followersthat makes in thelife Nabis anything (Vuillard, but straightforward Bonnard, Sérusier,since Ranson, nothingwith is more 2 Madame Blavatsky’s Isis Unveiled: A Master-Key to the Mysteries of Ancient and Modern Science and Theology (1877) was theÉ milechef d’œuvre troublingBernardof theosophy.thanoccupying to invoke In Francea specialcausation the great position promoterin what, apart) of correctly, theosophy; there is– theisfundamentally also,person likemost readthe a herbyNabis meneutic artists – was Edouard Schuré, especially his Les Grand initiés (1889). (Prophets),question a demonstrable.) fact about these abstract painters that sometimes has been held to be central to the very existence and emergence of abstraction properly so- called – which is to say, an explicitly theoretical account of a new mode of painting in 2 Madame Blavatsky’s Isis Unveiled: A Master-Key to the Mysteries of Ancient and Modern Science and Theology (1877)the was Western the chef d’œuvre frame of– buttheosophy. which In is France often the(and great now promoter increasingly) of theosophy occluded, – the person namely, most read that by artists all– was the Edouard major Schurartistsé, especialat the lysource his Les of Grand abstraction initiés (1889). were deeply and affectively engaged with some aspect of theosophy as a spiritual activity and a motivation for their pursuit of abstraction. In more technically philosophical – but still accessible – terms, it might be said that theosophy was part of the description under which they acted and so in some sense causally related to their practice. (Of course, it is the adverbial in some sense that makes life anything but straightforward since nothing is more troubling than to invoke causation in what, correctly, is fundamentally a hermeneutic question.)

2 Madame Blavatsky’s Isis Unveiled: A Master-Key to the Mysteries of Ancient and Modern Science and Theology (1877) was the chef d’œuvre of theosophy. In France the great promoter of theosophy – the person most read by artists – was Edouard Schuré, especially his Les Grand initiés (1889). classes atat CCSCCS toto blankblank staresstares –– andand no,no, II wouldwould notnot expectexpect aa singlesingle studentstudent toto havehave ever heardheard ofof MadameMadame BlavatskyBlavatsky oror thethe theosophicaltheosophical movementmovement soso popularpopular atat thethe endend of thethe nineteenthnineteenth centurycentury andand whichwhich forfor aa whilewhile lookedlooked asas thoughthough itit mightmight becomebecome thethe spiritualityspirituality ofof aa certaincertain educatededucated middlemiddle--classclass bothboth herehere inin thethe USAUSA –– oror atat leastleast inin major citiescities likelike Chicago,Chicago, Boston,Boston, anandd NewNew YorkYork -- andand inin LondonLondon andand ParisParis andand elsewhere inin Europe.Europe.22

Paul SSéérusier,rusier, TheThe TalismanTalisman,, 1888,1888, oiloil onon wood.wood. Paris:Paris: MusMusééee d’Orsayd’Orsay

Rick Vian,Vian, ReflectionReflection VIIVII,, 2014,2014, oiloil onon canvas.canvas.

2. For eacheach ofof thethe greatgreat painterspainters atat thethe originorigin ofof aa systematicsystematic workingworking outout ofof anan accountaccount of abstractabstract paintingpainting -- Kandinsky,Kandinsky, Kupka,Kupka, Mondrian,Mondrian, MalevitchMalevitch -- therethere isis aa directdirect andand easily demonstrabledemonstrable lineagelineage comingcoming fromfrom thethe greatgreat SymbolistSymbolist painters,painters, especiallyespecially Gauguin andand hishis followersfollowers inin thethe NabisNabis (Vuillard,(Vuillard, Bonnard,Bonnard, SSéérusier,rusier, Ranson,Ranson, withwith Émile BernardBernard occupyingoccupying aa specialspecial positionposition apart)apart);; therethere isis also,also, likelike thethe NabisNabis (Prophets),(Prophets), aa demonstrabledemonstrable factfact aboutabout thesethese abstractabstract painterspainters thatthat sometimessometimes hashas beenbeen held toto bebe centralcentral toto thethe veryvery existenceexistence andand emergenceemergence ofof abstractionabstraction properproperlyly soso-- called –– whichwhich isis toto say,say, anan explicitlyexplicitly theoreticaltheoretical accountaccount ofof aa newnew modemode ofof paintingpainting inin thethe WesternWestern frameframe –– butbut whichwhich isis oftenoften (and(and nownow increasingly)increasingly) occluded,occluded, namely,namely, thatthat all thethe majormajor artistsartists atat thethe sourcesource ofof abstractionabstraction werewere deeplydeeply andand affectiveaffectivelyly engagedengaged with somesome aspectaspect ofof theosophytheosophy asas aa spiritualspiritual activityactivity andand aa motivationmotivation forfor theirtheir pursuitpursuit of abstraction.abstraction. InIn moremore technicallytechnically philosophicalphilosophical –– butbut stillstill accessibleaccessible –– termsterms,, itit 3. The Theosophical Society was founded in New York in 1875 by Helena Petrovna might bebe saidsaid thatthat theosophytheosophy waswas partpart ofof thethe descriptiondescription underunder whichwhich ththeyey actedacted andand Blavatsky in collaboration with Henry Steel Olcott. The term theosophy – wisdom of soso inin somesome sensesense causallycausally relatedrelated toto theirtheir practice.practice. (Of(Of course,course, itit isis thethe adverbialadverbial inin the gods – is an old term for the study of wisdom through esoteric sources and somesome sensesense thatthat makesmakes lifelife anythinganything butbut straightforwardstraightforward sincesince nothingnothing isis moremore practices. Its Christian forms extended from Jakob Böhme (1575 – 1624) to troublingtroubling thanthan toto invokeinvoke causationcausation inin what,what, correctly,correctly, isis fundamentallyfundamentally aa herhermeneuticmeneutic Emmanuel Swedenborg (1688 – 1772) and in between one could find many question.).) permutations of alchemy, astrology, kabbala, hermeticism, again, in a range from the Renaissance figure of a Marsilio Ficino all the way to Baudelaire (whose aesthetic of 3. The Theosophical Society was founded in New York in 1875 by Helena Petrovna 22 Madame Blavatsky’s correspondences IsisIsis UnveiledUnveiled:: AA MasterMaster is --KeytheosophicallyKey toto thethe MysteriesMysteries derived) ofof AncientAncient and andand ModernModernthe Surrealists ScienceScience andand and TheologyTheology quite a few (1877)(1877) was theBlavatsky chefchef d’œuvred’œuvreDadaists inof ofcollaboration ttheosophy.heosophy., too.3 The InIn FranceFrance withpoetics Henry thethe ofgreatgreat W.B.Steel promoterpromoter Olcott.Yeats ofof theosophytheosophyandThe many term –– thetheatheosophy Symbolist personperson mostmost – wisdom wouldreadread byby make of little artists – was Edouard SchurSchuréé,, especialespeciallyly hishis LesLes GrandGrand initiinitiééss(1889).(1889). the godssense – is withoutan old termcertain for theosophical the study of conceptswisdom throughthen commonly esoteric sourcesavailable. and Without practices.getting Its intoChristi complications,an forms extended though, thefrom basic Jakob idea Bbehindöhme theosophy(1575 – in1624) its nineteenth to - Emmanueland earlySwedenborg twentieth (1688-century – incarnation1772) and wasin (i)between to assert one the couldfundamental find many unity of the permutationsgreat worldof alchemy, religions astrology, and thereby kabbala, to ext hermeticism,ract a spirituality again, commonin a range to from all, theand (ii) to Renaissanceshow figurethe compatibility of a Marsilio of Ficino this spiritual all the way tradition to Baudelaire with modern (whose science. aesthetic To ofthis end, correspondencestheosophists is theosophicallyand theosophically derived) inclined and theartists Surrealists became and attached quite ato few scientific 3 Dadaistsdevelopments, too. The poetics (especially of W.B. in Yeatsmodern and physics) many a tSymbolisthat demonstrated would makethe existencelittle of sense withoutinvisible certainforces –theosophicalinvisible, that concepts is, to the then human commonly senses – available.such as x -rays,Without electricity , getting andinto evencomplications, sounds in athough, range beyond the basic human idea hbehindearing. theosophyThis new invisiblein its nineteenth world of- forces and earlywas twentieth taken as- centuryvindication incarnation of a certain was Neo(i) to-Platon assertism, the fundamentaland abstract paintingunity of –thewhich at great worldcertain religions moments and could thereby be toseen ext ractas illustrationa spirituality of common the theosophist to all, and Annie (ii) toBesant’s show thethought compatibility-forms4 –ofcame this spiritualto be the tradition visible withembodiment, modern science.the making To -thisvisible end, of such theosophistshigher andor extra theosophically-sensorial forces inclined in no wayartists irrational. became attached to scientific developments (especially in modern physics) that demonstrated the existence of

invisible4. Tha forcest Kandinsky, – invisible, whose that is,relationship to the human to sensesRudolf – suchSteiner’s as x -rays,version electricity of theosophy,, and evennamely, sounds Anthroposophy, in a range beyond is wellhumanestablished hearing., Thisthought new in invisible these terms world when of forces he wrote On was takenthe asSpiritual vindication in Art of(1912) a certain cannot Neo -bePlaton doubted,ism, andand abstract likewise painting Mondrian – whichwhen athe wrote certain moments could be seen as illustration of the theosophist Annie Besant’s thought-forms4 – came to be the visible embodiment, the making-visible of such 3 See, for example, the exhibition catalogue, Entrée des mediums: Spritisme et Art de Hugo à Breton, Maison de Victorhigher Hugo or(Paris: extra Maison-sensorial de Victor forces Hugo, in Parisno way-Mus irrational.ées, 2012).

4 See Annie Besant, Thought-Forms (1901) of which many examples on the www here: https://www.google.com/search?q=annie+besant+thought+forms&client=ubuntu&channel=fs&biw=1366&bih=6574. That Kandinsky, whose relationship to Rudolf Steiner’s version of theosophy, &tbm=isch&tbo=u&source=univ&sa=X&sqi=2&ved=0ahUKEwjMxuaEz_jPAhWB8CYKHRxBBHQQsAQIKw namely, Anthroposophy, is well established, thought in these terms when he wrote On the Spiritual in Art (1912) cannot be doubted, and likewise Mondrian when he wrote

3 See, for example, the exhibition catalogue, Entrée des mediums: Spritisme et Art de Hugo à Breton, Maison de Victor Hugo (Paris: Maison de Victor Hugo, Paris-Musées, 2012).

4 See Annie Besant, Thought-Forms (1901) of which many examples on the www here: https://www.google.com/search?q=annie+besant+thought+forms&client=ubuntu&channel=fs&biw=1366&bih=657 &tbm=isch&tbo=u&source=univ&sa=X&sqi=2&ved=0ahUKEwjMxuaEz_jPAhWB8CYKHRxBBHQQsAQIKw 3. The Theosophical Society was founded in New York in 1875 by Helena Petrovna Blavatsky in collaboration with Henry Steel Olcott. The term theosophy – wisdom of the gods – is an old term for the study of wisdom through esoteric sources and practices. Its Christian forms extended from Jakob Böhme (1575 – 1624) to Emmanuel Swedenborg (1688 – 1772) and in between one could find many permutations of alchemy, astrology, kabbala, hermeticism, again, in a range from the Renaissance figure of a Marsilio Ficino all the way to Baudelaire (whose aesthetic of correspondences is theosophically derived) and the Surrealists and quite a few Dadaists, too.3 The poetics of W.B. Yeats and many a Symbolist would make little sense without certain theosophical concepts then commonly available. Without getting into complications, though, the basic idea behind theosophy in its nineteenth- and early twentieth-century incarnation was (i) to assert the fundamental unity of the great world religions and thereby to extract a spirituality common to all, and (ii) to show the compatibility of this spiritual tradition with modern science. To this end,

theosophists3. The Theosophical and theosophically Society wasinclined founded artists in New became York inattached 1875 byto Helenascientific Petrovna developmentsBlavatsky (especially in collaboration in modern with Henryphysics) Steel that Olcott. demonstratedThe term theosophythe existence – wisdom of of invisiblethe forcesgods – invisible,is an old thatterm is, for to thethe humanstudy ofsenses wisdom – such through as x-rays, esoteric electricity sources, and and evenpractices. sounds inIts a rangeChristi beyondan forms human extended hearing. fromThis Jakobnew invisible Böhme world (1575 of forces– 1624) to 1920)5 and Neo-Plasticism, dedicated to Aux hommes futurs [to men of the future].6 It was takenEmmanuel as vindication Swedenborg of a certain (1688 Neo –-Platon1772) ism,and and in abstractbetween painting one could – which find at many is also safe to say, however, that the spiritual practices, the spiritual technology of certainpermutations moments could of alchemy, be seen astrology, as illustration kabbala, of hermeticism,the theosophist again, Annie in a Besant’srange from the theosophy,4 however authentically important to the painters at the source of thoughtRenaissance-forms – came figure to of bea Mthearsilio visible Ficino embodiment, all the way the to Baudelairemaking-visible (whose of aestheticsuch of abstraction, would soon lose any purchase upon its developing audience - one need higher correspondencesor extra-sensorial isforces theosophically in no way irrational.derived) and the Surrealists and quite a few Theonly New follow Plastic the fate,in Painting the solitude(1917 of), 5Krishnamurtiand Natural toReality grasp and the Abstractgradual and Reality irreversible(1919- The New Plastic3 in Painting (1917), and Natural Reality and Abstract Reality (1919- Dadaists6 , too. The poetics of W.B. Yeats and many a Symbolist would make little7 1920)dimunition6 and Neoof the-Plasticism practice, dedicatedof theosophy to Aux - and hommes would futurs cease[to over men timeof the to future]. have any7 It 4. That Kandinsky,sense without whose certain relationship theosophical to Rudolfconcepts Steiner’s then commonly version of available. theosophy, Without ispurchase also safe upon to say,the however,emerging thataudience the spiritual for abstraction practices, as the painterly spiritual art,technology indeed, ofas namely,getting Anthroposophy, into complications, is well established though, the, thought basic idea in these behind terms theosophy when he in wrote its nineteenth On - theosophy,emblematicall hoywevermodern authenticallyart (even as importantforms and reto- activablethe painters traces atof thethis dispositionsource of the Spiritualand early in Arttwentieth(1912)- centurycannot beincarnation doubted, wasand (i)likewise to assert Mondrian the fundamentalwhen he wroteunity of the The Newabstraction,are Plastic still availablein would Painting insoon the(1917 losework), any5 andof purchase aNatural Robert uponRealitySmithson, its and developing aAbstract Gordon audienceReality Matta-(1919Clark, - one- andneed a great world religions and thereby to extract a spirituality common to all, and (ii) to 1920)6onlyBriceand followNeo Marden)-Plasticism the. fate,The ,greatthe dedicated solitude book byto of Auxthe Krishnamurti Finnishhommes scholar futurs to grasp [toSixten menthe Ringbom,gradual of the future]. and The irreversible 7SoundingIt 3 See, for example, theshow exhibition the compatibility catalogue, Entrée of des this mediums: spiritual Spritisme tradition et Art with de Hugo modern à Breton science., Maison To de this end, Victor Hugo (Paris:is also MaisondimunitionCosmos: safe tode Victor say,A ofStudy however, Hugo,the prac inParis t ticehethat-Mus Spiritualismof éthees, theosophy 2012).spiritual of practices,- Kandinskyand would the andceasespiritual the over Genesistechnology time toof haveofAbstract any theosophists and theosophically inclined artists became attached to scientific 4 theosophy,purchasePainting ho wever(1970)upon the authenticallywas emerging both a summation audienceimportant in for toscholarship abstractionthe painters of asthis painterlyat disposition the source art, and indeed, ofin many as See Annie Besant, Thoughtdevelopments-Forms (1901) (especially of which manyin modern examples physics) on the www that here: demonstrated the existence of https://www.google.com/search?q=annie+besant+thought+forms&client=ubuntu&channel=fs&biw=1366&bih=657 abstraction,emblematicallyways woulda closing soon modernof lose a way anyart (evenofpurchase thinking as formsupon within itsand developing there-activable advanced audience traces accounts of - thisone of dispositionneed modernist &tbm=isch&tbo=u&source=univ&sa=X&sqi=2&ved=0ahUKEwjMxuaEz_jPAhWB8CYKHRxBBHQQinvisible forces – invisible, that is, to the human senses – such as x-sAQIKwrays, electricity, only followarepainting. still the available Thefate, mostthe solitudein important the work of Krishnamurtiattempts of a Robertto update to Smithson, grasp this the tradition agradual Gordon and and Mattato irreversible make-Clark, its reserves and a and even sounds in a range beyond human hearing. This new invisible world of forces dimunitionBriceonce ofMarden)more the availableprac. Thetice great of to theosophy bookscholarship by the - andFinnishand would contemporary scholar cease Sixten over sensibility Ringbom,time to have wasThe anySoundingthe great was taken as vindication of a certain Neo-Platonism, and abstract painting – which at purchaseCosmos:exhibition upon Athe (in Study emergingpart inspiredin the audience Spiritualism by the forchance abstraction of discoveryKandinsky as of painterlyand Ringbom’s the art,Genesis book)indeed, of curated Abstractas by certain moments could be seen as illustration of the theosophist Annie Besant’s emblematicallyPaintingMaurice (1970)Tuchmanmodern, wasart at both(even LACMA a assummation forms in 1987,and in re schola -namely,activablership Th tracesofe thisSpiritual ofdisposition this dispositionin Art: and inAbstract many thought-forms4 – came to be the visible embodiment, the making-visible of such are stillwaysPainting available a closing 1890 in the –of 1985 worka way. Thisof ofa Robertthinkingexhibition Smithson, within, drawing the a Gordonadvanced upon aMattan accountsanti-Clark,-formalist of and modernist countera - higher or extra-sensorial forces in no way irrational. Brice Marden)painting.tradition. TheTheof mostgreatmodern importantbook art by andthe attempts Finnishabstraction, to scholar updatedid Sixtenthis more tradition Ringbom, than and any Theto make Soundingother its formreserves of Cosmos:oncecontemporary A moreStudy availablein scholarship the Spiritualism to scholarshipto bring ofback Kandinskyand into contemporary view and certain the ways Genesissensibility of thinking of wasAbstract aboutthe greatform 4. That Kandinsky, whose relationship to Rudolf Steiner’s version of theosophy, Paintingexhibitionand(1970) non-standard, (inwas part both, heterodoxinspired a summation by spirituality the in chance schola as discovery rshipnecessary of this ofconditions dispositionRingbom’s for and book)the in emergence many curated by of namely, Anthroposophy, is well established, thought in these terms when he wrote On ways Mauricea closingdeterminate Tuchmanof a languageway atof LACMA thinkingof abstraction, inwithin 1987, andthe namely, advancedthough Theit accountshas Spiritual had aof long inmodernist Art: afterlife Abstract and the Spiritual in Art (1912) cannot be doubted, and likewise Mondrian when he wrote painting.Paintingreceived The most critical1890 important – acclaim,1985 .attempts This it remains exhibition to update that ,that thisdrawing this tradition exhibition upon and a toandn makeanti its- formalistcatalogue its reserves counteremerged - once moretraditionat precisely available of themodern momentto scholarship art when and new andabstraction, materialist contemporary didstrategies more sensibility inthan the formanywas ofotherthe, first great ,formthe New of 3 See, for example,contemporaryArt Histories, the exhibition scholarshipthen catalogue, the Social toEntrée bring History des back mediums: of into Art, viewSpritisme and certain later et Art Visual ways de Hugo ofCulture thinkingà Breton along, Maisonabout with deform the Victorexhibition Hugo contemporary(Paris: (in Maison part deinspired scholarship Victor Hugo, by the toParis bringchance-Mus backé es,discovery 2012). into view of certainRingbom’s ways book) of thinking curated about by form and non-standard, heterodox spirituality as necessary conditions for the emergence of 4 Mauriceand Tuchman non-standard at ,LACMAheterodox in spirituality 1987, namely, as necessary The Spiritual conditions in forArt: the Abstract emergence of 5 PietSee AnnieMondrian, Besant, Natural Thought Reality-Forms and (1901) Abstract of Reality:which many A Trialogue examples (While on the Strolling www here: from the Country to the City), in Thehttps://www.google.com/search?q=annie+besant+thought+forms&client=ubuntu&channel=fs&biw=1366&bih=657 NewPainting Art a– Thedeterminate 1890 New Life:– 1985 Thelanguage .Collected This exhibitionof Writings abstraction, of, Pietdrawing Mondrian and though upon, ed. Harry aitn hasanti Holtzman -hadformalist a and long Martin counter afterlife S. James- and (London:&tbm=isch&tbo=u&source=univ&sa=X&sqi=2&ved=0ahUKEwjMxuaEz_jPAhWB8CYKHRxBBHQQ Thames and Hudson, 1987), 82-123. An important but implicit aspect of Mondrian’s writings ofsAQIKw this

5periodtradition is the movement of modern and relation art between and abstraction,country (Holland)did and more city (Paris), than or ,any metonymically, other form landscape of and

5 Piet Mondrian, The New Plastic in Painting,, inin The New Art – The New Life: The Collected Writings of Piet

-147. Hudson,studio., and 1987), there 132by a movement from an art of embodiment (affect) to construction (language, or signification in

Mondriancontemporary,, ed.ed. HarryHarry HoltzmanHoltzman scholarship andand MartinMartin to bring S.S. JamesJames back (London:(London: into view ThamesThames certain andand waysHudson,Hudson, of 1987),1987), thinking 2727-74. about Consider form the title he Collected Writings of Piet Mondrian, ed. Harry Holtzman and Martin S. James (London: Thames and

Life:Yve- AlainT Bois’ account of abstraction).

of Mondrian’s “Conclusion: Nature and Spirit as Female and Male Elements.”

Piet Mondrian, Neo-Plasticism: The General Principle of Plastic Equivalence (1920), in The New Art – The New 66 and non-standard, heterodox spirituality as necessary conditions for the emergence of

6 Piet Mondrian, Neo-Plasticism: The General Principle of Plastic Equivalence (1920), in The New Art – The New

6 Piet Mondrian, Natural Reality and Abstract Reality: A Trialogue (While Strolling from the Country to the City),, inin -Alain Bois’ account of abstraction).

YveLife: The Collected Writings of Piet Mondrian, ed. Harry Holtzman and Martin S. James (London: Thames and

The Newa determinate Art – The New languageLife: The Collected of abstraction, Writings of and Piet Mondrianthough it,, ed.ed. has HarryHarry had HoltzmanHoltzman a long andand afterlife Martin S.and James , and thereby a movement from an art of embodiment (affect) to construction (language, or signification in

studio.Hudson, 1987), 132-147.

(London: Thames and Hudson, 1987), 82-123. An important but implicit aspect of Mondrian’s writings of this

, metonymically, landscape and

5 period is the movement and relation between country (Holland) and city (Paris), or,, metonymically,metonymically, landscapelandscape andand -123. An important but implicit aspect of Mondrian’s writings of this Piet Mondrian,(London: TheThames New andPlastic Hudson, in Painting 1987),, 82in The New Art – The New Life: The Collected Writings of Piet

studio.,, andand therethereby a movement from an art of embodiment (affect) to construction (language, or signification inin – The New Life: The Collected Writings of Piet Mondrian, ed. Harry Holtzman and Martin S. James MondrianThe, ed. New Harry Art Holtzman and Martin S. James (London: Thames and Hudson, 1987), 27-74. Consider the title

Yve-Alain Bois’ account of abstraction). Natural Reality and Abstract Reality: A Trialogue (While Strolling from the Country to the City), in of Mondrian’sPiet Mondrian, “Conclusion: Nature and Spirit as Female and Male Elements.”

75 7 Piet Mondrian, Neo-Plasticism: The General Principle of Plastic Equivalence (1920), in The New Art – The New 6 Piet Mondrian,Piet Mondrian, Natural Neo Reality-Plasticism: and Abstract The General Reality: Principle A Trialogue of Plastic (While Equivalence Strolling from(1920), the Country in The Newto the Art City) – The, in New

Life: The Collected Writings of Piet Mondrian,, ed.ed. HarryHarry HoltzmanHoltzman andand MartinMartin S.S. JamesJames (London:(London: ThamesThames andand The New Art – The NewArt Life: Histories, The Collected then Writingsthe Social of Piet History Mondrian of ,Art, ed. Harryand laterHoltzman Visual and MartinCulture S. alongJames with the

Hudson, 1987), 132-147.

(London:Hudson, Thames 1987), and Hudson, 132-147. 1987), 82-123. An important but implicit aspect of Mondrian’s writings of this

new materialist strategies in the form of, first, the New period is the movementat preciselyand relation the between moment country when (Holland) and city (Paris), or, metonymically, landscape and

studio., and thereby a movement from an art of embodiment (affect) to construction (language, or signification in

remains that that this exhibition and its catalogue emerged

Yve-Alain Bois’ accountreceived of abstraction). critical acclaim, it

and 7 Piet Mondrian, Neoa-Plasticism: determinate The Generallanguage Principle of abstraction, of Plastic Equivalence and though(1920), it inhas The had New Arta long – The afterlife New

Life: The Collected Writings of Piet Mondrian, ed. Harry Holtzman and Martin S. James (London: Thames and

-standard, heterodox spirituality as necessary conditions for the emergence of

Hudson, 1987), 132-147.and non

contemporary scholarship to bring back into view certain ways of thinking about form

tradition of modern art and abstraction, did more than any other form of

Painting 1890 – 1985. This exhibition, drawing upon an anti-formalist counter-

Maurice Tuchman at LACMA in 1987, namely, The Spiritual in Art: Abstract

exhibition (in part inspired by the chance discovery of Ringbom’s book) curated by

once more available to scholarship and contemporary sensibility was the great

painting. The most important attempts to update this tradition and to make its reserves

ways a closing of a way of thinking within the advanced accounts of modernist

Painting (1970) was both a summation in scholarship of this disposition and in many

Cosmos: A Study in the Spiritualism of Kandinsky and the Genesis of Abstract

Brice Marden). The great book by the Finnish scholar Sixten Ringbom, The Sounding

are still available in the work of a Robert Smithson, a Gordon Matta-Clark, and a

emblematically modern art (even as forms and re-activable traces of this disposition

purchase upon the emerging audience for abstraction as painterly art, indeed, as

dimunition of the practice of theosophy - and would cease over time to have any

only follow the fate, the solitude of Krishnamurti to grasp the gradual and irreversible

abstraction, would soon lose any purchase upon its developing audience - one need

theosophy, however authentically important to the painters at the source of

is also safe to say, however, that the spiritual practices, the spiritual technology of

1920) and Neo-Plasticism, dedicated to Aux hommes futurs [to men of the future]. It

5 6 The New Plastic in Painting (1917),5 and Natural Reality and Abstract Reality (1919- 1920)6 and Neo-Plasticism, dedicated to Aux hommes futurs [to men of the future].7 It is also safe to say, however, that the spiritual practices, the spiritual technology of theosophy, however authentically important to the painters at the source of abstraction, would soon lose any purchase upon its developing audience - one need only follow the fate, the solitude of Krishnamurti to grasp the gradual and irreversible dimunition of the practice of theosophy - and would cease over time to have any purchase upon the emerging audience for abstraction as painterly art, indeed, as emblematically modern art (even as forms and re-activable traces of this disposition are still available in the work of a Robert Smithson, a Gordon Matta-Clark, and a Brice Marden). The great book by the Finnish scholar Sixten Ringbom, The Sounding Cosmos: A Study in the Spiritualism of Kandinsky and the Genesis of Abstract Painting (1970), was both a summation in scholarship of this disposition and in many ways a closing of a way of thinking within the advanced accounts of modernist painting. The most important attempts to update this tradition and to make its reserves once more available to scholarship and contemporary sensibility was the great exhibition (in part inspired by the chance discovery of Ringbom’s book) curated by Maurice Tuchman at LACMA in 1987, namely, The Spiritual in Art: Abstract Painting 1890 – 1985. This exhibition, drawing upon an anti-formalist counter- received critical acclaim, it remains that that this exhibition and its catalogue emerged tradition of modern art and abstraction, did more than any other form of at precisely the moment when new materialist strategies in the form of, first, the New contemporary scholarship to bring back into view certain ways of thinking about form Art Histories, then the Social History of Art, and later Visual Culture along with the and non-standard, heterodox spirituality as necessary conditions for the emergence of neo-Structuralism of the October journal in New York, had captured the academic a determinate language of abstraction, and though it has had a long afterlife and study of art’s histories and so left no room for the kind of thinking of form rooted in received critical acclaim, it remains that that this exhibition and its catalogue emerged 5 Piet Mondrian, The Newthe Plasticessentially in Painting post, in-Symbolist The New Art modes– The New of Life: symbolization The Collected Writingscommon of Pietto poets (Eliot, Mondrian, ed.at Harry precisely Holtzman the and moment Martin S.when James new (London: materialist Thames strategies and Hudson, in 1987), the form 27-74. of Consider, first, the the Newtitle Pound, Breton), composers (Debussy, and Schönberg’s school), novelists (Dujardin of Mondrian’sArt “Conclusion: Histories, Nat thenure and the Spirit Social as Female History and of Male Art, Elements.” and later Visual Culture along with the 6 to Joyce, but also Blanchot), playwrights (Maeterlinck to Beckett, Jarry to Ionesco), Piet Mondrian,neo Natural-Structuralism Reality and of Abstract the October Reality: Ajournal Trialogue in (While New StrollingYork, hadfrom capturedthe Country the to the academic City), in The New Art – The Newpainter Life: Thes (Nabis Collected to WritingsKandinsky, of Piet C Mondrianézanne as, ed. interpreted Harry Holtzman by Bernard and Martin and S. JamesMaurice Denis, (London: Thamesstudy and of Hudson, art’s histories 1987), 82-and123. Anso importantleft no room but implicit for the aspect kind of of Mondrian’s thinking writings of form of rootedthis in period is the movementwith and relationDenis andbetween the Nabiscountry simultaneously(Holland) and city able(Paris), to oracknowledge, metonymically, Redon landscape and andCé zanne8), studio., and theretheby essentially a movement frompost -anSymbolist art of embodiment modes (affect) of symbolization to construction (language,common or tosignification poets (Eliot,in Yve-Alain Bois’ accountand of philosophicalabstraction). thought – say, Kristeva’s semiotic interpretation of the feminine Pound, Breton), composers (Debussy, and Schönberg’s school), novelists (Dujardin 7 dimension of avant-garde production and experience developed in her La Révolution Piet Mondrian,to NeoJoyce,-Plasticism: but also The Blanchot), General Principle playwrights of Plastic (Maeterlinck Equivalence (1920), to Beckett in The ,New Jarry Art to – TheIonesco New ), Life: The Collected Writingsdu langage of Piet Mondrian poétique:, ed. HarryL’avant Holtzman-Garde and à Martinla fin S. Jamesdu Xi(London:Xe siècle: Thames Lautréamont and et Hudson, 1987),painter 132-147.s (Nabis to Kandinsky, Cézanne as interpreted by Bernard and Maurice Denis, Mallarmé (Paris: Éditions du Seuil, 1974).9 An important moment in the afterlife of with Denis and the Nabis simultaneously able to acknowledge Redon and Cézanne8), Tuchman’s great exhibition came in 2008 with Alfred Pacquement’s extraordinary and philosophical thought – say, Kristeva’s semiotic interpretation of the feminine exhibition Traces du sacré at the Centre Pompidou in Paris. The exhibition and dimension of avant-garde production and experience developed in her La Révolution catalogue are explicit in acknowledgement of Tuchman’s 1987 exhibition on The du langage poétique: L’avant-Garde à la fin du XiXe siècle: Lautréamont et Spiritual in Art, publishing a moving page by Tuchman on the struggles he Mallarmé (Paris: Éditions du Seuil, 1974).9 An important moment in the afterlife of encountered in getting his exhibition accepted.10 Tuchman’s great exhibition came in 2008 with Alfred Pacquement’s extraordinary exhibition Traces du sacré at the Centre Pompidou in Paris. The exhibition and 5. The late art historian and abstract painter John Golding, in his Mellon Lecture on the catalogue are explicit in acknowledgement of Tuchman’s 1987 exhibition on The nature and language of abstract painting Paths to the Absolute, perhaps put it with Spiritual in Art, publishing a moving page by Tuchman on the struggles he most tact when acknowledging the importance of the theosophic / hermetic sources of encountered in getting his exhibition accepted.10

8 Here, see the painting by Maurice Denis, Hommage à Cezanne, 1900. Oil on canvas. Paris: Musée d’Orsay. Here is5. notThe the placelate toart go historianinto the cultural and abstract and psycho painter-social Johnsignificance Golding of this, in painting. his Mellon Cézanne Lecture is present on inthe the painting through the copy of one of his still lives (owned by Gauguin but on loan to Denis), Still Life with Fruit Dish,nature 1879-80 and (New language York: MoMA), of abstract whilst Redon painting is depicted Paths in toperson the (surroundedAbsolute, byperhaps Nabis painters) put it withreceiving hommage from Paul Sérusier. most tact when acknowledging the importance of the theosophic / hermetic sources of 9 Though aspects of Kristeva’s work have passed into English-language cultural studies and critical theory – for example, abjection – the implications of her work for art historical methodology and the re-conceiving of 8 Here, seefundamentally the painting postby Maurice-Symbolist Denis, aesthetic Hommages have à neverCezanne been, 1900. picked Oil up on. canvas. Paris: Musée d’Orsay. Here is not the place to go into the cultural and psycho-social significance of this painting. Cézanne is present in the painting 10throughCf. Maurice the copy Tuchman of one of“The his Spiritualstill lives in (owned Art: Abstract by Gauguin Painting,but on1890 loan-1985,” to Denis in Traces), Still Lifedu sacr withé Fruit(Paris: Centre Dish, 1879Pompidou,-80 (New 2008), York: 36.MoMA), whilst Redon is depicted in person (surrounded by Nabis painters) receiving hommage from Paul Sérusier.

9 Though aspects of Kristeva’s work have passed into English-language cultural studies and critical theory – for example, abjection – the implications of her work for art historical methodology and the re-conceiving of fundamentally post-Symbolist aesthetics have never been picked up.

10 Cf. Maurice Tuchman “The Spiritual in Art: Abstract Painting, 1890-1985,” in Traces du sacré (Paris: Centre Pompidou, 2008), 36. received critical acclaim, it remains that that this exhibition and its catalogue emerged at precisely the moment when new materialist strategies in the form of, first, the New Art Histories, then the Social History of Art, and later Visual Culture along with the neo-Structuralism of the October journal in New York, had captured the academic study of art’s histories and so left no room for the kind of thinking of form rooted in the essentially post-Symbolist modes of symbolization common to poets (Eliot, Pound, Breton), composers (Debussy, and Schönberg’s school), novelists (Dujardin to Joyce, but also Blanchot), playwrights (Maeterlinck to Beckett, Jarry to Ionesco), painters (Nabis to Kandinsky, Cézanne as interpreted by Bernard and Maurice Denis, with Denis and the Nabis simultaneously able to acknowledge Redon and Cézanne8), and philosophical thought – say, Kristeva’s semiotic interpretation of the feminine dimension of avant-garde production and experience developed in her La Révolution du langage poétique: L’avant-Garde à la fin du XiXe siècle: Lautréamont et Mallarmé (Paris: Éditions du Seuil, 1974).9 An important moment in the afterlife of Tuchman’s great exhibition came in 2008 with Alfred Pacquement’s extraordinary exhibition Traces du sacré at the Centre Pompidou in Paris. The exhibition and catalogue are explicit in acknowledgement of Tuchman’s 1987 exhibition on The Spiritual in Art, publishing a moving page by Tuchman on the struggles he encountered in getting his exhibition accepted.10

5. The late art historian and abstract painter John Golding, in his Mellon Lecture on the nature and language of abstract painting Paths to the Absolute, perhaps put it with most tact when acknowledging the importance of the theosophic / hermetic sources of Mondrian’s art nevertheless observed that “[Mondrian] came to reject totally the use 8 Here, see theof painting symbols;Mondrian’s by Maurice and yet Denis, art his nevertheless Hommage abstraction à Cezanne observed is informed, 1900. that Oil “[Mondrian]by on canvas.the idealisti Paris: came Musc philosophytoée rejectd’Orsay. totally Herewith the use is not the place to go intoof thesymbols; cultural andand psycho yet -hissocial abstraction significance isof thisinformed painting. by Cé zannethe idealisti is presentc inphilosophy the with painting throughwhich the copyhe ofbecame one of his imbued, still lives [and](owned heby Gauguinreachedbut his on loaninitial to Denis conclusions), Still Life withthrough Fruit the Dish, 1879-80 (New York:which MoMA), he became whilst Redon imbued, is depicted [and] in personhe reached (surrounded his by initial Nabis11 painters)conclusions receiving through the hommage fromhermetic Paul Sérusier. systems of thought saturated with symbolic content.” hermetic systems of thought saturated with symbolic content.”11 9 Though aspects of Kristeva’s work have passed into English-language cultural studies and critical theory – for example,6. abjectionThis –briefthe implications historiography of her workmatters: for art first, historical because methodology the questionand the of re -Whyconceiving abstraction of – of fundamentally post-Symbolist aesthetics have never been picked up. which6. theThis most brief powerful historiography accounts matters: are to first, be found because in the questionwork of ofYve Why-Alain abstraction Bois, – of 10 Cf. Maurice Tuchmanwhich “The Spiritualthe most in Art:powerful Abstract accounts Painting, 1890are -to1985,” be foundin Traces in duthe sacr worké (Paris: of CentreYve-Alain Bois, Pompidou, 2008),Richard 36. Shiff, Hubert Damisch, and Richard Wollheim – is tacitly now the question: Why painting?Richard WhatShiff, is Hubert it that paintingDamisch, as and an artRichard continues Wollheim to makes– is available? tacitly now the question: Why painting? What is it that painting as an art continues to makes available? 7. The question of Why painting? is also linked to the conception of painting and the transmission7. The question of certain of conceptionsWhy painting? and ispractices. also linked It is to essential, the conception for example, of painting that it and the Mondrian’s art nevertheless observed that “[Mondrian] came to reject totally the use be understoodtransmission that had of Picassocertain conceptionsand Braque’s and Cubism practices. never It existedis essential, the abstraction for example, of that it of symbols; and yet his abstraction is informed by the idealistic philosophy with Kandinskybe understood would still that have had existed. Picasso Kandinsky’s and Braque’s work Cubism c. 1905never – existed1910 leadingthe abstraction to of which he became imbued, [and] he reached his initial conclusions through the abstractionKandinsky emerges would from astill purely have Symbolist existed. traditionKandinsky’s and oweswork nothing c. 1905 to –Cubism.1910 leading to 11 hermeticabstraction systems of emerges thought from saturated a purely with Symbolist symbolic traditioncontent.” and owes nothing to Cubism. Wassily Kandinsky, Murnau Garden, 1910, oil on canvas. Munich: Städtische Galerie in 6.LenbachhThisWassily briefaus historiography Kandinsky, Murnau matters: Garden first, because, 1910, oilthe on question canvas. of Munich: Why abstraction Städtische –Galerieof in whichLenbachh the mostaus powerful accounts are to be found in the work of Yve-Alain Bois, RickRichard Vian, Il Shiff, Ramo Hubert, 2010, Damisch, oil on panel. and Detroit: Richard A Wollheimddie and Michael– is tacitly Stone now-Richards the question: Rick Vian, Il Ramo, 2010, oil on panel. Detroit: Addie and Michael Stone-Richards Why painting? What is it that painting as an art continues to makes available? Mondrian, too, emerges from a strictly Symbolist tradition, but there can equally be no doubtMondrian, that his too, pictorial emerges language from a isstrictly marked Symbolist and transformed tradition, but by therea definitive can equally be 7. The question of Why painting? is also linked to the conception of painting and the encounterno withdoubt Cubism that his – evenpictorial as Picasso language and isBraque’s marked Cubism and transformed consistently by refused a definitive transmission of certain conceptions and practices. It is essential, for example, that it the languageencounter of withabstraction. Cubism Mondrian’s– even as Picasso engagement and Braque’s with Cubism Cubism becomesconsistently the refused be understood that had Picasso and Braque’s Cubism never existed the abstraction of foundationthe oflanguage an international of abstraction. language Mondrian’s of abstraction engagement marked bywith the Cubismwork with becomes the the Kandinsky would still have existed. Kandinsky’s work c. 1905 – 1910 leading to plane andfoundation the reducti of anon internationalof the plane languagefrom phenomenological of abstraction marked form andby thesymbol work to with the abstraction emerges from a purely Symbolist tradition and owes nothing to Cubism. constituentplane elements, and the fromreducti imageon of to the sign, plane let’s from say. Asphenomenological a short-hand – aformcrude and short symbol- to constituent elements, from image to sign, let’s say. As a short-hand – a crude short- Wassilyhand, Kandinsky, to be sure, Murnau but that Garden is the ,nature 1910, ofoil shorton canvas.-hands Munich: – let’s call Stä dtischethis theGalerie School in of LenbachhParis lineage.aushand, to be sure, but that is the nature of short-hands – let’s call this the School of Paris lineage. Rick Vian, Il Ramo, 2010, oil on panel. Detroit: Addie and Michael Stone-Richards 11 John Golding, “Mondrian and the Architecture of the Future,” Paths to the Absolute: Mondrian, Malevich, Kandinsky,11 John Pollock,Mondrian, Golding, Newman, “Mondriantoo, Rothko, emerges and and the Stillfrom Architecture(Princeton: a strictly of Princeton theSymbolist Future,” University Paths tradition, to Press, the Absolute: but2000), there 9. Mondrian, can equally Malevich, be Kandinsky, Pollock, Newman, Rothko, and Still (Princeton: Princeton University Press, 2000), 9. no doubt that his pictorial language is marked and transformed by a definitive encounter with Cubism – even as Picasso and Braque’s Cubism consistently refused the language of abstraction. Mondrian’s engagement with Cubism becomes the foundation of an international language of abstraction marked by the work with the plane and the reduction of the plane from phenomenological form and symbol to constituent elements, from image to sign, let’s say. As a short-hand – a crude short- hand, to be sure, but that is the nature of short-hands – let’s call this the School of Paris lineage.

11 John Golding, “Mondrian and the Architecture of the Future,” Paths to the Absolute: Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko, and Still (Princeton: Princeton University Press, 2000), 9. Mondrian’s art nevertheless observed that “[Mondrian] came to reject totally the use of symbols; and yet his abstraction is informed by the idealistic philosophy with which he became imbued, [and] he reached his initial conclusions through the hermetic systems of thought saturated with symbolic content.”11

6. This brief historiography matters: first, because the question of Why abstraction – of which the most powerful accounts are to be found in the work of Yve-Alain Bois, Richard Shiff, Hubert Damisch, and Richard Wollheim – is tacitly now the question: Why painting? What is it that painting as an art continues to makes available?

7. The question of Why painting? is also linked to the conception of painting and the transmission of certain conceptions and practices. It is essential, for example, that it be understood that had Picasso and Braque’s Cubism never existed the abstraction of Kandinsky would still have existed. Kandinsky’s work c. 1905 – 1910 leading to abstraction emerges from a purely Symbolist tradition and owes nothing to Cubism.

Wassily Kandinsky, Murnau Garden, 1910, oil on canvas. Munich: Städtische Galerie in Lenbachhaus

Rick Vian, Il Ramo, 2010, oil on panel. Detroit: Addie and Michael Stone-Richards

Mondrian, too, emerges from a strictly Symbolist tradition, but there can equally be 8. It is with Kandinsky and Mondrian that the principal terms for talking about the no doubt that his pictorial language is marked and transformed by a definitive possibility of a language of abstract art are set up. E.H. Gombrich’s account of art as encounter with Cubism – even as Picasso and Braque’s Cubism consistently refused developed in Art and Illusion (1960), that neurological structures ultimately shaped the language of abstraction. Mondrian’s engagement with Cubism becomes the our perceptual capacities and so the understanding of art, was in part motivated by the foundation of an international language of abstraction marked by the work with the wish to explain the development of perspective and naturalism in Renaissance art, but plane and the reduction of the plane from phenomenological form and symbol to such an approach could in no way begin to explain abstraction, and there never has constituent elements, from image to sign, let’s say. As a short-hand – a crude short- been a plausible account of abstraction along Gombrich’s line of argument. Anti- hand, to be sure, but that is the nature of short-hands – let’s call this the School of naturalism is the hallmark of modernist art: for Bois this requires recourse to the Paris lineage. language of the sign, but it can equally be argued – following Roman Jakobsen and Emile Benveniste – that the notion of the sign is an abstraction from the more 8. It is with Kandinsky and Mondrian that the principal terms for talking about the 11 John Golding, “Mondrianfundamental and the Architecture notion of of thereference, Future,” Pathsthat tois, the relation Absolute: toMondrian, the world. Malevich, Signification or Kandinsky, Pollock,possibility Newman, of a Rothko, language and Stillof abstract(Princeton: art Princeton are set Universityup. E.H. Press,Gombrich’s 2000), 9. account of art as possibilityembodiment. of a language In eitherof abstract case, artthe are issue set becomeup. E.H.s Gombrich’sthe way in whichaccount something of art as like a developed in Art and Illusion (1960), that neurological structures ultimately shaped developedlanguage in Art isand activated Illusion by(19 n60ew), thatstructures neurological – one structureswhich is capable,ultimately in shaped the terms of our perceptual capacities and so the understanding of art, was in part motivated by the our perceptualMondrian, capacities of grasping and so abstractthe understanding reality (intellection) of art, was in parta manner motivated distinct by the from but wish to explain the development of perspective and naturalism in Renaissance art, but wish to comparableexplain the developmentto natural reality of perspective (perception), and and naturalism hence a inlanguage Renaissance marked art, bybut the play such an approach could in no way begin to explain abstraction, and there never has such anof approach reference could or sign in asno away break begin with to the explain naturalism abstraction, of pointing and (ostensivethere never definition). has 12 been a plausible account of abstraction along Gombrich’s line of argument. Anti- been a Abstractionplausible account is the inability of abstraction to pick alongout by Gombrich’smere pointing line. of argument. Anti- naturalism is the hallmark of modernist art: for Bois this requires recourse to the language of the sign, but it can equally be argued – following Roman Jakobsen and language9. The of attemptsthe sign, butof Robertit can equallyRosenblum, be argued Ringbom – following and Tuchman Roman Jakobsenand many and others to Emile Benveniste – that the notion of the sign is an abstraction from the more Emile Benvecreate nistea Northern – that /the Romantic notion oflineage the signfor abstractionis an abstraction was an from attempt, the moreoften under- fundamental notion of reference, that is, relation to the world. Signification or fundamentalconceptualized, notion of toreference, register anthat alternative is, relation to the to (“theformalist world.” ) Significationlanguage of theor picture embodiment. In either case, the issue becomes the way in which something like a embodiment.plane asIn eithershaped case, by Cubismthe issue and become the encounters the way of in Mondrian which something (and others) like awith the language is activated by new structures – one which is capable, in the terms of languagelanguage is activated of Cubism. by new Again, structures to be direct,– one to which speak isin capable,short-hand, in considerthe terms the ofCoBRA Mondrian, of grasping abstract reality (intellection) in a manner distinct from but Mondrian,movement of grasping of which abstract Asger reality Jorn (intellection)became the leading in a manner figure, distinctand for whomfrom but Paris was comparable to natural reality (perception), and hence a language marked by the play comparablealso culturallyto natural andreality personally (perception), important. and hence For the a languagestyle of painting marked createdby the playby Jorn and of reference or sign as a break with the naturalism of pointing (ostensive definition).12 of referencehis peers or sign not as the a breakplane wibutth thethe surfacenaturalism in movementof pointing – (ostensiveenergy, is definition). the word that Rick Abstraction is the inability to pick out by mere pointing. AbstractionVian is likes the inabilityto use – toand pick layers out by(underneathness mere pointing. in Damisch’s language) is the issue, above all the surface constructed as a screen to evoke and capture affect. (Indeed, 9. The attempts of Robert Rosenblum, Ringbom and Tuchman and many others to 9. The attemptsthere is of a remarkableRobert Rosenblum, statement Ringbomby Jorn that and no Tuchmanmatter what and the many avant -othersgarde attemptto to create a Northern / Romantic lineage for abstraction was an attempt, often under- conceptualized, to register an alternative to the (“formalist”) language of the picture 12 See Stephen Bann, “Abstract Art – A Language?” in Towards a New Art: Essays on the Background to Abstract Art 1910plane-20 as, The shaped Tate Gallery by Cubism (London: andThe Tatethe Gallery,encounter 1980). of Mondrian (and others) with the language of Cubism. Again, to be direct, to speak in short-hand, consider the CoBRA movement of which Asger Jorn became the leading figure, and for whom Paris was also culturally and personally important. For the style of painting created by Jorn and his peers not the plane but the surface in movement – energy, is the word that Rick Vian likes to use – and layers (underneathness in Damisch’s language) is the issue, above all the surface constructed as a screen to evoke and capture affect. (Indeed, there is a remarkable statement by Jorn that no matter what the avant-garde attempt to

12 See Stephen Bann, “Abstract Art – A Language?” in Towards a New Art: Essays on the Background to Abstract Art 1910-20,, TheThe TateTate GalleryGallery (London: The Tate Gallery, 1980). 8. It is with Kandinsky and Mondrian that the principal terms for talking about the possibility of a language of abstract art are set up. E.H. Gombrich’s account of art as developed in Art and Illusion (1960), that neurological structures ultimately shaped our perceptual capacities and so the understanding of art, was in part motivated by the wish to explain the development of perspective and naturalism in Renaissance art, but such an approach could in no way begin to explain abstraction, and there never has been a plausible account of abstraction along Gombrich’s line of argument. Anti- naturalism is the hallmark of modernist art: for Bois this requires recourse to the language of the sign, but it can equally be argued – following Roman Jakobsen and Emile Benveniste – that the notion of the sign is an abstraction from the more fundamental notion of reference, that is, relation to the world. Signification or embodiment. In either case, the issue becomes the way in which something like a language is activated by new structures – one which is capable, in the terms of Mondrian, of grasping abstract reality (intellection) in a manner distinct from but comparable to natural reality (perception), and hence a language marked by the play of reference or sign as a break with the naturalism of pointing (ostensive definition).12 Abstraction is the inability to pick out by mere pointing.

9. The attempts of Robert Rosenblum, Ringbom and Tuchman and many others to create a Northern / Romantic lineage for abstraction was an attempt, often under- conceptualized, to register an alternative to the (“formalist”) language of the picture plane as shaped by Cubism and the encounter of Mondrian (and others) with the language of Cubism. Again, to be direct, to speak in short-hand, consider the CoBRA movement of which Asger Jorn became the leading figure, and for whom Paris was also culturally and personally important. For the style of painting created by Jorn and his peers not the plane but the surface in movement – energy, is the word that Rick Vian likes to use – and layers (underneathness in Damisch’s language) is the issueue,, above all the surface constructed as a screen to evoke and capture affect. (Indeed, there is a remarkable statement by Jorn ththatat nnoo matter what the avavantant-g-gardearde attempt to nnegatenegateegate ththethee proprojectiveprojectivejective qqualitiesqualitiesualities oofoff aa supportsupport ––forfforor anythinganything cabcacabn becomebecome artart -- thethe viewerviewer,, andand byby implicationimplication thethe firstfirst viewer,viewer, namely,namely, thethe artist,artist, alwaysalways managesmanages toto findfind aa wayway 12 See Stephenand Bann, by “Abstract implication Art – theA Language?” first viewer, in Towards namely, a New thethe Art: artist,artist, Essaysalways on the manages Background to tofindfind Abstract a way Art 1910-20, Thetoto activateactivactivateTate Galleryate projectiveprojectiveprojective (London: Thequalitiesqualitiesqualities Tate Gallery,andandand so1980).soso make makemake thethe the supportsupport support nono no longerlonger longer accidentalaccidental accidental oror orirrelevantirrelevantirrelevant.).) TheThe.) Th avantavante avant--gardegarde-garde schoolschoolschool inin Detroit’s Detroit’sin Detroit’s recentrecent recent history,history, history, thethe CassCassthe Cass Corridor,Corridor, Corridor, waswas wasnotnot SchoolSchoolnot School ofof Paris;Paris; of Paris; andand whilst whilstand whilst II dodo not notI do wishwish not totowish saysay tothatthat say everythingeverything that everything curatedcurated curated inin Vian’sVian’s in Vian’sshowshow isisshow CassCass isCorridorCorridor Cass Corridor oror postpost --CassorCass post-Cass CorridorCorridor Corridor,,, itit seemsseems it neverthelessnevertheless seems nevertheless clearclear toto clearmeme tthat hatto methethe thatlanguagelanguage the languageofof surfacesurface of characteristiccharacteristic surface characteristic ofof DetroitDetroit --schoolschoolof Detroit abstraction,abstraction,-school sharessharesabstraction, withwith sharesCoBRACoBRA with aa refusalrefusal CoBRA ofof plane planea refusal inin favorfavor of ofplaneof surface,surface, in favor wetnesswetness of surface,inin paint,paint, wetnessimpasto,impasto, in paintpaint paint, asas impasto,gesture,gesture, accumulation accumulationpaint as gesture, onon thethe accumulation surfacesurface (in(in sculpture sculptureon the surface // constructionconstruction (in sculpture asas wellwell / construction asas paintingpainting asas wellwewe findfind as paintinginin LoisLois Teicher,Teicher,as we find andand in JohnJohn Lois RowlandRowland Teicher,)) and,and,and further,further,John Rowland) thatthat thisthis particularand,particular further, kindkind that ofof thisworkwork particular ofof thethe surfacesurface kind of isis worklinkedlinked of toto the andand surface heldheld to tois bebelinked expressiveexpressive to and ofofheld historieshistories to be expressiveofof affectaffect andand of historiesplaceplace (which(which of affect II findfind toandto bebe p especiallyespeciallylace (which strongstrong I find inin thetheto beworkwork especially ofof RobertRobert strong SestokSestok in andandthe itsitswork ususee ofof Roberttexturestextures Sestok toto suggestsuggest and its thethe use archaicarchaic of tex tures// timeless)timeless) to suggest –– indeed,indeed, the ar ititchaic isis allall / timeless)tootoo clearclear –thatthatind DetroitDetroiteed, it isabstractionabstraction all too holdsholdsclear totothat aa fundamentallyfundamentallyDetroit abstraction expressiveexpressive holds conceptionconception to a fundamentally ofof artart,, aboveabove expressive allall wherewhere conceptionabstractionabstraction functionsfunctionsof art, asabas o ananve analogueanalogueall where ofof metaphormetaphorabstractionicalical functionsprocessesprocesses (here,(here,as an for foranalogue example,example, of II metaphorthinkthink ofof thetheical workwork processes ofof ErinErin(here, ParrishParrishfo r and andexample, AnitaAnita Bates)Bates)I thinkoror of thethe the insistence,insistence, work of àErinà lala ReverdyReverdyParrish ,and, onon Anitathethe newnew Bates),, thatthat or is,is, the thatthat insistence, aa workwork ofof à artart la isisReverdy aa newnew , thing thingon the inin new thethe ,worldworld that is, ofof that existingexisting a work things,things, of art andand is aasas new suchsuch thing isis somethingsomething in the world againstagainst of existing naturenature (asthings,(as mightmight and bebe as seenseen such inin is thethe something workwork ofof againstRayRay KatzKatz nature andand (asJohnJohn might PiettPiett beIII)III) .seen. WhenWhen in PicassothePicasso work oror o MatisseMatissef Ray Katz lookedlooked and at,at, John collectedcollected Piett ,,III).AfricanAfrican When sculpture,sculpture, Picasso forforor Matisseexample,example, looked theythey diddidat, notcollectednot affectaffect, Africananyany relationshiprelationship sculpture, to tofor thetheexample, workwork outsideoutsidethey didofof aanot powerfulpowerful affect anyaestheticaesthetic relationship experienceexperience to –the– whichwhich work waswas outside enough.enough. of When,When,a powerful however,however, aesthetic wewe comecome experience ttoo CoBRA,CoBRA, – which itit isis wasnono longerlonger enough. aa simplesimple When, mattermatter however, ofof lookinglooking we come atat exotictoexotic CoBRA, –– thatthat it is,is, is etymologically,etymologically,no longer a simple foreignforeign matter –– art.art. of lookingCoBRACoBRA atbeginsbegins exotic toto – looklookthat atis,at thetheetymologically, primitiveprimitive –– that thatforeign is,is, etymologically,etymologically, – art. CoBRA earliestbeginsearliest to–– “art”“art”look inatin thetheirtheir primitive nativenative traditionstraditions– that is,,, etymologically,asas partpart ofof theirtheir earliest culturalcultural – “art”location,location, in their asas parparnativett ofof atraditionsa culturalcultural, asmorphologymorphology part of theirwhosewhose cultural formsforms location,andand energiesenergies as partcontinuecontinue of a totocu lturalfindfind expressionmorphologyexpression ininwhose theirtheir formscontemporarycontemporary and energiespracticepractice .. OnecontinueOne findsfinds topicturespictures find andandexpression articlesarticles ––inand andtheir essaysessays contemporary writtenwritten byby 1313 panthropologistsanthropologistsractice. One 13 ––findsthroughoutthroughout pictures theirtheir eponymouseponymousand articles journaljournal – dealingdealingand withessayswith primitiveprimitive written NordicNordic by anthropologistsartart (just(just asas BretonBreton13 – inthroughoutin thethe 1950’s1950’s their willwill eponymous beginbegin toto looklookjournal atat nativedealingnative GallicGallic with ,primitive, thatthat is,is, French,French,Nordic 13 See P.V. Glob,art)art) ;“Les; likewise,likewise, ‘Guldgubber’ II amam scandinaves,”struckstruck byby Vian’sVian’s Cobra: deepdeepBulletin andand pour longlong la coordination--establishedestablished des engagementengagement investigations withwith thethe

13 13 SeeSee P.V.P.V. Glob,Glob, “Les“Les ‘Guldgubber’‘Guldgubber’ scandinaves,”scandinaves,” Cobra:Cobra: BulletinBulletin pourpour lala coordinationcoordination desdes investigationsinvestigations artistiquesartistiques,, no.no. 11 (1948):(1948): 1212--1313.. negate the projective qualities of a support – for anything cab become art - the viewer, and by implication the first viewer, namely, the artist, always manages to find a way to activate projective qualities and so make the support no longer accidental or irrelevant.) The avant-garde school in Detroit’s recent history, the Cass Corridor, was not School of Paris; and whilst I do not wish to say that everything curated in Vian’s show is Cass Corridor or post-Cass Corridor, it seems nevertheless clear to me that the language of surface characteristic of Detroit-school abstraction, shares with CoBRA a refusal of plane in favor of surface, wetness in paint, impasto, paint as gesture, accumulation on the surface (in sculpture / construction as well as painting as we find in Lois Teicher, and John Rowland) and, further, that this particular kind of work of the surface is linked to and held to be expressive of histories of affect and place (which I find to be especially strong in the work of Robert Sestok and its use of textures to suggest the archaic / timeless) – indeed, it is all too clear that Detroit abstraction holds to a fundamentally expressive conception of art, above all where abstraction functions as an analogue of metaphorical processes (here, for example, I think of the work of Erin Parrish and Anita Bates) or the insistence, à la Reverdy, on the new, that is, that a work of art is a new thing in the world of existing things, and as such is something against nature (as might be seen in the work of Ray Katz and John Piett III). When Picasso or Matisse looked at, collected, African sculpture, for example, they did not affect any relationship to the work outside of a powerful aesthetic experience – which was enough. When, however, we come to CoBRA, it is no longer a simple matter of looking at exotic – that is, etymologically, foreign – art. CoBRA begins to look at the primitive – that is, etymologically, earliest – “art” in their native traditions, as part of their cultural location, as part of a cultural morphology whose forms and energies continue to find expression in their contemporary practice. One finds pictures and articles – and essays written by 13 anthropologistsnegate the –projectivethroughout qualities their eponymous of a support journal – for anything dealing with cab becomeprimitive art Nordic - the viewer , art (justand as byBreton implication in the 1950’sthe first will viewer, begin namely, to look the at nativeartist, alwaysGallic, managesthat is, French, to find a way art); likewise,to activate I am projectivestruck by Vian’squalities deepand and so longmake-established the support engagement no longer with accidental the or 14 language,irrelevant culture,.) Theand avantlandscape-garde of school the Ojibway in Detroit’s Native recent-Americans history, the(First Cass NationCorridor, was 13 See P.V. Glob,people “Lesartnotin ‘Guldgubber’ Canada (justSchool as) :ofBreton scandinaves,”in Paris;his usein and the of Cobra:whilst O1950’sjibway Bulletin I dowill for not pour beginthe wish latitles coordinationto to looksayof many thatat nativedes everythingof investigations his Gallic works, curated, that for is,the in French, Vian’s artistiques, no. 1 (1948): 12-13. landscapeart)show –; likewise,both is Cass abstract CorridorI am and struck figurative or postby Vian’s-Cass – where Corridordeep he and situates, itlong seems- himselfestablished nevertheless to paint, engagement aboveclear to all withme thatthe when treeslanguage,the arelanguage the culture, objects of surface and(but landscapenot characteristic the subject) of the of ofOjibway his Detroit painting. Native-schoolThis-Americans abstraction,is especially14 (First sharesso in Nation with his GitchpeopleCoBRA Gumeein a Canada seriesrefusal )(Lake :ofin planehis Superior use in offavor Oviajibway Hiawathaof surface, for theand wetnesstitles the of Ojibway). inmany paint, of Thishisimpasto, works, art of paint for theas place –landscapegesture,the location accumulation – both of culture abstract on – istheand very surfacefigurative Olsonian, (in –sculpturewhere that is, he /deep constructionsituates American himself as and well to paint,in as every painting above allas way comparablewhenwe find trees in toLoisare CoBRA the Teicher, objects practices, and (but John not the tRowlandhe practices,subject)) and, of in his further,other painting. words,that Thisthis of isparticular theespecially non -kind so ofin metropolitanhiswork Gi ofarttch istthe Gumee of surface an aestheticseries is linked (Lake of the toSuperior open.and held via to Hiawatha be expressiveand theof historiesOjibway). of Thisaffect art and of place –(whichthe location I find toof beculture especially – is very strong Olsonian, in the work that is,of deepRobert American Sestok and and its in useverye of Rick Vian, waytexturesNin Nodjimcomparable to suggest (Ojibway) to theCoBRA I archaicam cured practices, / ,timeless) 2012. theOil – onpractices,indeed, canvas. itin is otherall too words, clear ofthat the Detroit non- metropolitanabstraction holds artist to of aan fundamentally aesthetic of the expressive open. conception of art, above all where Rick Vian,abstraction Nind Apagadjiwebaog functions as an(Ojibway) analogue The of metaphorWaves beatical processesagainst my(here, Canoe for andexample, I Carry meRick Awaythink Vian,, of2012. Nin the NodjimOilwork on of canvas. (Ojibway) Erin Parrish I am and cured Anita, 2012. Bates) Oilor on the canvas. insistence, à la Reverdy, on the new, that is, that a work of art is a new thing in the world of existing things, and language, culture, and landscape of the Ojibway Native-Americans (First Nation 10. It isRick hereas Vian,thatsuch I isNindcan something begin Apagadjiwebaog to againstmake sense nature (Ojibway) of (as the might admiration The be Waves seen and inbeat attractionthe against work Iof havemy Ray Canoe forKatz and people in Canada): in his use of Ojibway for the titles of many of his works, for the whatCarry isJohn memost Piett Away powerful III), 2012.. When Oilin PicassoonVian’s canvas. orpainting Matisse, lookedboth inat, itscollected formal, African and cultural sculpture, for landscape – both abstract and figurative – where he situates himself to paint, above all engagementsexample,: as withthey thedid originsnot affect of abstraction any relationship – Sérusier’s to the Talisman work outside, Kandisnksy’s of a powerful when trees are the objects (but not the subject) of his painting. This is especially so in painting10. Itaesthetic fromis here 1905 experiencethat-191 I can0 – hisbegin– which work to wasismake fundamentally enough. sense ofWhen, the situated admiration however, as landscape weand come attraction where to CoBRA, theI have itfor is his Gitch Gumee series (Lake Superior via Hiawatha and the Ojibway). This art of formal whatnofeatures longer is of mosta thesimple landscapepowerful matter areofin looking simultaneouslyVian’s at paintingexotic grasped –, thatboth is, as etymologically, inexpressively its formal cultural, foreignand cultural – art. place – the location of culture – is very Olsonian, that is, deep American and in every hence theengagementsCoBRA (pictorial) begins: asexclusion to with look the atof originsthe the primitive city. of abstractionThe – workthat is,–depicts Setymologically,érusier’s embeddedness Talisman earliest, Kandisnksy’sand – is“art” in way comparable to CoBRA practices, the practices, in other words, of the non- itself anpaintingtheir act ofnative beingfrom traditions1905 embedded.-191, 0as– There hispart work is,of too,istheir fundamentally a sensecultural of speed,location, situated indeed, asas landscapepar somethingt of awhere cultural the metropolitan artist of an aesthetic of the open. that at firstformalmorphology might features be whosecharacterized of the formslandscape asand a calligraphic areenergies simultaneously continuesense of grasped speed,to find somethingas expressivelyexpression that isincultural, their linked tohencecontemporary the qualitythe (pictorial) ofpractice wetness exclusion. Onein the finds paintof the pictures– whichcity. The alsoand work contributesarticles depicts – andto embeddedness the essays quality written of and byis Rick Vian, Nin Nodjim (Ojibway) I am cured, 2012. Oil on canvas. embeddednessitsanthropologistself an – actwhich of 13being on– throughoutfurther embedded. reflection their There eponymous makes is, too, clear journala whysense onedealing of mightspeed, with haveindeed, primitive certain something Nordic thatart (just at first as mightBreton be in characterizedthe 1950’s will as abegin calligraphic to look senseat native of speed, Gallic something, that is, French, that is artistiques, no.Rick 1 (1948): Vian, 12 -13Nind. Apagadjiwebaog (Ojibway) The Waves beat against my Canoe and linkedart); likewise, to the quality I am struck of wetness by Vian’s in the deep paint and – which long- establishedalso contributes engagement to the quality with the of 14 Carry me Away, 2012. Oil on canvas. Amongst the youngerembeddedness generation of Detroit – which artists, on Scott further Hocking reflection is the artist makes more clear than any why other one who might has taken have certain this preoccupation with the Native-American as cultural condition further and in a conceptual direction – see his series Garden of the Gods, 2009-20011, but even more so the very important project called The Mound Project, 13 See P.V. Glob, “Les ‘Guldgubber’ scandinaves,” Cobra: Bulletin pour la coordination des investigations 2007 – present. On this aspect of Hocking, see Michael Stone-Richards, “Retreating / Retracing Space: Scott artistiques10. It, no.is 1here (1948): that 12 I- 13can. begin to make sense of the admiration and attraction I have for Hocking artistiquesand the Politics, no. 1 of (1948): Visibility,” 12-13 Detroit. Research, vol. 1 (2015) https://www.detroitresearch.org/retreating- retracing-space-scottwhat-hocking is -andmost-the -powerfulpolitics-of- visibility/in Vian’s painting, both in its formal and cultural 14 Amongst the younger generation of Detroit artists, Scott Hocking is the artist more than any other who has taken this preoccupationengagements with the: asNative with-American the origins as cultural of abstraction condition further – Sé rusier’sand in a conceptual Talisman direction, Kandisnksy’s – see his series Garden of the Gods, 2009-20011, but even more so the very important project called The Mound Project, 2007 – present.painting On this from aspect 1905 of -Hocking,1910 – hissee Michaelwork is Stone fundamentally-Richards, “Retreating situated / asRetracing landscape Space: where Scott the Hocking and the Politics of Visibility,” Detroit Research, vol. 1 (2015) https://www.detroitresearch.org/retreating- retracing-spaceformal-scott features-hocking of-and the-the landscape-politics-of -visibility/are simultaneously grasped as expressively cultural, hence the (pictorial) exclusion of the city. The work depicts embeddedness and is itself an act of being embedded. There is, too, a sense of speed, indeed, something that at first might be characterized as a calligraphic sense of speed, something that is linked to the quality of wetness in the paint – which also contributes to the quality of embeddedness – which on further reflection makes clear why one might have certain kinesthetic sensations when absorbed in the work, for throughout Vian’s painting is a dance as in Il Ramo, 2010: a dance across the surface, a dance in the landscape, meeting in the mental inscape. The calligraphic is also choreographic. His colors – yellow ochre, alizarin crimson, cadmium red light, what Gauguinesque colors, what Symbolist auras! – are like markers of sensation in this movement, this energy of surface and densities. As with one of the key sources of abstraction – again, The Talisman as an iconic example, but also Mondrian’s Pier and Ocean works of 1917 language, culture, and landscape of the Ojibway Native-Americans (First Nation people in Canada): in his use of Ojibway for the titles of many of his works, for the landscape – both abstract and figurative – where he situates himself to paint, above all when trees are the objects (but not the subject) of his painting. This is especially so in his Gitch Gumee series (Lake Superior via Hiawatha and the Ojibway). This art of place – the location of culture – is very Olsonian, that is, deep American and in every way comparable to CoBRA practices, the practices, in other words, of the non- metropolitan artist of an aesthetic of the open.

Rick Vian, Nin Nodjim (Ojibway) I am cured, 2012. Oil on canvas.

Rick Vian, Nind Apagadjiwebaog (Ojibway) The Waves beat against my Canoe and Carry me Away, 2012. Oil on canvas.

10. It is here that I can begin to make sense of the admiration and attraction I have for what is most powerful in Vian’s painting, both in its formal and cultural engagements: as with the origins of abstraction – Sérusier’s Talisman, Kandisnksy’s painting from 1905-1910 – his work is fundamentally situated as landscape where the formalkinesthetic features of sensations the landscape when areabsorbed simultaneously in the work, grasped for throughout as expressively Vian’s cultural,painting is a hencedance the (pictorial)as in Il Ramoexclusion, 2010 of: athe dance city. acrossThe work the surface,depicts embeddednessa dance in the and landscape, is itself meetan acting of in being the mental embedded. inscape. There The is, calligraphic too, a sense is ofalso speed, choreographic. indeed, something His colors – that atyellow first might ochre, be alizarin characterized crimson, as cadmiuma calligraphic red light,sense whatof speed, Gauguinesque something colors,that is what linkedSymbolist to the quality auras of! –wetnessare like in markersthe paint of – whichsensation also in contributes this movement, to the qualitythis energy of of embeddednesssurface and – whichdensities. on further As with reflection one of makesthe key clear sources why oneof abstraction might have – certainagain, The kinestheticTalisman sensationsas an iconic when example,absorbed inbut the also work, Mondrian for throughoutthroughout’s Pier and Vian’s Oceanpaintingpaintingworks isis of aa 1917 dancewhereas in oneIl Ramo can ,readily 2010: atrack dance the across dissolution the surface, of water aa dancedanceand plane inin thethe into landscape,landscape, an emergent meetmeetinginglanguage in the ofmental the sign inscapinscape. – e.the There is calligraphic consistently is present also choreographic. in the work theHisHis use colorscolors of mirror–– - yellowimages: ochre, wateralizarin pre crimson,-eminently cadmium(see the redSky light, in the what Water Gauguinesqueseries of 2015 colors,colors,where whatwhat the work 15 Symbolistapproaches auras! the– aresublime like markersin its approach of sensation to Lake in Superiorthis movement,), but also thisthis in energyenergy mandalas, ofof but surfacemost and distinctively densities. As in thewith pai onenting ooff inspiredthe key bysources hallucinations. of abstraction In a conversation–– again,again, TheThe I had Talismanwith asVian, an iconiche told example, me of his but researches also Mondrian into hallucinations’s Pier and Ocean and howworksworks surprised ofof 19171917 he was whereat onefirst can to discoverreadily trackthat th theere dissolutionwas a limited of numberwater and of patternsplane into in hallucinationsan emergent and languagethat, offurthermore, the sign – thesethere pisatterns consistently were always present symmetrical. in the work Thisthe useis somethingof mirror- well- images:established water pre –-eminentlyit is a feature(see that the wasSky muchin the discussedWater series in theof 2015early wherecollecting the workof the “art approachesof the theinsane” sublime (Prinzhorn) in its approach where theto Lake preponderance Superior15 )of, but symmetry also in mandalas, in the art butwork of most psychoticdistinctively patients in the could painting not inspiredbe escaped. by hallucinations.What I take Vian In a toconversation be doing, however, I had is with Vian,recovering he told for me his of own his researchespurposes, thatinto is,hallucinations investigating, and the how role surprised of mirror he- imageswas in at firstmental to discover (hallucinations) that there wasand aphysical limited (trees)number landscapes of patterns asin hallucinationsa generative matrix and of that, furthermore,abstract form; these in other patterns words, were th alwayse symmetrical symmetrical. images This of hallucinationsis something wellfulfill- the establishedsame structural– it is a feature function that as was the muchmirror discussed-image of inwater the earlyin the collecting emergence of of the abstraction “art of thein insane” painting (Prinzhorn). Indeed, it whereis a feature the preponderance of our part of ofthe symmetry universe thatin the is artrarely work discussed, of psychoticnamely, patients that itcould is everywhere not be escaped. and without What exceptionI take Vian characterized to be doing, by however, symmetry is. How recoveringtelling, for though, his own that purposes, this most that urban is, investigating,of art forms, abstraction,the role of mirrorshould- imageshave begun in in mentallandscap (hallucinations)e and, via Detroit,and physical find itself (trees) still landscapes nourished byas recoursea generative to the matrix play of of water , abstractsky, form;and the in openother, archaicwords, landscape.the symmetrical This play images of reference of hallucinations is Rick Vian’s fulf illsensibility. the same structural function as the mirror-image of water in the emergence of abstraction inRick painting Vian,. Indeed, White Pine it is Morninga feature, 2014.of our Oil part on of canvas. the universe that is rarely discussed, namely, that it is everywhere and without exception characterized by symmetry. How 15 More work needs to be done on both the dance in Vian’s painting and the role of the sublime in his work as embodiedtelling, above though,all in his workthat onthis the most mani festationurban ofof Lakeart forms, Superior abstraction, as presence. Isho hopeuld to curatehave anbegun exhibition in to this end. landscape and, via Detroit, find itself still nourished by recourse to the play of water, sky, and the open, archaic landscape. This play of reference is Rick Vian’s sensibility.

Rick Vian, White Pine Morning, 2014. Oil on canvas.

15 More work needs to be done on both the dance in Vian’s painting and the role of the sublime in his work as embodied above all in his work on the manifestation of Lake Superior as presence. I hope to curate an exhibition to this end. where one can readily track the dissolution of water and plane into an emergent language of the sign – there is consistently present in the work the use of mirror- images: water pre-eminently (see the Sky in the Water series of 2015 where the work approaches the sublime in its approach to Lake Superior), but also in mandalas, but most distinctively in the painting inspired by hallucinations. In a conversation I had with Vian, he told me of his researches into hallucinations and how surprised he was at first to discover that there was a limited number of patterns in hallucinations and that, furthermore, these patterns were always symmetrical. This is something well- established – it is a feature that was much discussed in the early collecting of the “art of the insane” (Prinzhorn) where the preponderance of symmetry in the art work of psychotic patients could not be escaped. What I take Vian to be doing, however, is recovering for his own purposes, that is, investigating, the role of mirror-images in mental (hallucinations) and physical (trees) landscapes as a generative matrix of abstract form; in other words, the symmetrical images of hallucinations fulfill the same structural function as the mirror-image of water in the emergence of abstraction in painting. Indeed, it is a feature of our part of the universe that is rarely discussed, namely, that it is everywhere and without exception characterized by symmetry. How telling, though, that this most urban of art forms, abstraction, should have begun in landscape and, via Detroit, find itself still nourished by recourse to the play of water, sky, and the open, archaic landscape. This play of reference is Rick Vian’s sensibility.

Rickin Vian, hallucinations White Pine and Morning that, furthermore,, 2014. Oil on these canvas. patterns were always symmetrical. This is something well-established – it is a feature that was much discussed in the early Rickcollecting Vian, Hex ofW alkthe, 1974. “art Oilof onthe canvas. insane” (Prinzhorn) where the preponderance of symmetry in the art work of psychotic patients could not be escaped. What I take Vian to be doing, however, is recovering for his own purposes, that is, investigating, Michael Stonethe- Richardsrole of mirror-images in mental (hallucinations) and physical (trees) landscapes as Chair, Committeea generative on Critical matrix Studies of abstract form; in other words, the symmetrical images of College for hallucinationsCreative Studies fulfill the same structural function as the mirror image of water. Editor, DetroitIndeed, Research it is a feature of our part of the universe that is rarely discussed, namely, that it is everywhere and without exception characterized by symmetry. How telling, though, that this most urban of art forms, abstraction, should have begun in landscape and, via Detroit, find itself still nourished by recourse to the play of water, sky, and the open, archaic landscape. This play of reference is Rick Vian’s sensibility.

Rick Vian, White Pine Morning, 2014. Oil on canvas.

Rick Vian, Hex Walk, 1974. Oil on canvas.

Michael Stone-Richards Chair, Committee on Critical Studies College for Creative Studies Editor, Detroit Research