Tag Archives: New Statesman

HENRI MATISSE SCULPTURE: THE BACKS │ Sainsbury Centre for Visual Arts → 1 September 2015

Back I. Nu de dos I c.1909-10, cast 1955-6. Bronze, 1899 x 1168 x 184 mm.
Nu de dos I, c.1909-10, cast 1955-6. Bronze, 1899 x 1168 x 184 mm.

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“Hvr ofn y si ɖm, ɖ sîz n scêl v ɖ Bacs têcs yr breʈ awe”
Hilary Spurling GUARDIAN 12 May 2007 Continue reading HENRI MATISSE SCULPTURE: THE BACKS │ Sainsbury Centre for Visual Arts → 1 September 2015

INVENTING IMPRESSIONISM │ National Gallery, London → 31 May 2015

Paul Durand-Ruel in his gallery in Paris, c1910. Photograph: Dornac/ AACV

Wɖt hm, sd Mone, w wd’nt hv svîvd.

So ynivrsli popylr r ɖ Imprešnists tde, it’s hād t imajin a tîm ẇn ɖe wr’nt. Bt in ɖ ŕli 1870z ɖe strugld t b axptd. Šund bî ɖ ātistablišmnt, ɖe wr īvn lambastd az lūṇtcs bî wn critc.

Wn man, hvr, recgnîzd ɖer wrʈ fṛm ɖ bginñ. Pwl Dŭrã-Ruel, an ontṛpṛnŕı̣l ātdīlr fṛm Paris, dscuvrd ɖs grūp v yuñ ātists – includñ Mone, Degā, Mane, Renwā, Pīsaro n Sisle – n gambld.

Paul Durand-Ruel’s grand salon at Rue de Rome, with Renoir’s ‘Dance in the City’ on the left (Picture: Archives Durand-Ruel)

Riylîzñ ɖ fašnbl ptenšl v ɖer ḍrîdd imprešnz v ŕbn n sbŕbn lîf, Dŭrã-Ruel dedicetd ɖ rest v hiz lîf t bildñ an ōdı̣ns fr ɖer wrc – crietñ ɖ modn ātmācit in ɖ prôses.

Sč wz hiz prsviṛns, Dŭrã-Ruel nirli bancruptd hmslf twîs, bfr sxesfli glôblîzñ hiz oṗrešn wɖ âtposts in Lundn, Bruslz n Ny Ywc, n istablišñ ɖ wn-man šo az ɖ inṭnašnl nwm fr xbišnz.

Ɖ Imprešnists – a trm frst yzd ḍrogtvli bî critcs – wz t bcm ɖ hâshold nem ɖt standz tde.

Invntñ Imprešnizm fīčrz 85 mastrpìsz fṛm ɖ muvmnt, ol bt wn hvñ pást ʈru Dŭrã-Ruel’z handz, includñ ʈri v Renwā’z fems Dansz n fîv fṛm Mone’z Popḷrz siriz.”

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Continue reading INVENTING IMPRESSIONISM │ National Gallery, London → 31 May 2015

ADVENTURES OF THE BLACK SQUARE: ABSTRACT ART AND SOCIETY 1915–2015 │ Whitechapel Gallery, London — 6 April 2015

El Lissitzky Beat the Whites with the Red Wedge! 1919–1920. Van Abbemuseum, Eindhoven
El Lissitzky Beat the Whites with the Red Wedge! 1919–1920. Van Abbemuseum, Eindhoven

“Ɖs epic šo têcs Cazimir Małevič’z radicl pêntñ v a blac sqr – frst šôn in Ruša 100 yirz ago – az ɖ embḷm v a ny āt n a ny ssayti. Ɖ xibišn fīčrz ovr 100 ātists hu tc p its leġsi, fṛm Buenos Îres t Tehran, Lundn t Brlin, Ny Ywc t Tel Aviv. Ɖer pêntñz, fôṭgrafs n sculpčrz simḅlîz Moḍnizm’z ytôpı̣n aspirešnz n brêcdânz.

Prizntd croṇlojcli ɖ šo foloz for ʈīmz:

Ytôpia z xprest ʈru Małevič’z blac sqr, ɖ pṛjenitr v ny isʈetc n ṗlitcl hrîznz, sizd bî ātists fṛm Vladimir Tatlin t Eliu Oičisīca.

Ācitectonics priznts flôtñ jioṃtriz ɖt pṛpoz ny sošl spêsz az imajind bî Łubov Popovā or Pīt Mondrian n Liym Gilic.

Cmynicešn spredz ɖ mesij t ɖ masz in manifstos n avãgād grafics.

Ɖ Evrīde imbedz rūtīnz n objcts in ɖ isʈetcs v prôgres az obzrvd in a txtîl bî Sôfi Tâbr-Āp or ɖ abstract mtifs pêntd on Ṗrūvı̣n loriz capčrd bî Armando Andrade Tudela. Midl Īstn ātists sč az Nazgol Ansarinia lnc Moḍnizm wɖ Aṛbic n Pršn decṛtv āts; ẇl Westn ātists sč az Luis Balts, Pītr Hali or Jeni Holtsr critīc ic̣nomic n ṗlitcl abstraẋn. Advnčrz v ɖ Blac Sqr xplorz hâ abstract āt hz travld wrldwîd, prmietñ âr lîf n tîmz.”

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Continue reading ADVENTURES OF THE BLACK SQUARE: ABSTRACT ART AND SOCIETY 1915–2015 │ Whitechapel Gallery, London — 6 April 2015

CONSTABLE: THE MAKING OF A MASTER │ Victoria & Albert Museum, London → 11 January 2015

“Ɖs mêjr xibišn rı̣sesz Jon Cunsṭbl’z inflụnsz, tecnīcs n leġsi t ofr a ny intrpṛtešn v Britn’z bst-luvd ātist. Dscuvr hâ grt wrcs v āt r crietd az Cunsṭbl’z most fems mastrpìsz r ynîtd wɖ hiz revlušnri ýlscečz: xpresv evcešnz v land, sì n scî ɖt alaud hm t trnsfŕ ɖ frešṇs v ɖ âtdorz intu hiz xibišnpêntñz.

Fr ɖ frst tîm, Cunsṭbl z prizntd alñsd ɖ old mastrz v clasicl landscep huz fwml valyz h stydı̣sli asimiletd. Bî cmbînñ ɖ oʈoṛti v ɖer comṗzišnl îdiyz wɖ a breʈtecñli načṛlistc vižn ɖt wz intîrli hiz ôn, Cunsṭbl wd ultiṃtli trnsfwm ɖ žãra v landscep̓êntñ, n in ɖ prôses šêp ɖ indyrñ popylr imij v ɖ Ñgliš cuntrīsîd.

Lrnñ fṛm ɖ Old Mastrz

Jon Cunsṭbl frst lrnd t pênt n drw az a jentlmnli psyt. In 1795, h met ɖ aṃṭrātist n c̣lctr Sr Jwj Bômont. It pruvd a trnñpýnt. Bômont’s c̣lẋn gev Cunsṭbl axes t mêjr pêntñz bî ɖ Old Mastrz.

Cunsṭbl’z ŕly wrcs rvil ɖ inflụns v svṛl grt pêntrz: Rafel, Rūbnz n Clwd Lren. Hiz cntmprri Jon Cranč ṣplîd hm wɖ a list v Pêntr’z Rīdñ, ẇč pṛvîdd a grândñ in ɖ histri n ʈiyri v āt. Jon Toms Antiqti Smiʈ lent hm drōñz n prints. Wɖ ɖ incurijmnt v ɖz frendz, Cunsṭbl entrd ɖ Royl Acaḍmi Scūlz in Lundn in 1799 t imbāc on a c̣rir az a pêntr.

Rīsnt Britiš landscepātists sč az Toms Gênzbra, Ričd Wilsn n Toms Grtin incurijd hm t istabliš a daylog btwn ɖ Old Mastrz n clôs studi v ɖ načṛl wrld. No longr cntnt wɖ sīcñ ɖ truʈ at secnd hand, h md lbwrı̣s studiz fṛm nêčr jrñ scečñturz v ɖ Lêcdistrict n elsẇr.

Scečñ in ɖ ôpn er

Scečñ in ýlz spred ʈrt Yṛp jrñ ɖ 17ʈ n 18ʈ senčriz. Clwd Lren wz sd t hv pêntd ât v dorz, n svṛl handbcs fr stydnts v āt rec̣mendd ôṗner scečñ in ýlz. Toms Jônz md impresv ýlscečz in Wêlz n Iṭli in 1772–82, n J.M.W. Trnr, Wiłm Mulredi n Jon Linl ol pêntd vivid âtdor scečz.

Ẇn wrcñ âtdorz, Cunsṭbl pêntd on fragmnts v canvs, milbwd or hom-md pêpr. Az h xplend t a frend in 1825, hiz ýlscečz wr dn in ɖ lid v mî box on mî nīz az yžl.

Cunsṭbl trnsfwmd ɖ žãra v ýlscečñ fṛm wn yzd fr rcwdñ landscepṃtīfs t a mīnz v capčrñ tranzı̣nt ifcts v lît n wɖr. Ẇn hiz dwtr Iẓbel gev ɖ ýlscečz rmenñ wɖ ɖ famli t ɖ Sâʈ Cenzñtn Myziym (nâ ɖ VnA) in 1888, ɖe wr aptli dscrîbd bî a rvywr in Ɖ Standd az briłnt trnscripšnz v ɖ ʈñ v ɖ mmnt – nêčr cōt in ɖ vri act.

Fṛm studiz fṛm nêčr t xibišnpêntñz

Cunsṭbl’s letrz mnšn bʈ scečz n studiz in ýlz. Ɖz aproxiṃt caṭgriz cn b subdivîdd intu dstnct tîps. Ɖe includ studiz fṛm nêčr v a mtīf (sč az a pwšn v landscep) or v verı̣s ifcts v lît, šêd or wɖr. Sm scečz wr md in ɖ stydio az a frst draft fr a comṗzišn. Ynīcli, Cunsṭbl olso md fl-sîz stydioscečz in preṗrešn fr an xibišnpêntñ. A studi md drectli fṛm nêčr cd smtmz b rvîzd lêtr in ɖ stydio. Pṛvîdd wɖ a sfišnt levl v finiš, it mt b jujd sūṭbl fr xibišn n seil. Cunsṭbl pṛdyst a nmbr v sč pêntñz, yžli on ɖ modist scêl v a cabiṇtpicčr. Sm wr md wɖ ɖ gîdns v drōñz, uɖrz x̣ktd intîrli in ɖ ôṗner.

C̣lctñ prints

Ɖ ātist’s frend n bîogṛfr Č.R. Lezli rcwld ɖt Cunsṭbl dîd az h livd, srândd bî āt, fr ɖ wōlz v ɖ ltl atic [bedrūm] wr cuvrd wɖ ingrevñz. Aftr h dîd in 1837, ɖ pêntñz in hiz stydio n hiz ôn ātc̣lẋn wr sold at ōẋn. Ʈrt hiz lîf Cunsṭbl c̣lctd prints, ẇč wr ls xpnsv n ɖrfr v sūpirı̣r qaḷti t ɖ rɖr mînr pêntñz h cd afwd. H wz ebl t asmbl a cnsidṛbl ātc̣lẋn. It includd 59 ýlpêntñz bî Old n Modn Mastrz n ovr 5000 prints, 250 drōñz, 37 bcs v prints n 39 fremd prints n drōñz. Most wr landscep n žãra subjcts, similr t ɖoz ẇč h hmslf pêntd.

Prints bî or bêst on fevrit ātists sč az Rūbnz, Clwd, Rîzdāl n Tišn srvd Cunsṭbl az mtirı̣l fr copiyñ, pṛvîdñ rič swsz v inspirešn n tīčñêdz.

Mcñ copiz v uɖr ātists

Nîn copiz bî Mr. Cunsṭbl – ol aftr 17ʈ senčri landsceps bî Rîzdāl, Clwd, Rūbnz n Žac d’Āʈwa – wr includd in ɖ postyṃs seil v hiz wrcs in 1838. Copiyñ Old Mastrz tṛdišnli helpt yuñ ātists dveḷp ɖer tecnīc n pârz v invnšn. It olso fed ɖ wîdspred dmand fr replic̣s v seḷbretd wrcs. Cunsṭbl’z nîn copiz sold wel, most riylîzñ hîr sumz ɖn ɖ Old n Modn Mastrz h ônd, or hiz ôn scečz n studiz.

Cunsṭbl hd axes t Sr Jwj Bômont’s čýs c̣lẋn v picčrz, n wz lêtr ebl t copi Old Mastrz on dsple at ɖ Britiš Instityšn n Royl Acaḍmi Pêntñscūl. Ɖ span v hiz ātistc lîf wz bândd bî hiz copiz v tu utrli cnonicl wrcs: ɖ Rafel taṗstrīcātūnz, ẇč h copid in 1795 fṛm Nicḷs Ḍrigni’z ingrevñz, n Tišn’z ōltrpìs Ɖ Deʈ v St. Pītr Mātr, ẇč Cunsṭbl hêld in 1836 az ɖ fândešn v ol ɖ stîlz v landscep in evri scūl v Yṛp.

Twdz načṛl pêntñ

Cunsṭbl advîzd ātists t mnten a clôs n cntiňl obzrvns v nêčr, bt trnzletñ fêʈfl obẓvešn intu a finišt comṗzišn wz an ongowñ čalinj. Mni v Cunsṭbl’z xibišnpêntñz wr ɖ rzult v a complx prôses v dveḷpmnt, smtmz spanñ a nmbr v yirz. Ɖe wr cmpozd fṛm a wîd renj v ýlscečz, grafîtdrōñz, wōtrculr studiz n ŕlı̣r pêntñz.

Folowñ hiz marij in Octobr 1816, n fêst wɖ ɖ fnanšl prešrz v a growñ famli, ɖ cmršl sxes v hiz pêntñz bcem incrisñli impwtnt. Fr Cunsṭbl’s six lj sìnz v ɖ Rivr Stâr, includñ Ɖ Hêwên (1821) n Ɖ Līpñ Hws (1825), h adoptd ɖ pênz-tcñ prôses v mcñ fl-sîz pripaṛtri ýlscečz. Ɖe helpt hm t coōdinet mtīfs n baḷns culr, lît n šêd, solvñ comṗzišnl probḷmz ẇl rtenñ ɖ frešṇs v hiz smlr drōñz n ýlscečz. Ɖz six-ft canvsz wr sm v Cunsṭbl’s grtst sxesz ẇn xibitd at ɖ Royl Acaḍmi btwn 1819 n 1825.

Trnscripšn, imitešn n emylešn

Sr Jošua Reṇldz hd incurijd stydnts at ɖ Royl Acaḍmi, ẇn copiyñ, t cnsidr ɖmslvz in comṗtišn wɖ ɖer istimd prīdisesrz. Bî ɖ ŕli 19ʈ senčri, oṗtyṇtiz fr Britiš ātists t studi mêjr pêntñz bî ɖ Old Mastrz incrist wɖ ɖ growñ popylaṛti v ātxibišnz n ɖ fândñ v public picčrgaḷriz.

Aftr hiz deʈ, Cunsṭbl wz cnsidrd az hôli imansipetd fṛm ɖ scūlz v Duč, Frenč, or Itałn āt. In hiz ôn tîm, hvr, ātcritcs hd fevṛbli lîcnd hiz picčrz t ɖoz v 17ʈ senčri mastrz sč az Hôḅmā, Rūbnz, Rîzdāl n Vârmn.

Ɖo lêtr ovr-lct, sč cmparisnz wr wel fândd. Ẇɖr yzñ ɖ mtīf v a cāt crosñ a fōd (a comn subjct in 17ʈ senčri Duč n Flemiš picčrz), vîbṛnt brušwrc sjstv v Rnesns Vnīšn ātists, or cnfiğrešnz lrnd fṛm Frenč pêntrz v clasicl landscep, Cunsṭbl cntinyd t refṛns ɖ Old Mastrz ʈrt hiz c̣rir.

A leġsi in print

Cunsṭbl ň ɖ impwtns v ingrevñz in pṛmotñ ɖ fem v pêntrz. H olso hôpt ɖt publišñ rīpṛduẋnz v hiz wrc wd b profiṭbl. In 1824, ɖ ingrevr Samyl Wiłm Reṇldz pṛpozd t mc a print, at hiz ôn xpns, v Cunsṭbl’z Ɖ Loc, ẇč hd bn wel rsivd at ɖ Royl Acaḍmi. Ɖ venčr fêld n rlešnz btwn ɖ tu men sârd. Fîv yirz lêtr Cunsṭbl ingejd Dêvid Lūc̣s t pṛdys prints v hiz picčrz. Metsotintingrevñ wz čozn az ɖ tecnīc bst ebl t capčr ɖ ifcts v lît n šêd, or čiaṛskro, so caṛctristc v Cunsṭbl’z pêntñz. T dsple hiz fl crietv renj, h ṣlctd sml ýlscečz n ljr xibišnpicčrz, az wel az pêntñ ny subjcts.

Ɖ frst grūp v prints wz publišt az Ñgliš Landscepsìṇri in 1830. Xplaṇtri txts wr lêtr ritn t acumṗni indivijl plêts, bt ɖ projct hd ltl cmršl sxes.”

 

GAḶRI WEBSAIT

Continue reading CONSTABLE: THE MAKING OF A MASTER │ Victoria & Albert Museum, London → 11 January 2015

BRITISH FOLK ART │ Compton Verney, Warwickshire, 27 September → 14 December 2014 (previously at Tate Britain)

“Az pāt v âr 10ʈ anivrsrīseḷbrešnz n az hom t wn v ɖ YC’z ljst c̣lẋnz v Britiš Fôcāt w r dlîtd t b hôstñ an xibišn ẇč z ɖ frst mêjr srve v Britiš Fôcāt. Ovr 150 pêntñz, sculpčrz, txtîlz n objcts hv bn drwn tgɖr fṛm c̣lẋnz acrs ɖ cuntri in an xibišn ɖt wl seḷbrêt fôcāt in ɖ YC.

Fôcāt z an istablišt subjct in mni cuntriz; hvr in Britn ɖ žãra rmenz ilusv. Rerli cnsidrd in ɖ contxt v āthistri, Fôcāt hz bn vyd az pāt v sošl histri or fôclor studiz. Ɖs šo ynîts an xtrōdnri ṣlẋn v objcts, xplorñ ɖ ʈrešhold btwn āt n āṭfact n čaḷnjñ pspšnz v hî āt.

Ɖ xibišn includz ṣprîzñ n dvrs xamplz v Britiš Fôcāt, fṛm rustic leɖr Tôbi jugz t brîtli culrd šips’ figrhedz. Ɖ impozñ ljr-ɖn-lîfsîz ʈačt figr v Cñ Alfrid crietd bî a mastrʈačr, Jesi Mêcoc, in 1960 z jst wn v ɖ hîlîts v ɖ xibišn. Uɖr hîlîts includ maritîm imbrýdri bî fišrmn Jon Crasc, an intric̣tli dzînd pincŭšn md bî wūndd soljrz jrñ ɖ Crîmiyn wor, šopsînz n ẇrlīgigz.

Ẇl mč Fôcāt z anonims, ɖs xibišn olso priznts wrcs bî a nmbr v prominnt indivijlz. Amñst ɖz ci figrz r Jwj Smāt ɖ têlr v Frant, eminnt imbrýdrr Mẹri Linẉd n Cwniš pêntr Alfrid Wolis. Ofn nglctd in ɖ stwri v āt in Britn, ɖ inclužn v ɖz ātists emz t rı̣ses ɖer pzišn in āthistri.

Ɖ xibišn z kretd bî Mātin Mîron, Kretr, Têt Britn, Rūʈ Ceni, Asistnt Kretr, Têt Britn, n ātist Jef McMiḷn.

Đ xibišn hz bn ōgnîzd bî ɖ Têt in c̣laḅrešn wɖ Comtn Vrni.”

GAḶRI WEBSAIT

Continue reading BRITISH FOLK ART │ Compton Verney, Warwickshire, 27 September → 14 December 2014 (previously at Tate Britain)

MONDRIAN & COLOUR │ Turner Contemporary, Margate → 21 September 2014

“‘I wš t aproč truʈ az clôsli az z psbl, n ɖrfr I abstract evrʈñ untl I arîv at ɖ funḍmentl qoḷti v objcts.’ Pīt Mondrian

Pīt Mondrian čenjd pêntñ. Ɖ twentiiʈ-senčri Duč ātist muvd fṛm dpictñ riaḷti t pạnir smʈñ cmplitli ny n contṛvršl, abstraẋn.

Hiz most fems wrcs, ɖ gridz yz simpl lînz n ɖ prîmri culrz red, yelo n blu t criet a ynivrsl hāṃni, seṗretñ culr n subjct fṛm riaḷti, trnsfwmñ ɖ mtirı̣l wrld intu smʈñ spiričl.

70 yirz aftr Mondrian’z deʈ, gt bnʈ ɖ grid n três Mondrian’z jrni t abstraẋn ʈru culr. Culr undrpind Mondrian’z wrc, fṛm ɖ ŕli dez pêntñ landsceps in ɖ Neɖrḷndz, t ɖ lêtr wrcs ẇr culr wz seṗretd fṛm its funẋn v crietñ šêdñ or volym.

Si ovr 50 wrcs spanñ Mondrian’z jrni, mni fṛm ɖ Gemeentemuseum Den Haag, ẇč holdz ɖ ljst c̣lẋn v Mondrian’z pêntñz, alñ wɖ xibits fṛm myziymz n prîvt c̣lẋnz in Yṛp n ɖ YSA.

Ɖ xibišn z ōgnîzd in c̣laḅrešn wɖ Bucerius Kunst Forum, Hambrg. Trnr Cntmprri z wrcñ in pātnršp wɖ Têt Livpul, hu r prizntñ ɖ cncuṛnt xibišn Mondrian n hiz Stydioz fṛm 6 Jūn untl 5 Octobr 2014. Mondrian n hiz Studios xplorz ɖ ātist’s impwtns in ɖ fīld v abstraẋn n hiz rlešnšp wɖ ācitecčr n ŕḅnizm.”

MONDRIAN AT TÊT LIVPUL N TRNR CNTMPRRI

GAḶRI WEBSAIT

Continue reading MONDRIAN & COLOUR │ Turner Contemporary, Margate → 21 September 2014

MARINA ABRAMOVIĆ: 512 HOURS │ Serpentine Gallery, London → 25 August 2014

MRĪNA AT MIDNÎT:

De 1, De 2, De 3, De 4, De 5, De 6De 7, De 8, De 9, De 10, De 11, De 12, De 13, De 14, De 15, De 16, De 17, De 18, De 19, De 20, De 21, De 22, De 23, De 24, De 25, De 26, De 27, De 28De 29, De 30De 31, De 32De 33, De 34De 35De 36, De 37De 38De 39De 40De 41De 42, De 43De 44De 45De 46De 47, De 48De 49De 50De 51De 52, De 53De 54, De 55De 56De 57, De 58De 59, De 60De 61De 62De 63, De 64

“In a ynīc wrc crietd fr ɖ Srpntîn, ɖ inṭnašnli aclemd ātist Mrīna Abraṃvič wl pfwm in ɖ Gaḷri fr ɖ jrešn v hr xibišn: 10am t 6pm, 6 dez a wīc. Crietñ ɖ simplist v invîrnmnts in ɖ Gaḷri spêsz, Abraṃvič’z onli mtirı̣lz wl b hrslf, ɖ ōdı̣ns n a ṣlẋn v props ɖt š me or me nt yz. On arîvl, vizitrz wl bʈ litṛli n meṭforicli līv ɖer bagij bhnd in ōdr t entr ɖ xibišn: bagz, jacits, ilectronic iqipmnt, wočz n camṛz me nt acumṗni ɖm.

Ɖ public wl bcm ɖ pfwmñ bodi, ptisipetñ in ɖ dlivri v an unpresdentd mmnt in ɖ histri v pfwmnsāt.

Mrīna Abraṃvič z a pạnir v pfwmns az an ātfwm, yzñ hr ôn bodi az subjct n objct, š hz pšt ɖ fizicl n mentl limits v hr biyñ. Ɖs z ɖ frst mêjr pfwmns bî Abraṃvič sns hr monymntl pìs Ɖ Ātist z Preznt, at ɖ Myziym v Modn Āt, Ny Ywc, in 2010, in ẇč vizitrz wr invîtd t sit in sîḷns oṗzit ɖ ātist n gêz intu hr îz fr an unspesifîd amânt v tîm. Abraṃvič pfwmd ɖs wrc evri de fr ʈri munʈs.

Ɖ perd-dân nêčr v ɖs xibišn corispondz t Abraṃvič’z intrest in ɖ historicli wel-istablišt rlešnšp btwn āt n nuʈñṇs; vižl ātists includñ Roḅt Bari, Jon Cêj, Mẹri Eḷn Caṛl, Roḅt Ŕwin, Ìv Clîn, Gŭstav Metsgr n Yôco Ôno (t nem onli a vri fy) hv ol xplord ɖ nošn v mtirı̣l absns wɖn ɖer practis. Ɖ îdīa v emtiṇs – v miniṃlizm, rduẋn n simpliṣti – plez an intrinsic rôl in Abraṃvič’z ôn wrc, n hz incrisñli led t mr n mr v ls n ls, a loñstandñ em ɖt š rcwdd in hr Ātist’s Lîf manifsto v 2009. It z ɖs jrni twdz iṃtiriaḷti ɖt hz led hr t ɖs ynīc mmnt in hr wrc, ẇr š wl cmit t an unscriptd n impṛvîzd pfwmns in ɖ gaḷrīspês.

In ɖ ŕli 1970z, az a yuñ ātist in Belgred, Abraṃvič bgan xplorñ ɖ rlešnšp btwn ātist n ōdı̣ns. Sns 1978 š hz cnductd a siriz v wrcšops wɖ ātstydnts, yzñ a siriz v simpl xsîzz t incris fizicl n mentl awerṇs. Ovr ɖ cws v hr c̣rir, Abraṃvič hz cntinyd t dveḷp ɖz wrcšops, xpandñ ɖer scôp t rīč a jenṛl public, ʈru ɖ Mrīna Abraṃvič Instityt.

Ɖ xibišn bî Ed Atcinz têcs plês cncuṛntli at ɖ Srpntîn Saclr Gaḷri, brññ tgɖr tu xtrōdnri ātists fṛm dfṛnt jeṇrešnz hu fôc̣s on pfwmns, ɖ bodi n lanĝj.”

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