- Venue
- Poussin Gallery
- Location
- South East England
I immediately reached for my copy of Modern European Art[1] by Alan Bowness, and turned to the chapter on abstract art, on receiving an invitation to: High abstract – which described itself as an exhibition of ‘high-ambition, high-complexity abstract art 1960-2010’ – I needed some historical context.
I also spent an hour at The National Gallery looking at the rooms leading up to 1900. I wanted to see for myself how painters had stopped producing a window onto life, and starting with Cezanne, and then Picasso and Braque, began to think about the surface of the canvas itself.
In fact, by the time of entering the Poussin Gallery a couple of hours later – after first being assailed by the smell of oil paint, which in our often fast-drying acrylic or pristine digital-age feels like an old-fashioned romantic throwback – I was intrigued to see what I would find.
Critic, Mel Gooding writes in the Preface to the High-abstract catalogue[2]: ‘Abstraction proved in many of its forms to be as potent a means to the expression of experiences and ideas as any art proceeding it.’
And, indeed, looking at the earlier works in the exhibition from the sixties and seventies by Alan Davie and John Hoyland I could see this potency of expression. Gooding continues: ‘the greatest abstract artists have created original imageries that match in intensity and power those of the great tradition of figurative art.’
This was clearly visible in Alan Davie’s wonderful painting: Patrick’s Delight, which still seemed full of fresh imagery today, and must certainly have been ahead of it’s time in 1960. However, it felt more problematic when looking at paintings from the last twenty years by Fred Pollock, Alan Gouk and Anne Smart which, although serious and carefully considered works from experienced abstract artists, felt dated, similar and lacking in complexity.
The question this posed for the viewer was about an artist’s career and output, and that within a desire and dedication to pursue one’s own practice in terms of theme/style, does one sometimes lose sight of the idea of progress, and the creation of ‘original imageries’?
Indeed, in another Poussin catalogue[3] from 2010, Robin Greenwood asks: ‘How did we let abstract art drift into vagueness and generalisation? The business of making complex abstract painting or sculpture now, in 2010, is a long way removed from the spontaneous abandon and carefree self-expression which constituted the popular myth about being a abstract artist in the second half of the 20th century. That idea has romantic appeal, but it will no longer suffice to produce progressive results.’
I left the exhibition feeling slightly disappointed. From the literature I had read, I had expected to encounter not just a survey of the old guard but a hint of something progressive, yet to come. This was not evident. Not in the paintings on view, or in the grey-haired visitors at the private view. I wanted to ask: where is the next generation of abstract painters going to come from?
Perhaps the answer comes with the launch of a new organisation dedicated to promoting the idea and experience of abstract art. Abstract critical, which sponsored High-abstract, was launched in January at the London Art Fair. (abstractcritical.com) And, through a series of exhibitions, discussions and generous prizes will be looking to encourage an ambitious future in abstract art. This will include the abstract critical newcomer awards exhibition in September 2011, where one hopes evidence of Robin Greenwood’s inspirational idea of ‘ … the endless potential, of empty abstract space’ might be reflected in fresh and innovative ways. And where we might we see a new abstract language beginning to emerge. If that isn’t too much of an oxymoron.
Abstract critical will be holding a panel discussion called: Abstract Art Now at Goldsmiths on Tuesday 22nd February at 6.30pm. The event is free but booking is essential. [email: [email protected]]. The good news for abstract critical is that there has been so much interest in the launch and discussion, that they had to book a bigger venue.
ends
[1] Bowness, Alan, Modern European Art (London: Thames & Hudson, 1985)
[2] Gooding, Mel, High-abstract (London: Poussin Gallery & abstract critical, 2011) p. 9
[3] Greenwood, Robin, robin greenwood, abstract sculpture and painting (London: Poussin Gallery, 2010)
