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A paper which considers the way in which meaning can be extrapolated from abstract art, with reference to theories of representation and the interaction between artist and audience. Bibliography lists 4 sources
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5 pages (~225 words per page)
File: JL5_JLabstrrt.rtf
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meaning from abstract art, it is perhaps useful to consider first some of the critical perspectives which have been put forward as to the aims and objectives of abstract art
in the first place. For example, Kamhi (2003) sees the development of the abstract movement as important because it is not derived from any form of representationalism: she argues that
even the most simplified and stylised forms which existed prior to the abstract movement had "always maintained a recognisable reference to the sort of things that constitute human experience" (Kamhi,
2003, PG).
Abstract artists, she states, were "impelled by a host of radically extreme, often daft, assumptions about the nature of reality"; she points out, for instance, that Malevich thought
that humans had the ability to see through solid surfaces. The creation of radically new art was intended to lead to the creation of a radically new human nature. Although
Kamhi freely acknowledges that the assumptions of these abstract pioneers were "flawed", she makes the salient point that they were not simply aiming to create pleasing combinations of form and
colour, but intended to embody meaning in their works.
However, Kamhi also maintains that it is not possible to create meaningful work if the familiar forms through
which meaning is conveyed are no longer present: she adds that some of the "occult metaphysical concepts" which they wished to transmit were quite possibly not those which could be
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