The first book to fully explore the diverse perspectives that have formed one of the most significant developments in postwar American art-geometric abstract painting. Heavily influenced by the radical geometry of Piet Mondrian, the American Abstract Artists group of the 1930s and 1940s, and the geometric side of Abstract Expressionism, geometric abstraction has had a profound and controversial effect since it first came to American in the mid-1940s. Reproduced here are 81 illustrations, including 55 in full colour, by 25 of the most important artists to work in America. Michael Auping's essay traces the evolution of the movement and places it in relation to a larger twentieth-century tradition. Iluminating statements by the artists accompany reproductions, and a comprehensive bibliography for each artist, including a list of one-person and group exhibitions,, rounds out the volume. INSIDE COVER JACKET.

This edited volume examines the history of abstract art across Latin America after 1945. This form of art grew in popularity across the Americas in the postwar period, often serving to affirm a sense of being modern and the right of Latin America to assume the leading role Europe had played before World War II. Latin American artists practiced gestural and geometric abstraction, though the history of art has favored the latter. Recent scholarship, for instance, has focused on geometric abstraction from Argentina, Brazil, and Venezuela. The book aims to expand the map and consider this phenomenon as it developed in neglected regions such as Central America and the Andes, investigatinghow this style came to stand in for Latin American contemporary art.

Magdalena Dabrowski retraces the course of geometric abstract art in our century, she divides the years from 1910 to 1980- into five spans. The first: Origins of the Nonobjective - Cubism, Futurism, Cubo-Futurism. The second: Surface to space - Suprematism, de Stiji, Russian Constructivism. Then, Internation constructivism, followed by Paris-New Yourk connection and finally, Nonfigurative tendrncies.

This book uncovers how we make meaning of abstraction, both historically and in present times, and examines abstract images as a visual language. The contributors demonstrate that abstraction is not primarily an artistic phenomenon, but rather arises from human beings’ desire to imagine, understand and communicate complex, ineffable concepts in fields ranging from fine art and philosophy to technologies of data visualization, from cartography and medicine to astronomy. The book will be of interest to scholars working in image studies, visual studies, art history, philosophy and aesthetics.