Regarding Hilma af Klint, Spiritualism, Theosophy, Anthroposophy, and the like

“Each of these publications reveals something essential about af Klint—the Guggenheim presents the clearest overview of her life and how she intersected the art world of her time; the Lenbachhaus does groundbreaking work in placing her within the setting of Spiritualist practice; and Notes and Methods offers a window into the consistency of her thought. And yet the essence of that thought remains difficult to embrace. The last section of Notes and Methods is an English translation of af Klint’s glossary”

From a New York Review of Books review of three books, reflections on Klint’s hermetic symbolism, by Susan Tallman.

Hilma af Klint, Group X, Nos. 1–3, Altarpiece (Altarbild), 1915. Oil and metal leaf on canvas, No. 1, 93 1/2 x 70 11/16 inches (237.5 x 179.5 cm); No. 2, 93 3/4 x 70 1/2 inches (238 x 179 cm); No. 3, 93 1/2 x 70 1/4 inches (237.5 x 178.5 cm). The Hilma af Klint Foundation, Stockholm, HaK 187–89

Sam Gilliam

Installation view of “Sam Gilliam | 1967–1973 at Mnuchin Gallery. Photography Tom Powel Imaging. Artwork © Sam Gilliam

Just learned about Sam Gilliam, who was “the first painter to introduce the idea of the unsupported canvas“, the 1st “African American artistto represent the USat the Venice Biennale way back in 1972” and later made “quilted” paintings +and even later “textured paintings that incorporate or are juxtaposed with metal forms

Learn more

h/t @kkrobert_68

Diane Arbus

‘Boy stepping off the curb, N.Y.C, 1957’ by Diane Arbus/Hayward Gallery

Inspiration came from an unlikely source. It wasn’t another photographer, although she knew and admired many, but sweary Geoffrey Chaucer – the 14th Century Middle English writer. She was particularly taken with The Canterbury Tales, his satirical collection of stories in which a motley bunch of pilgrims travel from London to Canterbury amusing themselves by competing for the title of best storyteller…Arbus not only admired the range and depth of characters…It was a humanity she strove to replicate when photographing the discriminated against, the sort of people from whom most turn away but she looked upon with empathy.

Review of a new exhibition by Will Gompertz