![]() ![]() ![]() Flores, accomplishes this by a broadening of categorical parameters: “abstract forms,” rather than “abstraction”-as evidenced in this show, the former is less burdened by modernist influence than in fleshing out these forms’ own tendencies. Featuring the Cubist impulses of Vicente Manansala’s 1960 still life featuring the titular mango and papaya, the linear flourishes of Fernando Zobel’s Castilla XXII (1957), Leo Valledor’s color field appropriation of the Philippine flag (1981), and more contemporary brick paintings by Maria Taniguchi (2018), the exhibition makes a worthwhile attempt to revisit this particular visual idiom and to renew the stakes for thinking about it both in and beyond its art-historical, stylistic, and disciplinary contexts. While framed as a non-survey exhibition, “Elusive Edge: Philippine Abstract Forms” presents a compelling cross-section of geometric abstraction in the Philippines, from its postwar formation to postmedia experiments that extend its legacies. ![]()
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