#nonrepresentational
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angelahudsonjones.bsky.social
angela hudson jones
@angelahudsonjones.bsky.social
Arthur G. Dove American, b. Canandaigua, New York, 1880–1946 City Moon, 1938 oil and wax emulsion on canvas 34 7/8 × 25 in. (88.6 × 63.4 cm) In 1912 Arthur Dove exhibited a radical series of pastel drawings at Alfred Stieglitz’s pioneering 291 gallery in New York, making Dove the first American artist to publicly embrace modernist abstraction. Although he had begun his career as a commercial illustrator, an extended stay in Paris between 1907 and 1909 put the artist in touch with European avant-garde developments, including the work of Paul Cézanne, Henri Matisse, and Pablo Picasso. Seeking a nonrepresentational form for his painting, he expressed his desire “to make something that is real in itself, that does not remind anyone of any other thing, and that does not have to be explained—like the letter A for instance.” —Whitney Museum of Art.
October 8, 2025 at 8:21 PM Everybody can reply
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6
hbtyson.bsky.social
H.B. Tyson
@hbtyson.bsky.social
Do I understand what I was doing here? No.
Am I obsessed with the colors and textures? Absolutely!
Top half of a scanned image of “sketches” on cream paper. It’s mostly a collection of nonrepresentational forms created using watercolor, gouache, pencil and pen. Bottom half of a scanned image of “sketches” on cream paper. It’s mostly a collection of nonrepresentational forms created using watercolor, gouache, pencil and pen.
October 5, 2025 at 1:14 AM Everybody can reply
10 reposts 160 likes
3 10 160
geocritbot.uk
GeoCritBot
@geocritbot.uk
Humbled to share our latest paper: 'For nonrepresentational theory on theorising the atmosphere of minor politics', available as an Early Online article in a predatory journal with seductive spam
October 4, 2025 at 7:10 AM Everybody can reply
patrickkapty.bsky.social
Patrick Kapty
@patrickkapty.bsky.social
A super rare early Annemarie Davidson copper enamel artwork circa 1950s - is it a galactic cluster, or a view thru a microscope, or a pointillist stained glass design?

Available...

www.rubylane.com/item/1879775...

#annemariedavidson #enamel #enamelart #art #californiadesign #oneofakind #artwork
a SPECTACULAR vintage 1950s handmade copper enamel abstract modernist Galactic Cluster or Microbiology design platter/artwork by California artist/enamelist Annemarie Davidson (1920-2012) of Sierra Madre, California. Super vivid coloring and super eye-catching modernist design resembling stained glass globules on a field of black. Is it a galactic cluster? Or a slide of microscopic creatures swimming in a Petri dish? Or an amazing Pointillism stained glass creation? I can't say for sure, but it's amazing! The only example of this design that I have seen! I am guessing that this is one of her earliest works from the late 1950s because the gauge of copper used is much heavier than any I have held before, and the artist mark at back is hand drawn in the enamel not done with a stencil like you see in later pieces. (See the short biography below for other indications of the work being an earlier one.) Extraordinary size at 11" diameter makes this a real collector coup! Measures 11" diameter by about 3/4" high at rim. Still retains original artist sticker at back, along with her signature, a conjoined AD. The front side is near flawless with just a couple very very light surface abrasions that aren't at all noticeable when displayed. Also, at back there are three indentations along the rim from being hung on the wall, and some light crazing to the enamel in a couple spots. No loss to the enamel at all. Excellent vintage condition with the above caveats but no damage or detractors whatsoever as shown Born in Berlin in 1920, Annemarie Behrendt moved with her family to New York in 1936. In 1957, while her husband was on sabbatical at Harvard University, Davidson studied briefly with the prominent enamelist Doris Hall at a community center in Cambridge. While Hall worked in a broad range of styles, from nonrepresentational to figurative, it was her brilliantly colored abstract work that most deeply influenced Davidson. Davidson’s earlier work, done between 1957 and 1959, reflects that influence in its sparkling color and vivid decoration. Her work was selected for the prestigious Decorative Arts and Ceramics Exhibition at the Wichita Art Association in 1958, and it was featured in several of the pioneering California Design exhibitions at the Pasadena Art Museum in the early 1960s. In 1961 three of her works were reproduced in the catalogue for California Design 6. Throughout her long and richly productive career, Davidson has created forms intended for everyday use, which she decorates with spare abstract patterns or the free-form organic shapes that she calls “jewels.” For many of her abstract compositions, she uses a sgraffito technique, incising straight lines into the enamel, which fan out from a central focal point and present a linear counterpoint to the more fluid sculptural forms of her “jewels.” Davidson has collaborated with fellow artist Blaine Rath since 1959. Rath creates beautifully crafted boxes in a wide variety of woods, in which Davidson mounts her elegantly proportioned enamels. Her approach is in keeping with the designer-craftsman aesthetic, as she explained in an interview published in the Cross-Country Craftsman in 1962: “My philosophy of work is simple: I try to create something colorful and decorative in order to make small objects, necessary in the home, beautiful.”
September 30, 2025 at 5:02 PM Everybody can reply
8 likes
8
pmondrian.bsky.social
Piet Mondrian
@pmondrian.bsky.social
Farm near Duivendrecht https://www.artic.edu/artworks/144467/
Though Piet Mondrian is best known for his nonrepresentational paintings, his basic vision was rooted in landscape. He was particularly inspired by the flat topography of his native Holland, a subject he returned to even after he had begun working in an abstract style after attending an exhibition of the Cubist paintings of Georges Braque and Pablo Picasso in 1911. Mondrian first sketched this farm around 1905. Nine of the twenty known related paintings and drawings of the farm, however, were created later, during World War I. Mondrian likely returned to the subject because his wartime patrons generally preferred his earlier naturalistic compositions to his recent experiments with Cubism. Gift of Dolly J. van der Hoop Schoenberg
September 25, 2025 at 10:05 AM Everybody can reply
2 likes 1 saves
2
sara-sievert-clark.bsky.social
sara-sievert-clark.bsky.social
@sara-sievert-clark.bsky.social
I really built up quite the collection of nonrepresentational art this past year. Just now starting to share my work with the world. Let me know what you think.
#art #painting
September 13, 2025 at 8:45 PM Everybody can reply
2 likes
2
travishedgecoke.bsky.social
Travis Hedge Coke
@travishedgecoke.bsky.social
Thinking of Mark Badger looking at Fibonacci sequence in comics covers (especially Warren Kremer), Grant Morrison on the X in Superman or the sloping slash in Batman covers. DC taking Chip Kidd's trade dress off All-Star, what happens when a comic uses a nonrepresentational cover...
September 13, 2025 at 6:01 PM Everybody can reply
1 likes
1
mikeyhernandezart.bsky.social
Mikey Hernandez
@mikeyhernandezart.bsky.social
Abstract 24-2
Mixed media on paper on panel
43” x 58” x 1

#abstractart #galleryart #figurative #largescale #mixedmedia #nonrepresentational #artcollectors #worksonpaper #artwork #watercolor #ink #gouache #wetmedia #drymedia #softpastel #chalkpastel #coloredpencil #charcoal #yoga #mindfulness
September 6, 2025 at 4:37 PM Everybody can reply
1 reposts 8 likes
1 8
brendancoke14.bsky.social
brendan coke
@brendancoke14.bsky.social
who developed a nonrepresentational approach to blackness that was oriented more toward constraint than human expression. From Gaines’s use of grids to Mehretu’s layering of paint, these artists - in their knowledge that black life had always been conflated with numbers and bits of information -
September 6, 2025 at 10:27 AM Everybody can reply
1
aicmodernart.bsky.social
AIC: Modern Art (Bot)
@aicmodernart.bsky.social
Farm near Duivendrecht https://www.artic.edu/artworks/144467/
Though Piet Mondrian is best known for his nonrepresentational paintings, his basic vision was rooted in landscape. He was particularly inspired by the flat topography of his native Holland, a subject he returned to even after he had begun working in an abstract style after attending an exhibition of the Cubist paintings of Georges Braque and Pablo Picasso in 1911. Mondrian first sketched this farm around 1905. Nine of the twenty known related paintings and drawings of the farm, however, were created later, during World War I. Mondrian likely returned to the subject because his wartime patrons generally preferred his earlier naturalistic compositions to his recent experiments with Cubism. Gift of Dolly J. van der Hoop Schoenberg
September 3, 2025 at 4:29 PM Everybody can reply
2 reposts 4 likes
2 4
affectandeducation.bsky.social
Affectual Geographies and Politics of Education
@affectandeducation.bsky.social
AGPE aims to bring theory into conversation with discrete practices. Our research – about the spatiality of learning and the affectual landscapes within which learning takes place – brings nonrepresentational and feminist theorizations to bear on Participatory Action Research (PAR) approaches.
August 29, 2025 at 12:17 PM Everybody can reply
fleger.bsky.social
Fernand Léger
@fleger.bsky.social
Reclining Woman https://www.artic.edu/artworks/153701/
Fernand Léger first saw the work of the Cubists Georges Braque and Pablo Picasso at the Paris gallery of Daniel-Henry Kahnweiler. Around 1909 Léger began to experiment with geometric shapes, complementary colors, and strong outlines, although his paintings remained largely nonrepresentational until after World War I. His involvement in the war had a profound impact on his work. In the years following, he introduced volumetric forms that resembled pistons and pipes into his compositions, joining others in the Parisian vanguard in charting a more sober, conservative course that placed renewed emphasis on objective observation. Substituting hard metallic tubes for pliant flesh and flat patterned disks for soft and dense pillows, the artist updated the classical figure of the odalisque (a female slave or concubine often pictured in the history of art as a reclining nude) with his particular blend of Cubism and machine aesthetics. Reclining Woman demonstrates Léger’s interest in producing “everyday poetic images”: paintings in which the manufactured object is the “principal personage,” shown as precisely as possible to reveal an absolute sculptural value rather than sentimental associations. This work exemplifies the Purist style, a kind of industrial classicism that focused on utilitarian objects. Léger hoped that through such paintings, art would become accessible to the whole of modern society rather than to just a privileged few. A Millennium Gift of Sara Lee Corporation
August 22, 2025 at 1:07 PM Everybody can reply
3 likes
3
irischiota.bsky.social
Iris Chiota
@irischiota.bsky.social
I drew this in therapy #abstractart #queerartist #coloredpencil #nonrepresentational
August 15, 2025 at 1:23 PM Everybody can reply
1 reposts 5 likes
1 1 5
irischiota.bsky.social
Iris Chiota
@irischiota.bsky.social
Stream of consciousness sketch #oilpastel #abstractart #rainbow #nonrepresentational #expressionist #abstractexpressionist #vibrant #queerartist #lgbtq
August 7, 2025 at 3:10 PM Everybody can reply
3 likes
3
pmondrian.bsky.social
Piet Mondrian
@pmondrian.bsky.social
Farm near Duivendrecht https://www.artic.edu/artworks/144467/
Though Piet Mondrian is best known for his nonrepresentational paintings, his basic vision was rooted in landscape. He was particularly inspired by the flat topography of his native Holland, a subject he returned to even after he had begun working in an abstract style after attending an exhibition of the Cubist paintings of Georges Braque and Pablo Picasso in 1911. Mondrian first sketched this farm around 1905. Nine of the twenty known related paintings and drawings of the farm, however, were created later, during World War I. Mondrian likely returned to the subject because his wartime patrons generally preferred his earlier naturalistic compositions to his recent experiments with Cubism. Gift of Dolly J. van der Hoop Schoenberg
July 28, 2025 at 6:15 PM Everybody can reply
5 likes
5
madnessheartpress.bsky.social
Madness Heart Press
@madnessheartpress.bsky.social
AVAILABLE NOW! Picking Scabs is a new #chapbook of #feminist and #horror #poetry from acclaimed poet Susan Snyder, author of Broken Nails! #Books #Feminism tinyurl.com/PickingScabs
Art card featuring a nonrepresentational painting with dripping while splashed on black in an inverted chevron shape. Text reads "Picking Scabs by Susan Snyder"
July 17, 2025 at 3:56 PM Everybody can reply
1 likes
1
nkeyser.bsky.social
N Keyser
@nkeyser.bsky.social
I’ve have good experience with it though.
I asked one to generate descriptions for each of these images.
The image depicts a highly detailed and realistic marble sculpture of a young woman, crafted in a classical style reminiscent of Greco-Roman statuary. She stands gracefully with one leg slightly bent and the other supporting her weight, giving the figure a relaxed yet poised posture. Her attention is focused intently on a tablet or book she holds in both hands, suggesting deep contemplation, study, or reading—an unusual and intellectually evocative subject for traditional sculpture. The figure wears a long, flowing garment that drapes elegantly over her body, rendered with remarkable precision in the texture and flow of the fabric. The folds of the dress cling naturally around her form, especially around her waist and legs, emphasizing her anatomical realism and the sculptor’s mastery of stone. Her hair is styled in a classical updo, neat and modest, further adding to the air of antiquity and intellectual dignity. The expression on her face is serene and thoughtful, reinforcing the sense that she is deeply engaged in whatever she is reading. The sculpture exudes a sense of quiet intelligence and inner life, blending the aesthetic ideals of classical beauty with a narrative of scholarship or learning. The work is executed in a pale stone, likely marble, and stands against a dark, unadorned background that heightens the contrast and directs full attention to the figure herself. This image presents a serene and idyllic mountain landscape that evokes a sense of peace, isolation, and natural beauty. At the forefront is a small wooden cabin, rustic and weathered, with a sloped roof made of wooden shingles. Its simplicity suggests a humble dwelling, possibly used as a shelter for hikers, a hunting lodge, or a solitary retreat for someone seeking tranquility in nature. The cabin is nestled within a vibrant green meadow, surrounded by lush grass and a few small, light-leafed trees that add a soft contrast to the darker, more imposing conifers behind it. These tall, dark green pine trees form a dense forest that stretches deep into the scene, gradually rising with the terrain. A dirt path winds its way from the foreground near the cabin and disappears into the forest, leading the viewer’s eye toward the towering mountains in the background. The mountains are majestic, snow-capped, and rendered in a highly realistic style. Their sharp, jagged peaks rise dramatically into a partly cloudy sky, which is tinged with soft blues and grays, suggesting either early morning or late afternoon light. The play of sunlight and shadow across the ridges adds depth and realism to the scene, while the overall color palette — dominated by earthy greens, browns, and whites — enhances the painting’s calming and grounded mood. This artwork, with its classical composition and painterly technique, speaks to themes of solitude, harmony with nature, and the sublime beauty of the wilderness. It captures a timeless, almost storybook quality that invites the viewer to imagine life in such a remote and pristine setting. This image features a highly abstract and expressive painting filled with dynamic color and frenetic energy. The composition is dense and layered, with swirling, interwoven shapes that seem to pulse and move across the canvas. At first glance, the image appears chaotic, but upon closer inspection, there is an intricate visual rhythm—like a visual symphony composed of clashing and harmonizing elements. The color palette is bold and diverse, with deep blacks, intense reds, turquoise blues, fiery oranges, and golden yellows, all creating vivid contrast. The central area is particularly dark and tangled, with thick strokes and lines that suggest organic forms—perhaps roots, vines, or some forest-like entanglement. Toward the upper right, splashes of red dominate, adding heat and tension to that quadrant, while the lower portion contains cooler hues like teal and blue, which balance the composition. Though nonrepresentational, the piece evokes emotion and narrative potential. One might interpret themes of chaos, struggle, vitality, or even a metaphysical confrontation between light and darkness. There are hints of figures or faces embedded within the abstraction, but nothing is clearly defined, leaving interpretation open to the viewer’s imagination.
July 11, 2025 at 7:03 PM Everybody can reply
tofanacocktails.bsky.social
Verbal Remedy with a side of Creative Magique
@tofanacocktails.bsky.social
#intuitive #art #journal as the nation crumbles

Watercolor, tempera stick, marker, chalk pastel, ink on paper
A colorful swirl of organic shapes punctuated by black figures, gestural, nonrepresentational, Rorschach test, abstract, quick art
July 3, 2025 at 7:47 PM Everybody can reply
1 reposts 4 likes
1 1 4
aicmodernart.bsky.social
AIC: Modern Art (Bot)
@aicmodernart.bsky.social
Farm near Duivendrecht https://www.artic.edu/artworks/144467/
Though Piet Mondrian is best known for his nonrepresentational paintings, his basic vision was rooted in landscape. He was particularly inspired by the flat topography of his native Holland, a subject he returned to even after he had begun working in an abstract style after attending an exhibition of the Cubist paintings of Georges Braque and Pablo Picasso in 1911. Mondrian first sketched this farm around 1905. Nine of the twenty known related paintings and drawings of the farm, however, were created later, during World War I. Mondrian likely returned to the subject because his wartime patrons generally preferred his earlier naturalistic compositions to his recent experiments with Cubism. Gift of Dolly J. van der Hoop Schoenberg
July 3, 2025 at 12:56 PM Everybody can reply
1 reposts
1
aphidsdontbiteppl.bsky.social
🌑
@aphidsdontbiteppl.bsky.social
but waiting for it to happen naturally as ppl change their minds doesn't work. has demonstrably not worked. it's not enough to theorize, think differently & imagine futures. it needs to be coupled w activity, movement which enables/ produces nonrepresentational agency
June 29, 2025 at 1:57 AM Everybody can reply
1 likes
1
aicmodernart.bsky.social
AIC: Modern Art (Bot)
@aicmodernart.bsky.social
Reclining Woman https://www.artic.edu/artworks/153701/
Fernand Léger first saw the work of the Cubists Georges Braque and Pablo Picasso at the Paris gallery of Daniel-Henry Kahnweiler. Around 1909 Léger began to experiment with geometric shapes, complementary colors, and strong outlines, although his paintings remained largely nonrepresentational until after World War I. His involvement in the war had a profound impact on his work. In the years following, he introduced volumetric forms that resembled pistons and pipes into his compositions, joining others in the Parisian vanguard in charting a more sober, conservative course that placed renewed emphasis on objective observation. Substituting hard metallic tubes for pliant flesh and flat patterned disks for soft and dense pillows, the artist updated the classical figure of the odalisque (a female slave or concubine often pictured in the history of art as a reclining nude) with his particular blend of Cubism and machine aesthetics. Reclining Woman demonstrates Léger’s interest in producing “everyday poetic images”: paintings in which the manufactured object is the “principal personage,” shown as precisely as possible to reveal an absolute sculptural value rather than sentimental associations. This work exemplifies the Purist style, a kind of industrial classicism that focused on utilitarian objects. Léger hoped that through such paintings, art would become accessible to the whole of modern society rather than to just a privileged few. A Millennium Gift of Sara Lee Corporation
June 25, 2025 at 8:29 AM Everybody can reply
1 likes
1
2unow.bsky.social
2U
@2unow.bsky.social
Turn out daily. Stop paying Taxes to a Nonrepresentational
Fascist Government Billionaire lackies, American Constitution says we can do this!
June 20, 2025 at 4:22 AM Everybody can reply
1 likes
1
pmondrian.bsky.social
Piet Mondrian
@pmondrian.bsky.social
Farm near Duivendrecht https://www.artic.edu/artworks/144467/
Though Piet Mondrian is best known for his nonrepresentational paintings, his basic vision was rooted in landscape. He was particularly inspired by the flat topography of his native Holland, a subject he returned to even after he had begun working in an abstract style after attending an exhibition of the Cubist paintings of Georges Braque and Pablo Picasso in 1911. Mondrian first sketched this farm around 1905. Nine of the twenty known related paintings and drawings of the farm, however, were created later, during World War I. Mondrian likely returned to the subject because his wartime patrons generally preferred his earlier naturalistic compositions to his recent experiments with Cubism. Gift of Dolly J. van der Hoop Schoenberg
June 16, 2025 at 5:59 PM Everybody can reply
1 reposts 8 likes
1 8
mmcarthur.bsky.social
phoenixmcarthur
@mmcarthur.bsky.social
Remembering world famous Bauhaus weaver, Anni Albers born otd in 1899. 🎂

"Memo" - 1958
Woven textile mounted on fabric mounted on wood in artist’s frame.

📸 : Cathy Carver

©The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York, 2025.

More in the alt text 👇
Born in Berlin, Albers was a leader in 20th-century fiber art. Whileshe focused her career in textile designing and printmaking, she was also a writer and jewelry designer. In the 1920s, she attended the Bauhaus art school, whose Modernist design principles emphasized the intersection of art, architecture, and craft and the democratization of art. There, Albers enrolled in Gunta Stölzl’s weaving workshop, which introduced her to the possibilities of textile art, and she began to experiment with nonrepresentational weavings and unconventional materials such as horse hair, metallic thread, plastics, and metal.
June 12, 2025 at 11:01 PM Everybody can reply
6 reposts 14 likes
1 6 14