A-Level: Contemporary abstraction + non-objective

videos + essays

Mark Rothko, <em>No. 210/No. 211 (Orange)</em>, 1960
Mark Rothko, No. 210/No. 211 (Orange), 1960

Just because a painting isn’t full of angels doesn’t mean it isn’t spiritual and transcendent.

Richard Serra, <em>Band</em>
Richard Serra, Band

Serra’s sculpture creates new spaces within the architecture of the room.

Richard Serra, <em>Torqued Ellipse IV</em>
Richard Serra, Torqued Ellipse IV

Inspired by a misinterpretation of a Renaissance church in Rome, this sculpture pushed the limits of technology.

Richard Serra, <em>Intersection II</em>
Richard Serra, Intersection II

Serra guides you through his sculpture in the garden of MOMA.

Ad Reinhardt, <em>Abstract Painting</em>
Ad Reinhardt, Abstract Painting

Art on the edge of perception—Ad Reinhardt works with the biology of human sight and rewards close looking.

Donald Judd, <em>Untitled</em>
Donald Judd, Untitled

Judd’s boxes were made by factory workers, not by the artist—but he provided instructions.

Eva Hesse, <em>Untitled (Rope Piece)</em>
Eva Hesse, Untitled (Rope Piece)

This sculpture was hanging in the artist’s studio at the time of her death; it can be hung in numerous ways.

Jackie Winsor, <em>#1 Rope</em>
Jackie Winsor, #1 Rope

Women’s labor and the passage of time are evoked in this sculpture constructed of organic materials.

Eva Hesse, <em>Untitled</em>
Eva Hesse, Untitled

Her friends were into high conceptualism, but Hesse’s own approach is more playful, bodily, and feminist.

Robert Morris, <em>(Untitled) L-Beams</em>
Robert Morris, (Untitled) L-Beams

Are these objects the same size? Morris challenges our perception.

Richard Serra, <em>Tilted Arc</em>
Richard Serra, Tilted Arc

Who should be the arbiter of taste—the person on the street, the artist, the courts?

Helen Frankenthaler, <em>The Bay</em>
Helen Frankenthaler, The Bay

She was a pioneer of the “soak-stain method” of diluting acrylic paint and pouring it into unprimed canvas.