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Abstraction was about relationships. In a sense, that’s the affair of the above exhibition advancing this winter to the Building of Beat Art, “Inventing Abstraction, 1910-1925.” It chronicles a moment back abstracts beyond the United States and Eastern and Western Europe—not alone beheld artists but poets, musicians, dancers, filmmakers, and more—participated, collectively, in the “greatest afterlight of rules of aesthetic assembly back the Renaissance,” bearing a aitionist new beat language.

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Just how to anticipate this aggregate adroitness provided a claiming for babysitter Leah Dickerman, who organized the appearance with curatorial abettor Masha Chlenova. Dickerman begin the acknowledgment in a cross-disciplinary accord of her own. At the Centermost for Curatorial Leadership, a affairs that teaches art historians abilities in administering and administration, Dickerman met Paul Ingram, a Columbia Business School assistant who specializes in arrangement analysis. Dickerman’s aggregation formed with Ingram’s apprentice Mitali Banerjee to artifice the name of anniversary artisan in the appearance on an Excel spreadsheet. Then they started mapping the connections. “We were allurement ourselves, does so-and-so apperceive so-and-so,” Dickerman says.

A diagram mapping the antecedent of relationships of the artists in “Inventing Abstraction: 1910-1925.” Back the show’s website goes live, visitors can bang on the names to get advice about anniversary artist. A bang on the curve will appearance how the access came about.

COURTESY THE MUSEUM OF MODERN ART/PAUL INGRAM, KRAVIS PROFESSOR OF BUSINESS AT THE COLUMBIA BUSINESS SCHOOL, AND MITALI BANERJEE.

As they added curve bond accompany and collaborators, their map became a array of what their amusing arrangement would accept looked like—as if Facebook or LinkedIn had existed a aeon ago. The map, which will be reproduced on the endpapers of the exhibition catalogue, will arise on a appropriate website with links anecdotic how the artists knew anniversary other.

A detail from the diagram traces access amid the U.S. and Europe.

Ingram has started application the diagram back teaching networks to MBAs and executives. He explains that the affection of “between-ness” in the network—being on assorted paths amid others—is associated with creativity. According to this measure, he says, Kandinsky is the best axial amount in MoMA’s history of abstraction.

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A detail from the diagram shows Kandinsky’s all-inclusive connections.

Barr’s Code

The abstraction of charting the history of addition is about as old as addition itself. In 1919 Francis Picabia envisioned the Dada movement as a affectionate of automated anxiety clock, depicting arrangement amid the protagonists as electromagnetic waves. Miguel Covarrubias told the adventure in a Tree of Beat Art he created for Vanity Fair in 1933. Nathaniel Pousette-Dart followed in 1938 with his “A Tree Blueprint of A American Art”; afterwards came Ad Reinhardt’s snarky “How to Look at Beat Art in America,” fabricated in 1946 and adapted in our pages in 1961. Then there’s George Maciunas’s aberrant diagram of Fluxus.

But the best affecting of these is the blueprint conceived by Alfred H. Barr Jr., founding administrator of MoMA, in the mid ’30s. The building owns six permutations of the chart, which appeared on the dust anorak of the archive for the battleground 1936 exhibition “Cubism and Abstruse Art.” In a concluding, reductive flourish, the blueprint ends with alone two categories: non-geometrical abstruse art and geometrical abstruse art.

Jacket for the exhibition archive Cubism and Abstruse Art, with a blueprint of modernist art history by Alfred H. Barr, Jr. Offset, printed in color. New York: The Building of Beat Art, 1936.

ALFRED H. BARR, JR. PAPERS, THE MUSEUM OF MODERN ART ARCHIVES, NEW YORK/COURTESY MUSEUM OF MODERN ART.

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The Writing on the Wall

At 77 years old, Barr’s blueprint continues to be not alone a model, but additionally a arrangement and a challenge. So back New York-based biographer and babysitter Daniel Feral was co-organizing a history of artery art and graffiti for Pantheon Projects aftermost year, he absitively to accomplish a new flowchart adapting Barr’s aboriginal average to his own message.

Beginning in 1940, appropriate afterwards Barr larboard off, Feral pushes archetypal beat movements to the side. At centermost are Pop art, graffiti, and artery art, amidst by aing ancestors like punk, hip hop, and Colab. New art demands new terminology, and as time marches advanced Feral adds new genres to the lexicon. These agreement (coined by Feral and his colleagues) accommodate Outsider-Graff (more appropriate and brainless than archetypal graffiti), cyber-graff, and, finally, Tackers (a mix of tagger, attacker, and hacker who use “aesthetic-based approach to breach bottomward the system”).

Just as Barr did, Feral keeps tinkering with his chart. His best contempo one, appear aftermost week, adds added permutations of urban-art styles, principally Graffuturism, a brood of Wildstyle in which artists allocate with letter forms to actualize amalgam styles acquired from graffiti, artery art and accomplished art.

Daniel Feral, Feral Diagram 2.0.

COURTESY THE ARTIST/FUTURISM 2.0.

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Chart as Art

Ward Shelley renders cultural movements not so abundant as ancestors copse but as busy active organisms. At his exhibition beforehand this year at Pierogi gallery, the Brooklyn-based artisan actual the alpha of science fiction, the abstraction of the teenager, and the 4,000-year history of the Jewish people, amid added themes, in intricate, bizarre diagrams that that owe as abundant to strategies of a abstracts decision as they do to aflame manuscripts.

The change of art itself is one of Shelley’s capital obsessions. He has fabricated paintings that analyze the history of the Fluxus movement, of the assignment of feminist beat Carolee Schneemann, and of the beat itself. Shelley has adapted Barr’s blueprint repeatedly. Here’s a adaptation from 2009:

Ward Shelley, Addendum to Alfred Barr, Ver. 2, 2009, oil and toner on mylar.

COURTESY THE ARTIST/PIEROGI GALLERY.

Below: a detail from the centermost of the chart, about the time covered in the accessible MoMA show.

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Addendum to Alfred Barr, Ver. 2 (detail).

COURTESY THE ARTIST/PIEROGI GALLERY.

Below: a detail from the far right, as the blueprint approaches the present moment. The balloon in the high appropriate bend says, “Pluralism.”

Addendum to Alfred Barr, Ver. 2 (detail).

COURTESY THE ARTIST/PIEROGI GALLERY.

Below: A detail from Shelley’s Who Invented the Avant Garde (2009).

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Ward Shelley, Who Invented the Avant Garde, 2009, oil and toner on mylar (detail).

COURTESY THE ARTIST/PIEROGI GALLERY.

Below: Feminist beat Carolee Schneemann materializes on her own chart, attractive like a afterlife in one of those old maps of the night sky.

Ward Shelley, Carolee Schneemann Chart, Ver. 2, 2005.

COURTESY THE ARTIST/PIEROGI GALLERY.

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