Mondrian, Hegel, Boogie

Cooper, Harry

doi:10.2307/779211

Cited by 10 publications

(4 citation statements)

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“…The lower black bar of the first state was brought down still further." 10 Technical examination of his paintings and eyewitness accounts by Mondrian's friends thus support the artist's own claims that his art was made empirically and visually rather than theoretically and mathematically. Both Clement Greenberg and Harold Rosenberg were deceived by the appearance of his completed paintings into drawing the false conclusion that Mondrian worked mechanically, by preconception.…”

Section: Deceptive Appearancesmentioning

confidence: 73%

The Rise and (Partial) Fall of Abstract Painting in the Twentieth Century

Galenson

2009

Conceptual Revolutions in Twentieth-Century Art

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Section: Deceptive Appearancesmentioning

confidence: 73%

The Rise and (Partial) Fall of Abstract Painting in the Twentieth Century

Galenson

2009

Conceptual Revolutions in Twentieth-Century Art

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“…The literature on Mondrian has not confronted his colonial theories, language and imagery, focusing instead on his abstract art, love of jazz music and transformation of painting style in the last years of his life (see e.g. Seuphor, 1957; Cooper, 1998; Moten, 2008). 5 Based on his essays, letters and paintings, I argue that Mondrian's paintings portrayed settler colonial maps of or plans for a future white supremacist city 6…”

Section: Mondrian's Settler Colonial Mapsmentioning

confidence: 99%

THE AESTHETICS OF GENTRIFICATION: Modern Art, Settler Colonialism, and Anti‐Colonialism in Washington, DC

Bockman¹

2021

Int J Urban Regional Res

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In 1988 a local homeowner in Washington, DC, commissioned a 30‐foot mural of an artwork by modernist painter Piet Mondrian on the side of a public housing building, along with several other similar murals across the street. Three months later all the residents of the public housing development were moved out. Later, the buildings were destroyed. Here I explore how these murals enabled the residents’ permanent displacement. Explaining this displacement and destruction by pointing to the federal Housing Opportunities for People Everywhere (HOPE) VI policy is completely insufficient. I argue for looking beyond the conventional actors in policy history to other actors, such as, but not limited to, aesthetics, art, artists and art purveyors. I examine Mondrian's years in Paris, during which he developed his abstract art and philosophy of spiritual evolution, white supremacy and total urban renewal. The homeowner brought Mondrian's art and philosophy to Washington, DC, at a time of an ideological shift towards global revanchism and gentrification. These specific murals reveal the settler colonial nature of gentrification in confrontation with anti‐colonial art and geographies. This study provides new insight into gentrification by illuminating the battles of multiple globalizations in cities and even on individual blocks.

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“…'Mondrian, Hegel, Boogie'(Cooper 1998), where he elucidates Mondrian's use of Hegelian dialectics. But while Cooper emphasises syncopated rhythm, drawing upon Mondrian's encounter with Boogie-Woogie rhythm, he takes Mondrian's comment 'Now I realised the rhythm becomes ostensive' too literally.…”

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confidence: 99%

Mondrian's Philosophy of Visual Rhythm

Tosaki¹

2017

Sophia Studies in Cross-Cultural Philosophy of Traditions and Cultures

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Mondrian, Hegel, Boogie

Cited by 10 publications

References 0 publications

The Rise and (Partial) Fall of Abstract Painting in the Twentieth Century

The Rise and (Partial) Fall of Abstract Painting in the Twentieth Century

THE AESTHETICS OF GENTRIFICATION: Modern Art, Settler Colonialism, and Anti‐Colonialism in Washington, DC

Mondrian's Philosophy of Visual Rhythm

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