She is the author of the book “The Art of the Unseen: A Study of Abstract, Minimalist, and Conceptual Art” and has written numerous articles on the subject.
The Origins of Abstract, Minimalist, and Conceptual Art
Abstract, minimalist, and conceptual art have been a part of the art world for decades, but their origins date back to the early 20th century. The term “abstract” refers to art that does not depict recognizable subjects or objects. This style emerged in the early 20th century, with artists such as Wassily Kandinsky and Kazimir Malevich creating works that explored the emotional and expressive qualities of color and form.
The Rise of Minimalism
Minimalism, a subgenre of abstract art, gained popularity in the 1960s. Characterized by simplicity and a limited color palette, minimalist art often featured geometric shapes and clean lines.
Some of the featured artists include Sharon Engelstein and Hector A. Ramirez. Engelsteinâs pieces include âFoundâ and âSleeperâ â both composed in 2017 and being sculptures of organic shapes using glazed ceramic. Ramirezâs âCarpet Shoesâ and âOrange peelâ were made in 2016 and 2018, respectively.âCarpet Shoesâ utilizes carpet, leather shoes and hardwood flooring., while âOrange peelâ was created using drywall texture and paint on a panel. As one gazes upon the works, confusion encases the audience. Engelsteinâs works seemed to be blobs, while Ramirezâs works are painted canvases depicting nothing and shoes sitting upon a floor. Closer examination reveals the little details that beg viewers to wonder about the intentionality of the pieces. In these tiny features that may be choice or chance, art is made.
The artist’s intention is not to simply display a piece of art, but to engage the viewer in a dialogue.
The Art of Engelstein
Engelstein’s art is a fusion of various styles and techniques, making it a unique and captivating experience for the viewer.
The Power of Silence
In the absence of explicit statements, the viewer is left to ponder and interpret the artworks. This silence is not a lack of meaning, but rather a deliberate choice to convey a message through subtlety. The artworks in âDo you really believe that?â challenge the viewer to engage with the pieces on a deeper level, to consider the context and the artist’s intentions. The use of everyday objects, such as maps, photographs, and newspaper clippings, creates a sense of familiarity and intimacy. This familiarity can make the viewer more receptive to the artworks, as they are more likely to connect with the pieces on a personal level. The artworks also challenge the viewer’s perceptions of reality, forcing them to question their assumptions and biases. By presenting the viewer with a series of seemingly ordinary objects, the artworks encourage them to think critically about the world around them.*
The Art of Observation
The artworks in âDo you really believe that?â require the viewer to observe and contemplate the pieces in a more nuanced way. This requires a level of attention and engagement that is often lacking in contemporary art. The artworks challenge the viewer to slow down and consider the details, to appreciate the subtleties of the pieces. The use of negative space and the placement of objects create a sense of tension and balance. This tension can be seen as a reflection of the artist’s inner turmoil or emotional state. The artworks also encourage the viewer to consider the context in which the pieces were created.
The exhibit will be featured in the UTSA Main Art Gallery until Feb 28. The gallery is open Thursday through Saturday, 10 a.m.-3 p.m.
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