Many different, colourful abstract shapes floating against a black and white background. i Wassily Kandinsky, Roter Fleck II, 1921, detail, oil on canvas, Städtische Galerie im Lenbachhaus und Kunstbau, Munich

Making Sense of Abstraction: Roots, Context and Meaning

On campus

Dr Emily Christensen

Tuesday 9 – Thursday 11 May 2023 [N.B. This course also runs in the autumn, in the evenings from Wednesday 13 September to Wednesday 11 October]

This course is now full, please fill in the booking form to be added to the waiting list.

Course description

Abstract art has provoked strong reactions since it emerged in the early twentieth century. It has been derided, reviled, banned and burned. But it has also become one of the dominant and most celebrated forms of artistic expression of our time. What is abstract art? Where did it come from? What does it mean? This course will explore these questions from different angles, examining the early manifestations of European abstraction through the work of artists including Wassily Kandinsky, Hilma af Klint, Kazimir Malevich, and Piet Mondrian as well as later permutations elsewhere in the world including works by Mark Rothko, Jackson Pollock, Saloua Raouda Choucair and Ibrahim El-Salahi. We shall examine stories of the creation of these paintings – what the artists may have intended – in the cultural and political context of their period. We shall also look at how viewers responded to them and uncover stories of the unexpected, shifting meanings ascribed to the paintings by politicians and ideologues as the twentieth century progressed. Afternoon gallery visits will include Tate Modern’s exhibition Hilma af Klint and Piet Mondrian.

Lecturer's biography

Dr Emily Christensen is an Associate Lecturer at The Courtauld. Emily teaches European nineteenth- and twentieth-century art, and on issues of empire and representation in Orientalism. Her PhD research explored the role of ‘the Orient’ in the development of Wassily Kandinsky’s artistic strategies as he experimented with abstraction. Current projects include collaborating on an exhibition about the reception of Islamic art in twentieth-century Europe at the Kunsthaus Zurich and co-curating a forthcoming exhibition in The Courtauld Gallery Project Space. She has published in The Burlington Magazine, Aesthetica Universalis and Manazir, and is the guest co-editor of a forthcoming special issue on Orientalism in World Art.