Coordinator Judy Hobman on Hillma Hillma Clint drawings that are unprecedented

The discovery of the Swedish artist Hilma AF Klint (1862-1944) was discovered by the world of art with the “paintings for the future” exhibition, which she shows for 1906, at the Solomon R. Guggenheim Museum in 2019. Mondrian.

Perhaps it’s more surprising is that AF Klint claims have communicated with lives to create business. However, given their religious nature, these paintings have been involved in a controversy that is constantly revealing with its organization bearing its name. Since this is retroactively, AF Klint has become a kind of characters among the art world, with a lot of care to take another look at another glance.

Nature studiesA rare collection of 46 plant drawings by the artist between the Spring and Summer in 1919 and 1920 was purchased by the Museum of Modern Art (MOMA) in New York almost three years ago, with plans to study and display them to the public. The show, “what stands behind the flowers”, displayed in Moma from May 11 to September 27, is AF Klint sharing with the natural world. In the portfolio, one can see its approach to abstraction through traditional means, where depicting plants is filmed by abstract plans.

ARTNEWS Talk to the exhibition Secretary Judy Hobman to discuss how to collect the show and any other visions that appeared around AF Klint during the operation.

ARTNEWSWhat was the motivation behind the show?

Hauptman: About three years ago, a group of drawings written by Hilma AF Klint came to the Moma collection. Each of us had the opportunity to see them really excited about the possibility of bringing them to our fans. Since then, we have been thinking about how to do this and what this exhibition might seem.

Do you have any new visions about HilMa AF Klint since this offer is coordinated from its plant graphics?

It was a real journey and incredible educational experience, with many transformations and turns.

This portfare is very interesting because it puts in one sheet two ways to know: a traditional perception that depends on the close appearance and the abstraction of a perception (from these plants). From the beginning, we were really fascinated and we started asking ourselves, “What does that mean? What are you trying to say?”

Graphics dates back from 1919 and 1920, which is after its approximately 1906. After more than a decade, we were fascinated by how these drawings are consistent with the story that we know from these other exhibitions for their work in Guggenheim, The Moderna Musset, and Tate. We started searching for it, thinking about their context and how they fits with the course of her career.

Although there are many exciting discoveries, I think one of them is this interest in the natural world. This portfolio really shows this intense participation with nature, and more, what we learned from spending time with the wallet and cooperation with other specialists, is that the portfolio reflects real knowledge of the plants that come from the informal experience that arose in the Swedish countryside and the official experience of its school and its professional equipment. The portfolio has become a way to practice its broader as an artist that goes beyond what is known as the moment of collapse.

Some of the broader fast food includes how artists in the twentieth century participate in abstraction and the extent to which the natural world is aware of the movement.

Are there any surprises or things that have emerged for you?

We felt overwhelmed to discover a set of mushroom drawings that Cleint made as a paradise that it proved that she was working as a professional scientific painter, with a scientist to make drawings that would serve his purposes for the publication that he was planning but he was never achieved. There are notes written by a mushroom specialist and we can see that they are trying to make the graphics as accurate as possible. It imagines the wallet as a gentle vegetarian atlas, almost like the plants of the soul, which will bring these elements together. Although we knew its involvement with nature, we never knew that it was professional. It is an incredible draft, and in these drawings, we can see this interest in detail – the near appearance you need for science and art.

The art world may call them vegetable graphics, but we felt that we really need to understand what these plants are and how they are compatible with the ecosystem. Our collaboration with the bottle player, Lina Stroy, who is studying at the University of Rutgers, and began overcoming some questions around the vegetarian world of the artist. Through this research, it is in turn linked to a coordinator in the Museum of Natural History in Stockholm, which leads to more discovery. These drawings have been made more than a century ago, but they may have been in the archive since the middle of the century.

Can you speak to new exploration ideas or technologies that differ from known AF Klint panels?

My colleague, Governor Laura Newfield, analyzed her board and how she used her materials. There were also things for this wallet, as it might erase something or sometimes it was written on the paper and then transferred it to a notebook.

We can also see changes in green across the paper and the way they were able to capture these mysterious outstanding sectors through the changes in color – an element we link to their most famous paintings. Through this explosion of color in spring and color, we know that they are trying to look at these plants and understand what it means.

Neufeld managed to play the daily process that this wallet reflects because it follows the season every day. This technical analysis helped our graphics. Now that Neufeld has done this work, we hope that it will raise other studies by the conservatives, who can access the works that are often kept by the Foundation in Stockholm.

In light of the recent issues with Hilma AF Klint, what does it mean to be able to show these works?

The Foundation was a great partner. They provided contextual materials for the exhibition, and we are trying to understand this wallet. For art and coordinator historian, it is not customary to be most (related works and animals) by the artist in one place.

I imagine because the drawings are different in nature from its paintings that have an effect on the relationship as well.

How do you compare these drawings with well -known AF Klint paintings?

She goes to the arts school and knows how to perform traditional perception and acting, but puts them with these abstract plans. There is this rapprochement between a Hypnotica Pames from the beginning of spring and a plan. For those who remember Guggenheim, these two things are not expected to see together. But in terms of approach or technology, it is very intertwined with it. The close appearance allows her to imagine this abstract scheme, which has a meaning. It is a radical work to show the pictorial and abstract that works together (at the time), but it knows that you cannot get one without the other. Graphics indicate how these two knowledge methods collect.

Another Swedish personality interested in plants is Karl Lenius, who classified plant and animal species using the designations of his two -minimal system. What is the relationship between his approach and af klint for the topic?

We looked at her official plant education because we wanted to understand what I really knew. The portfolio associated with the wallet, which we will take in the exhibition, showed us that they had real knowledge of plants – I really understood when things increased, how things have grown, and if they did, how the papers can revolve around the stem, how it will open something in the morning and continue in the evening, etc. These are things you write about. Linnaus was, of course, a very famous Swedish, he lived and worked in the eighteenth century, long before AF Klint, but she would have learned the Lines method in identifying plants as a student. We know from her school records that natural sciences were part of her curriculum.

What are the additional programs or events planned about the show?

We are cultivating special in the museum garden. Visitors will be able to try graphics in exhibitions, then go to the basement to the sculpture park to see some of the plants shown in the portfolio. The learning and participation department leads our series of programs that include Nature magazine, informing what Struwe know its students in Rutgers, and drawing lessons.

What do you hope to attract visitors from the exhibition?

It is interesting to work on a project where we are more in the beginnings of scholarships instead of trying to link everything. The exhibition revolves around the close appearance and we hope that people will be closely looking at and be more harmonious to the world around them. As safe, my hope is often in exhibitions, like a table with all this information, that others come and test the work so that they can do something else and we can learn more.