In his preface to Abstract Art: A Global History—arriving this month from Thames & Hudson—Joseph Low (“Pepe”) Karmel, a professor of art history at New York University, writes that the goal of the book is “to demonstrate different ways of looking at abstraction and to encourage readers to respond to a wider range of abstract art.” A simple idea in theory, it proves a massive undertaking in practice, demanding a complete rethinking of long-established narratives. With Abstract Art, Karmel approaches the field not as a steady tunneling toward nothingness, as figures and other discernible objects fell away, but as something more dynamic—and much less white, Western, and male. There is no such thing as pure form, he insists; abstract art has always been “rooted in experience of the real world,” wherever and whenever it was made. He identifies five major categories of subject matter—bodies, landscapes, cosmologies, architectures, and signs and patterns, tracing each theme over 100 years, from 1915 to 2015—and works to consider the perspectives of women and artists of color not generally included in the discourse. (A work by the Swedish mystic Hilma af Klint claims the cover; while the Indian-born artist Zarina provides the frontispiece and Wosene Worke Kosrof, an Ethopian painter, the back cover.)
Still undergoing treatment, Opoku shared that being touched and examined by so many different sets of hands “felt like my body’s parts were being separated from the whole, like I was being dismembered. And yet it was all part of this journey toward healing. I had to find a way to access and focus on another part of my identity that could feel whole, since my body couldn’t.” Turning the experience into material for her work helped Opoku create a sense of distance from her actual human body, and use it to reflect on the fullness of her human spirit. “In the ancient texts I was researching, hands were always used to pass on something or explain something vital to the journey towards the afterlife. I was trying to find parallels in my own work, to transform the meaning of all these real, physical hands poking and prodding me, fragmenting my body, into something more symbolically healing, and perhaps even preparing me for my own potential afterlife.”
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