Magdalena Abakanowicz (1930-2017)

Magdalena Abakanowicz in her worshop, aprox. 1968

Magdalena Abakanowicz in her worshop, aprox. 1968 r. (in the background, “Yellow II”, 1967-1968.) Courtesy of the artist’s archive

The sheer scale of the artist’s work is astounding. From early on she began producing enormous sculptural forms woven from burlap, hemp and horsehair, labelled ‘Abakans’ after her own name. These enormous masses are both overwhelming and meditative; they explore utilitarian materials and push them to a new, elevated realm. Later, she moved on to figures – nearly always in groups – which create a ghostly imprint that inhabit both positive and negative space. The roughly formed shapes seem fluid yet weighed down, and the headless masses immediately call to mind the faceless crowds of communism’s collective consciousness.

Quelle

Magdalena Abakanowicz in front of “Compostion of w

Magdalena Abakanowicz in front of “Compostion of white forms”, 1962Courtesy of the artist’s archive

Magdalena Abakanowicz with her artwork 'Female Fig

Magdalena Abakanowicz with her artwork ‚Female Figures Standing Figures‘, 1985 – 1986Courtesy of the artist’s archive

Magdalena Abakanowicz, aprox. 1968 photo.Marek Holzman by Black Garment Zwart kleed, 1968 (in Stedelijk Museum collection, Amsterdam)Courtesy of the artist’s archive

Magdalena Abakanowicz at Pawilion Polski, Biennale di Venezia ’80, IV – 28IX 1980 with Wheel with Rope, 1973 and Embryology, 1978 – 1980Courtesy of the artist’s archive