The exhibition] remains as radical as ever and offers a welcome retort to modernism's male-centric narrative.

Af Klint was not part of the larger abstract art movement so populated by men, but many of her paintings―vibrant, strange paintings inspired by her deep interest in Spiritism and Theosophy―predate those famous as pioneers of the style. Natural forms are abstracted to their atomic levels; cells evolve, dividing and expanding the canvas in colour; sinuous stems spiral into the ether whilst the crystalline formations of grids stretch out to form an infinite universe. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others.What's interesting, the author suggests, isn't that af Klint, in a century awash with spiritual fads, heard voices. Fer has also curated numerous exhibitions, such as the recent show of Gabriel Orozco at the Fruitmarket Gallery in Edinburgh in 2013. Af Klint set about composing for posterity an alluring eye-music that echoed back the complex psyche of her age. Though her paintings were not seen publicly until 1987, her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art―a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the exhibition.

The invention of the telegraph and telephone made it possible to communicate over long distances, and spiritualists believed it was possible to speak with the dead. Af Klint travelled with these sketchbooks so as to be able to show her friends her work in a more accessible format. This exhibition catalogue is the first to investigate, from a variety of perspectives, the question of how this trailblazing abstract artist linked her painting to a higher consciousness.She had a penchant for the occult – a “commission” from a spirit at a seance inspired her to create her most striking paintings.

The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art – a wish that finds a fortuitous answer in the Guggenheim Museum’s rotunda, the site of the forthcoming exhibition. FROM THE ARTBOOK BLOG DANNY KOPEL | DATE 4/30/2020 See the new film on Hilma af Klint, playing in virtual cinemas via Kino Marquee When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind a prolific body of work. She has written nine books of poetry and two memoirs, and has edited several anthologies of Native American writing. The fact is that profound changes in the fine arts often meet with vehement rejec­tion, and the resistance to af Klint’s reappraisal was evident the first time her work was presented to a wide audience.She completed her graduate studies at Northwestern University where she received a Mellon Fellowship in Art Objects. Specific themes, such as evolution and duality, are conveyed through vivid pastel colour schemes and intricate geometric patterns arranged carefully on canvases that reach over ten feet in height. One of the many praiseworthy things about Julia Voss’s excellent new biography of her is that it does not even entertain the thought. This extraordinary collection is edited by and copublished with Christine Burgin, and features an introduction by Iris Müller-Westermann.