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The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work — bold, private, untethered and nonrepresentational as they are — there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented Klint’s pedagogical projects. Jillian Steinhauer, for instance, has underscored Klint’s naturalistic watercolors; featuring flowers and lifelike drawings of women…


Ekin Erkan

Ekin Erkan studied Film and Media studies student as a graduate student and is currently pursuing post-graduate study in Critical Philosophy at The New Centre

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