Art Plus – #1572, 1972 – A painting by Abe Ajay

Abstract Construction

Abstract Construction
Colours shapes and forms combine
Patterns of movement

About the painting

#1572, 1972 – (Acrylic on canvas, polyester) by Abe Ajay The artist’s dialogue with imagery is rooted in an “Alphabet” of shapes and forms. Those shapes and forms initially derived from found objects, but have developed into three dimensional objects designed and organized to construct his creative artistic imaginings.

Ajay’s background in graphic design and commercial art distill an interplay of control, intuition, and accident. The work is filled with patterns of movement through the artistic alphabet which he employs, a conversation with his own thoughts and a consideration of the infinite possibilities hidden within finite variables.

The work is an evolving experiment in expressing perfect interrelationships of shape, colour and form.

Ajay’s use of carefully designed forms and colour arrangements create a composition filled with dynamic intensity that draws the viewer in and encourages questioning of that which is perceived.

Painting Attribution © Abe Ajay, 1572, 1972

Source Attribution http://www.driscollbabcock.com/exhibitions/installation/abe-ajay-alphabet#1

About the Painting Reference Attribution http://www.driscollbabcock.com/exhibitions/installation/abe-ajay-alphabet#

Poem Attribution © Goff James, Abstract Construction

Copyright (c) 2021 Goff James – All Rights Reserved

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Open Box – Art quotation of the day

Abraham (Abe) Ajay (1919–1998) was an American artist and illustrator who was best known for his artistic contributions for The New Masses magazine during the late 1930s and early 1940s. 

The artist is also known for his creative use of reliefs made of found objects during the 1960s and beyond. 

From an early age, Ajay had a passion for art and sought to harness his artistic abilities when he made the decision to move to New York City to pursue his art studies

While studying in New York, Ajay became close friends with Ad Reinhardt, the art director for the left-wing culture magazine The New Masses, who inspired him to begin working for the magazine.

Ajay’s contributions during the late 1930s and early 1940s to New Masses were significant.

Along with Reinhardt, Ajay helped to shape the artistic direction of New Masses during a period where the magazine incurred financial hardships.

Ajay’s contributions of covers and cartoons helped to give New Masses a strong artistic presence despite the overall decline of the magazine during the period. 

A lack of funding helped precipitate Ajay’s departure from New Masses and as the years went on, his support for Communism waned.

In the 1960s Ajay began to produce reliefs made of found objects. Later his often intricate constructions, created from tooled wood, gypsum and cast plastics, reminded many art historians of the sculptures of Louise Nevelson.

In addition, many critics believe that Ajay’s work illustrates religious architecture. It was during this time period where Ajay achieved considerable acclaim within the art community.

Ajay’s work is held in the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum in Manhattan and the Hirshhorn Museum and Sculpture Garden in Washington. 

Bio Reference Attribution https://en.wikipedia.org/wiki/Abe_Ajay

Photo Attribution (Photographer Unstated), Abe Ajay, (Date Unstated)

Source Attribution https://www.discogs.com/fr/artist/3424360-Abe-Ajay

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