The latest volume of af Klint’s catalogue raisonné reveals the artist exploring the spiritual world with quasi-scientific deliberation.
The new documentary Beyond the Visible is more of a detective story than a straightforward biography, investigating the erasure of an important figure in abstract art.
From botanical sketches to art inspired by af Klint’s spiritual practice, lesser-known works by the Swedish artist arrived at the Lightforms Art Center.
The survey of the late Swedish abstract painter has drawn 600,000 visitors, increased museum memberships, and broke another record in catalogue sales.
She was an artist who believed in progress, in the evolution of humanity.
Often compared to the work of Hilma af Klint, dozens of rarely-seen drawings by the late Swiss healer and Spiritualist Emma Kunz are on view at the Serpentine Gallery.
Just because most museums in America are still asleep at the wheel, it doesn’t mean all is lost.
Hilma af Klint reminds us that institutionally approved narratives generally function as touchstones for conformists and the weak-kneed.
Witchy and prescient, Hilma af Klint’s paintings from the early 1900s curiously combine spiritualism with an interest in evolutionary biology.
One of the interesting things about Hilma af Klint (1862–1944) is that neither she nor her work can be written into the early history of abstract art.
LONDON — The first thought that struck me about the Serpentine Gallery’s exhibition of Swedish artist Hilma af Klint, Painting the Unseen, was: Thank goodness — finally a solo show starring a female artist!
The turning point for Suzan Frecon happened in 1989, when she saw the exhibition of the Swedish artist and mystic, Hilma af Klint: Secret Pictures at PS1.