Download American Artists On Art: From 1940 To 1980 by Ellen H. Johnson PDF

By Ellen H. Johnson

From the Preface:The undeniable fact that rather a lot of recent artwork has committed itself to the exploration and statement of its personal identification is mirrored in, yet doesn't clarify, the expanding volume of writing and speaking at the a part of modern artists. really, the complete background of the altering function of artwork and artists in a democratic, business, and technological society stands in the back of the spate of artists’ phrases and the public’s starvation for them—even a number of the normal public available in the market past art’s little circle. Statements through artists attraction a bit of the best way drawings do: they carry us, or not less than they carry the promise of bringing us, towards the artist’s recommendations and emotions and to an knowing of his or her modus operandi; they carry the keys to a mysterious realm. and infrequently they give us the sheer excitement of excellent analyzing. Such is the first raison d’être of this book.Its different motivation is academic, and stems from the tricky lack, in instructing modern paintings, of any unmarried compilation of statements by way of American artists from 1940 to the current.

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It has been attempted for many years now; farm has broken. But then another form has come out of that broken form. It is not formless. And even formless has a form. . Of course the Abstract Expressionists started in Mew York. . Seeing those high risers, bigger and bigger and bigger . yclu couldn" think of liitle paintings or little pieces. And I also never wanted to make a piece that they put on a taMe for decoration. . No prior pieees, I didn"t want that, This is what X have lived in. When you think that my whole adult life almost, summer and winter, I was here .

Xn 1953, on Clement Greenberg's suggestion, Louis and Noland visited Welen Frankenthaler's studio, where they were deeply affected by her work, in particular Mozzntaifis and Sea, (p. Ss), painted. the year before when she was twenty-thee years old. In it Frankenthaler used paint as a stain into the canvas to beeonle one with it, not as a layer on top of it. Thereafter, Morris Louis p a i n t 4 his pictures by pouring thin washes of acrylic c o l ~ r sover unstretched canvas, which he tilted to control the flow and stain of the paint.

Of course, we have lived with w a d through the ages: the furniture in the houw, the Asors of the houses. There was a time be-fore cement when the sidewajks were made of wood. Maybe my eye has a gteat memory of many centuries. And maybe there's something a b u t wood that is closer to the feminine, too. . Different ~ o p l ehave different memories, too. Some have memories for words, some for action---mine h a p p n s to be for form. Basically, my memory is for wood, which gives a certain kind af form-it isn't tloa hard and it isn?

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