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

By Ellen H. Johnson

From the Preface:The indisputable fact that a lot of recent paintings has dedicated itself to the exploration and statement of its personal identification is mirrored in, yet doesn't clarify, the expanding quantity of writing and conversing at the a part of modern artists. fairly, the total heritage of the altering position of artwork and artists in a democratic, commercial, and technological society stands in the back of the spate of artists’ phrases and the public’s starvation for them—even many of the normal public in the market past art’s little circle. Statements by means of artists charm a little bit the way in which drawings do: they carry us, or a minimum of they carry the promise of bringing us, toward the artist’s ideas and emotions and to an realizing of his or her modus operandi; they carry the keys to a mysterious realm. and infrequently they provide us the sheer excitement of fine studying. Such is the first raison d’être of this book.Its different motivation is academic, and stems from the complex lack, in educating modern paintings, of any unmarried compilation of statements via American artists from 1940 to the current.

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By Ellen H. Johnson

From the Preface:The indisputable fact that a lot of recent paintings has dedicated itself to the exploration and statement of its personal identification is mirrored in, yet doesn't clarify, the expanding quantity of writing and conversing at the a part of modern artists. fairly, the total heritage of the altering position of artwork and artists in a democratic, commercial, and technological society stands in the back of the spate of artists’ phrases and the public’s starvation for them—even many of the normal public in the market past art’s little circle. Statements by means of artists charm a little bit the way in which drawings do: they carry us, or a minimum of they carry the promise of bringing us, toward the artist’s ideas and emotions and to an realizing of his or her modus operandi; they carry the keys to a mysterious realm. and infrequently they provide us the sheer excitement of fine studying. Such is the first raison d’être of this book.Its different motivation is academic, and stems from the complex lack, in educating modern paintings, of any unmarried compilation of statements via American artists from 1940 to the current.

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Mean that I retain those. What 1 try to do is to create the painting so that the overall thing has that particular emotion; not particularly just the forms in it. KLXPITE: NO, I'm S Y L V ~ T E R : But you d o try to retain a certain emaiCion in the overall thing? ) An emotion you might be able to name while you are painting it? KLZNE: k s , at times, yes. you might do something in a painting because you wanted to preserve a particular brooding quality? S Y L V E ~ R That : T think it has to do with the movement, even though it can be statie.

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? too soft. Just ta show you my relationship with woad, X was having a guest exhibition-this was in the IQMs--and the dealer called me with great excitement and anger.

This distinction is important, for when Mr. , that an ideological dogma exists here rather than that the work of these men has given them ideological or historical psition. It is precisely to make this latter p i n t that I have an aecasion entered the critic's realm. " The "among others" in Mr. Grecnberg" phrase is significant because it implies some widespread prevalence, that it is not a freak accident. When a n u m b r of American painters are found using the abstract idiom in a fashion that is unique, that is unfamiliar any place else, I am convinced that it indicates a singular fact in American painting of historic importance.

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