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

By Ellen H. Johnson

From the Preface:The incontrovertible fact that rather a lot of contemporary paintings has committed itself to the exploration and statement of its personal id is mirrored in, yet doesn't clarify, the expanding volume of writing and speaking at the a part of modern artists. fairly, the complete historical past of the altering position of paintings 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 few of the normal public in the market past art’s little circle. Statements via artists charm just a little the way in which drawings do: they create us, or at the very least they carry the promise of bringing us, in the direction of 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 studying. Such is the first raison d’être of this book.Its different motivation is academic, and stems from the challenging 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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That's the only place where everything is all right. . Sometimes it's the material that takes over; wmetirnes it's me that takes over. I permit them to play, like a seesaw. I use action and eountctraetion, like in music, all the tirne. . You add or subtract until you feel . . the form, the principle, that mmething that makes the house stand; that makes you stand. ". OTHER ART OF THE FORTIES AND FIFTIES *1C3 You see, 1 think that we have measurements in our b d i e s . Measurements in our eyes.

To Franz Kline, mare obviously than to Polilock, Newman, or d e Kooning, '"painting is a form of drwing," His work has often been eompared with Chinese calligraphy, but that is only a superficial resemblance, Kline's black lines are not flat figures resting on a light background, but black areas interacting with white ones; both eonstitute forces that shoot in and out and across space in a sometimes dramatic and sametimes majestic tempo. """ Besides the pwerful drawing, an inherent scale distinguishes Kline3 paintings; even the little 8-by-10-inch ones are monumental, * * * Excerpted from Franz Kiln@, ""An inferview with David Sylvester," Living Anls I ( 2 963) During the time that you were producing black-and-white paintings only---this long series of black-and-white paintings-were you ever using colour and then painting over it with black?

The one content of three centuries of European or Asiatic art, and the one matter of three millennia of Eastern or Western art, is the same ""one significance" h a t runs through all the timeless art of the world. lrenteenth. century is to mparate fine and inteHectual art from manual art and craft. The one intention of the w r d "esthetics" of the eightwnth century is to iwlate the art-experience fmrn other things. The one declaration of all the nlain movements in art of the nineteenth century is of the ""independence" of art.

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