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

By Ellen H. Johnson

From the Preface:The proven fact that quite a bit of contemporary artwork has committed 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. quite, the complete heritage of the altering position of artwork and artists in a democratic, commercial, and technological society stands at the back of the spate of artists’ phrases and the public’s starvation for them—even the various basic public in the market past art’s little circle. Statements through artists allure a bit the best way drawings do: they bring about us, or a minimum of they carry the promise of bringing us, towards the artist’s options and emotions and to an knowing of his or her modus operandi; they carry the keys to a mysterious realm. and occasionally they give us the sheer excitement of excellent examining. Such is the first raison d’être of this book.Its different motivation is academic, and stems from the challenging lack, in educating modern artwork, of any unmarried compilation of statements through American artists from 1940 to the current.

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And they have introduced another dimension, where we can enter into another place. And so, when I'm working with my materials, I recognize that they are accumulation of thought, Car-ten, Plexiglas, all materials are accrrmulation of thought. OTHER ART QF THE FORTIES AND FImIES 45 So by the time you are ready Eor a thing, don't underestimate that there are other minds that are ready for you. For instance, I have been going nuw, for several seasons, to Liypincott's, the foundry up in New Haven. And when I go to the foundry to work, the whole glace is at my dispsal.

HOWdo you want p u r pictures to be read? Are they to be read as referring to something outside thennselws? Do you mind whether they are? Do yctu mind whether they're not? ss:No, ]I don't mind whether they are or whether theyke not. No, if sonreone says, "'That looks tike a bridge," it doesn't bother me really. A lot: of them do. And at what point in doing them are you aware that they might look like a bridge? SYLVBTER: KL~ME:Well, I like bridges. S V L V ~ T E R :Sa you might be aware quite early on?

And so with the painters. The Americans evoke their world of emotion and fantasy by a kind of prsonal writing without the props of any known shape, This is a metaphysical act. With the Europan abstract painters we are led into their spiritual world through already known images, This is a transcendental act. To put it philosophically, the E u r a p a n is concerned with the t r a n ~ e n d e n c eaf objects while the American is concerned with the reality af the transcendental experience* During the fifties and early sixties, de Kooning was by far the most imitated of: the Abstract Expressionists.

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