This morning on Modern Art Notes, I detail a key part of the relationship between Clyfford Still and Barnett Newman. Still famously claimed that Newman stole his “line of force,” the compositionally dominant vertical that Newman called the “zip” and claimed as his own.
So how did the line of force or the zip happen? Does it matter who was first? And more importantly, what can we learn about the development of American abstract art from this story?
The first guest on this week’s Modern Art Notes Podcast is top abstract expressionism scholar David Anfam, who among other responsibilities is the adjunct curator of the new Clyfford Still Museum. Download this week’s MAN Podcast to your PC/mobile device. Subscribe to The Modern Art Notes Podcast via iTunes or RSS. See images of artworks discussed on the program.
Image top: Clyfford Still, PH-247, 1951. Collection of the Clyfford Still Museum, Denver. Image below: Barnett Newman, Cathedra, 1951. Collection of the Stedelijk Museum, Amsterdam.
Source: justanothermasterpiece
Do you know Pat Steir?
Source: artsjournal.com
Joan Mitchell.
(via Cheim & Read - Exhibition - Joan Mitchell - November 3, 2011 - January 4, 2012)
Source: cheimread.com
Source: archiveofaffinities
Always good to be working in the studio. Painting. #imakeart
Source: dailyimprint.blogspot.com
Josette Urso Artist Talk @ 110 CHURCH gallery
Urso will give a presentation discussing her current involvement with oil painting, drawing, and collage, while also commenting on the evolution her work has taken.
She has shown widely in the United States and abroad in galleries, public institutions, and museums including the New York Public Library, the Drawing Center, and the Bronx Museum for the Arts. She has had numerous grants and residencies including those from the NEA, Basil H. Alkazzi and the Pollock-Krasner Foundation as well as the Camargo Foundation, Ucross and Yaddo.
Statement : Here and Then
Teetering between urban and natural subjects, I make exploratory paintings and drawings working directly and urgently in response to my immediate environment. My approach involves “moment-to-moment” extrapolation governed by intuitive leaps of scale, color and wayward geometry. Contrasts and cross-fertilizations unfold and are cumulative, non-linear, free flowing and interpretive. Space becomes an ambiguous and malleable substance and I delight in its manipulation as I meander acrobatically in a kind of gymnasium of convoluted mark making and image collision. All along the way, I engage the known as well as the unknown in unforeseen ways.
For me, drawing and painting parallel the act of seeing and are the most direct links to private time with the physical world. Despite the urgency of my process, as I work, time still slows down. My work becomes a record of this exploration and a reflection of my inherent energy and reason for living.
— Josette Urso, 2012
installation images ©2012 Sarah Bloom
