![]() ![]() Being in the same place at the same time is important for artists, wherever they come from. I think it is just as interesting to think about what made CoBrA different from American Ab-Ex as it is to discuss their similarities. When I think about a global art world I’m kind of torn. Maybe his skin color had something to do with it? He simply wasn’t noticed or collected in the same way. Lewis was a first-generation American Ab-exer and not actually an outlier, born in NYC, studied at Columbia University, exhibited with Tobey and Rothko and worked in the WPA. It is one of the oddest paintings I’ve ever seen. From the first glance and after studying it for a while, it always seems to be coming into focus and never does. 19” (1954) and “Untitled” (1950)Īnd Lewis’ Reflected Moon fits the theme while doing something completely different. However, there are two beautiful Guston drawings: Phillip Guston, “Drawing No. Prince’s show provides an interesting rejoinder to Non-Brand, the theory that artists explore an idea together.Ī problem in the show itself is that all this scaffolding from around the world doesn’t look that good together-proves the point but has a flattening effect.Īnd the amuse bouche of Stuart Sutcliffe-two paintings, though they do have a scaffold, are later and don’t add anything to the discussion. Inventions in painting have always travelled, well before the internet and before photography too. ![]() It is a very interesting idea-it had never occurred to me that it might be a compositional invention from that time, but it must be. “Why is it that similar compositional formats, like a kind of horizontal scaffolding, appear across cultures and artistic movements active during the 1940s and ‘50s?” Among many other “rhetorical” (as he puts it) questions, he asks, Richard Prince’s primary aim in Four Paintings Looking Right is to show that postwar abstraction was a worldwide phenomenon and not an American invention. Georges Mathieu “Untitled” (1957), Georges Mathieu, “Black and White Abstract” I appreciate the Guggenheim for not pretending the past was other than it was. (See, we do have “Others” in our collection!) and it had great artists and great works but no coherency. Last summer (or was it the summer before?) MOMA put up a hastily assembled show of women artists, black artists, etc. May I also suggest that you visit it now-even though it will be up until January? That way you can go back with friends as I plan to do and discuss the various strategies that the artist/curators have employed to sift through the collection. Such an interesting show that I’ve decided to cover it in two parts. (Isn’t this one of the most beautiful installations ever? I’ll get to it last.) Carrie Mae Weems, “What Could Have Been”, installation shot ![]()
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