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

By Ellen H. Johnson

From the Preface:The undeniable fact that lots of recent 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. particularly, the complete background 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 by means of artists attraction a bit the best way drawings do: they create us, or not less than they carry the promise of bringing us, towards the artist’s strategies and emotions and to an knowing of his or her modus operandi; they carry the keys to a mysterious realm. and infrequently they provide 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 not easy lack, in instructing modern paintings, of any unmarried compilation of statements by means of American artists from 1940 to the current.

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Naturally, if you title them something associated with that, then when someone lwks at it: in the literary sense, he says, "'He's a bridge paintery'* you know. lrle;:Yes, SULVESTER: If somebdy were to say to you that they felt that one of the excitements of your painting was this kind of sense of city life that it has , . ) h a u s e : X like the city better than I do the country. wourd that seem to you to be an irrelevant or a relevant respnse to your paintings? SVLVESTER: But KLINE: NO, that's all right, After all I've jived here-I've lived in New 7 .

But X love the activity of accumulating them. I am still giving things away and X am still collecting because that is art aetivib l[ understand and it's s natural. Artists are born collectors, . . The world as such--technology , scienee, &em istr y -has opened w e nues, and we, if we are eentered, can move with it, We take all, of these things and we add s s m t h i n g of our own awareness. The point is, you take that material and you stamp on it your own consciousness. In our times, the new materials like Plexiglas s r Car-ten are just a blessing for me.

It is created by man's imagination in relation to his time. When art exists, it becomes tradition. When it is created, it represents a unity that did not exist before. I feel RO tradition. I feel great spaces. I feel my own time. I am disconnected. I belong to n s mares----no party-no religionno school af thought-no institution. f feel raw freedom and my own identity. The artist must work towards that which he does not know. Whether this is called invention or finding or searching, it must be a projection beyond the given state of art.

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