As the little tempest in a teacup that is some artists on Twitter finding Modern Art Notes Tyler Green’s Art Madness Bracket rather light on works of the post-war art that wasn’t produced by white males, noted art writer Sharon Butler solicited alternative lists that were published on her Two Coats of Paint blog. I submitted my own list as did several other artists, writers, and critics. I found the entire exercise to be very interesting; looking at the other lists I had quite a few “Oh, how could I leave that work off?” moments. In other cases it allowed me to gain a slightly more subtle understanding of another artists own work, development, and interests. I found drawing up my own list to be fairly eye opening; some artists that I hadn’t consciously thought about for awhile wound up having a lot of pieces on my first draft (that I had to cut 3 Bruce Nauman works was a surprise). In other cases I found that artists that were important to me didn’t have a singular work or even series that stood out in proportion to their overall career (or against the other works I listed).
In the end I approached my list as I think the individual writers who rank baseball prospects do. It has to be considered a snapshot of what I think right now, it is not the same list I would’ve produced a year ago and may change even in the near future. It also almost certainly contains a bias towards works that have influenced me in the past and work that I look at and consider in relation to what’s going on in my own studio now. I think this was a consideration for all of the artists who participated. As one of my primary issues with Mr. Green’s list is that focusing on individual masterpieces was one of the systematic biases that lead to so few women making the list, I made much broader allowances than he or his co-jurors did.
1. Pollock Number 32
2. Judd 100 works in milled aluminum
3. Ellsworth Kelly La Combe
4. Joseph Beuys Arena
5. Smithson Spiral Jetty
6. Gordon Matta-Clarke Splitting
7. DeKooning Excavation
8. Frank Stella The Marriage of Reason and Squalor
9. Cindy Sherman Untitled Film Stills *
10. Judd Untitled 1962
11. Serra Belts
12. Nauman South American Triangle
13. Roni Horn Paired Mats – for Ross and Felix
14. Terry Winters Good Government
15. Brice Marden The Grove Group *
16. Gober Silly Sink
17. Richter October 18th *
18. Christopher Wool Apocalypse Now
19. Glen Ligon Untitled (Text paintings) *
20. Paul Thek Technological Reliquaries *
21. Matthew Barney Cremaster 3
22. Eva Hesse Untitled 1970
23. Catherine Opie Untitled (Icehouse series) *
24. Blinky Palermo To the people of NYC
25. L. Bourgeois Spider 1997
26. Felix Gonzalez Torres Untitled (Perfect Lovers)
27. Nauman Corrider Installation (Nick Wilder Installation)
28. Flavin Untitled (Marfa Project) 1996
29. Barry LeVa Continuous and Related Activities
30. Maya Lin Vietnam Veteran’s Memorial
31. Julie Meheretu Goldman Sachs Mural
32. Wade Guyton Untitled 1997 *(kind of)
Works marked with an asterisk point to series or bodies of work that are so closely related that I think pulling out a single work is beside the point.
My last changes were removing Martin Puryear’s Bask in favor of Maya Lin’s Vietnam Memorial and cutting Moria Dryer’s Random Fire. The works that just missed were Ana Mendieta’s Silueta Series, Rachel Whiteread’s House, Bruce Conner’s A Movie, Robert Frank’s The Americans, Christian Marclay’s Video Quartet, and Mark Bradford’s Scorched Earth. Clearly some of these works will be seen by others as more deserving, or “better”, but the point is that they just aren’t to me. I’m not arguing that Wade Guyton’s Untitled is of greater historical importance than Frank’s masterpiece, but The Americans doesn’t hold any interest for me or my practice. On the other hand I still find myself referring back to that painting of an “X” that was run through a big Epson printer, and thinking about how it has changed how I approach ideas of text and touch in my own painting. Similarly, early on I toyed with the idea of adding John Beech’s Make in the last spot on the list. I wanted the end to point towards a new work that had recently affected me and caused me to reconsider a broad swath of the art I was seeing around me every day.
At the top I still have Pollock and Judd. I wanted to put Judd’s Chinati Foundation (the entire Foundation and everything in it) ahead of even Pollock, but that wouldn’t really have been in the spirit of the list or the response to Mr. Green. As it stands, Pollock’s drip paintings in total represent a great deal to contemporary art, and I think one of the major differences between post-war European and American art turns on the different spaces in painting and process he opened up with these works. I can oscillate between Number 32 and Autumn Rhythm, but I prefer the stark graphic quality of the uncorrected black enamel on cotton duck. That it all starts with drawing appeals to me.
It has also been interesting to hear suggestions to what we missed. John Powers noted that Jay DeFeo’s The Rose was left off everyone’s lists. (If women are denied the admission of genius that would “let them produce a singular masterpiece, she’s an excellent example of an opposite bias – she produced that single masterpiece, but is otherwise not considered for not having a more level career.) John Morris pointed out that I missed any reference to street art, and that Henry Darger perhaps should have been listed. I’ll speak to street art at another time, but Darger would’ve presented an interesting case. My own list is remarkably light on figuration (even in the photography), and Darger also raises the issue of “outsider” art. It’s a different angle, and one I don’t have an answer to, but considering everything from his opus as a single work would turn notions of art’s canon on it’s head.
Obviously I’m completely missing Johns, Rauschenberg, Rothko, Guston, Barnet Newman , and Warhol. This exercise has me reconsidering John’s White Flag. (I still think the Ballantine Ale Cans are a fairly lame joke, however.) With the others, I still just don’t come back to them anymore. I think all of these artists produced great works, and they’re works that I love, but they’re not something I relate to day to day anymore. John Powers has written an excellent repudiation of the concept of the masterpiece itself in response to the uproar. Looking over the lists the other artists provided, I think that may point to where artists are going to take art. Less masterpieces and more work is more democratic after all. If more voices is deemed a good thing then maybe shouting down the masterpiece is a good use of breath.