Brian Dupont: Artist's Texts

An artist's writings on art.

On Lower Manhattan’s Memory Lane

Walking into Cheim and Read feels like visiting a gathering of old friends. Raphael Rubinstein has laid out a thesis for an alternate narrative of painting in the 1980’s that is not unknown, but is still not as recognized as it could (or should) be.[i] The artists he has pulled together all sought a way forward for the medium once the project of modernism collapsed into the late Sixties singularity of Minimalism and Conceptualism and threatened to obliterate it.[ii] The primary historical narrative has painting starting to find its way back with the new image painters, but only managing to reclaim the stage with the emergence of the bad boy neo-expressionists, who seemed to get by on brash youth and an injection of wall street capital that also (not coincidentally) supercharged the market.[iii] But to a man[iv] they were ultimately much less influential to the practice of painters going forward; if there is a hopeful lesson to be found here, it may point to the superficiality of immediate market success, so frustrating to watch from the outside, may ultimately be very limited in its long term historical affect. By contrast the painters of Reinventing Abstraction have had a much deeper and far reaching influence. They were known as painters’ painters[v] even as they were emerging, and as Postmodernism became less of novelty and was assimilated into historical perspective they had more influence as younger artists who found the personal language they employed provided a much more expansive arena in which to operate and find their own way forward.[vi] A certain part of this may lie in the versatility and depth of abstraction as a new[vii] visual idiom, or it may be as simple as the right group of artists intersecting in the right time and place and they just happened to embrace the currents of recent practice. That critical discourse or the market did not immediately embrace them should not disguise the breadth of their accomplishments.

Rubenstein sees a precedent for Reinventing Abstraction and its careful (re)examination of history in the Whitney Museum’s exhibition High Times, Hard Times: New York Painting 1967 — 1975. A show for which David Reed served as an advisor[viii], it showed the breadth of painting practice that flourished in the lofts of lower Manhattan in the wake of minimalism and the ascendance of conceptual art. The artists in lower Manhattan continued to paint and explore ideas opened up by the color field and minimalist painters that were their neighbors, spraying the paint or starting to take its material supports apart to explore the underlying sense of shape. What was conspicuously absent from High Times, Hard Times was an integration drawing as method of creating a subjective psychological space within the painted field. Where the artists of High Times, Hard Times experimented with the possibilities inherent in the varied syntax of the painting as an object[ix], the artists of Reinventing Abstraction let individual facture of the hand reintroduce drawing into their work.[x] Any two marks set beside each other begin to create space and therefore a degree of illusionism and reference; from there it is a short step to the reintroduction of personal forms and subjective symbolism within painting, and the complete rejection of the purity that seemed to be the endgame of modernism. Stuff was back in advanced abstract painting in a way it hadn’t been since the heydays of de Kooning and Guston.

The entire first, smaller room at Cheim and Read brings the reliance on drawing inherent within each work into sharp focus. The works of Terry Winters, Carroll Dunham and Bill Jensen of the time all made use of biomorphic and natural forms[xi] that emerged from a seeming collision scientific imagery with a rediscovery of the pleasures of paint. The combination of painterly process and forms derived from a subtle examination of nature became something of a trend itself within the early Eighties; these three works form a starting point to trends that branch out and carry through the exhibition as a whole.

Winters’ project has always relied very heavily on drawing, and the composition of Point is recognizable as a single piece of paper that fits multiple studies writ large. The scale of his paintings sometimes disguise the affinities they share with the scientist’s notebook.[xii] Leonardo left codices filled with similar drawings that mapped his thought process across the paper, and a number of more recent examples of such studies are currently on view in the WMAA’s show of Edward Hopper’s drawings. The primary forms are not rendered so much as built out of strokes of paint. In some areas Winters employs a heavy black line that reads almost as charcoal drawn over the paint; other areas are scrubbed and washed away in a veil of pale color; it is a testament to his technical understanding of the complexities of his material that the picture is in such immaculate condition after more than 30 years, with little cracking or unintended surface incident that usually comes with pushing the limits of paint to such extremes. Winters’ building up of his forms echoes Stanley Whitney’s gestural brush marks of paint weaving into shapes that oscillate across the surface. It is tempting to see these loose knit forms as being slowly subjected to increasing gravity and further coalescing and refining themselves into the careful grids of colored blocks he is now known for.

Dunham’s composition is roughly determined by his plywood support. The disparate elements are connected and reconciled through a sort of doodling exquisite corpse; tubers and root forms extend from knots and shift in volumetric space as they cross flat bands of color dictated by the veneer grain. The flat demarcations of color carry through in the next room in David Reed’s transparent overlays across enlargements of swirling gesture. The precision of design via demarcation carries through in Jonathon Lasker’s deadpan arrangement of shapes and Jack Whitten’s inscribed geometry and flat rectangles of color.

In The Tempest Jensen’s spore like form floats in a similar space to Winters’ but he takes the primacy of his material further, troweling his paint onto the canvas and unifying the surface under a heavy impasto. Where Winters’ orchestration of surface variation plays to an analytic construction of the image’s components and mostly respects the distinction between figure and ground, the directness of Jensen’s masonry approach reveals a greater emotional subjectivity. Drawing from earlier symbolist artists such as Ryder, Hartley, and Dove, Jensen builds a space that not only holds the form, but shifts around it and seemingly moves through it; figure and ground oscillate according to shifting perceptions with only the drawing of the erstwhile subject to keep the delineation in check.

This tension between material process and drawn subject continues through Reinventing Abstraction: Joan Snyder both renders a landscape and builds it out of furrows of paint. In Beanfield with Music the landscape imagery reinforces the physical sensation conveyed by material presence. Whitten juxtaposes a painterly field of tar-thick acrylic combed through to expose underlying areas of electric hue.[xiii]  His frenetic scribbling, scratching marks stand in sharp contrast to the precision of his geometric constructs. The emotional resonance of his subject grows out of the tension between the opposing aesthetic modes in his employ. Louise Fishman’s calligraphic swirl is as concrete as anything in the exhibition; her glyph-like form loops around and against the limits of her canvas, positive and negative space laboring against mutual gravity. Where Fishman concentrates her material into a small tightly controlled space, Pat Steir thins and spreads hers in liquid loops of expansive gesture across the largest canvas in the exhibition. Her color is tough and solid, reminiscent of stone and rust, but her thinned pigment sprays from her brush in layers according to the force and direction of her whole body. In all of these works the artist’s gesture is yoked to description of a form or shape that sits within a specific space.

When Rubinstein investigates abstraction, it is inevitable that the discussion will turn to the current trend he named as Provisional Painting, but this is not an exhibition dedicated to genealogy. Despite the reach of his idea, either to young artists working today, or much further back through historical precedent, the artists in this show would almost unilaterally disavow that their work aimed to be anything less than a complete, coherent statement.[xiv] In parsing abstraction’s contribution to painting one finds the roots of Provisionalism run deep, but that depends on how much mark making and material, brush stroke and painterly gesture read as specifically “provisional” rather than inherent elements of the medium that a particular painter may choose to employ. Does the exposed support or thin materiality of color field painting (or before that Rothko and Newman) mark their work as provisional?[xv] Likewise de Kooning’s avoidance of resolution?[xvi]

Gary Stephan’s painting employs one of his signature template forms, but sets it hovering in a nocturnal, sfumato atmosphere. The template itself is built out of thickly glazed layers of paint, and merges with a deep space rendered in transparent washes. The surface eschews excessive brush strokes in favor of a straightforward approach that is nothing if not traditionally finished. Nozokowski’s forms are reminiscent of Stephan’s (so much so that I was momentarily confused that this might be Stephan’s contribution), but again the forms have crisp edges and the layers of shape and color attest to a complete and contained pictorial logic. David Reed takes the limiting of facture even further; his painting evidences the meticulous and labor intensive process his work is known for, with layers of paint repeatedly sanded smooth as the image of a gestural Rococo brushstroke is transformed and reinterpreted in a manner such that the artist’s hand is turned into a method of mechanical reproduction. The surface of the painting is a tromp l’oeil simulacrum of its source material; the subject of the act of painting is set at a reserved original distance.

Elizabeth Murray and Lasker both provide paintings that might appear provisional, but require a greater amount of planning than such a label suggests. Both work from a plan and preparatory drawings rather than just recklessly diving into a painting. Despite the cartoonish simplicity of Murray’s composition in Sentimental Education, her shaped supports require precise and labor intensive construction. With the foundation of her picture being so specific idiosyncratic shape it is a testament to her skill as a painter that the work appears so fresh; the scumbled surface, hazy light, high-key colors and jigsaw shapes could easily come off as the mere scaled up production of smaller statement, but instead read as an improvisation of the highest order. On the other hand, that Lasker’s Double Play looks like a production diagram executed deadpan is precisely the point. Every element is as carefully orchestrated as politician’s speech, with even the thick, expressively painted shape coming off as rehearsed instead of spontaneous. His practice casts a critical eye on the work of his peers, but such assessment indicates careful consideration, not any sort of “lack of finish,” “self-defeating strategies,” or “dandyish nonchalance.”[xvii]

On the other hand Stephen Mueller and Mary Heilmann both engaged with concerns we now call “provisional.” In Delphic Hymn Mueller arrays each element casually across the canvas; where Lasker follows a strict design, Mueller gives the impression of arranging things he just happened to stumble across. Drips, overspray and tossed off daubs commingle with areas of hard edge geometry. However his work continued to evolve, and Delphic Hymn now looks like a transitional painting to his mature work. It points to how he would continue to approach the organization his compositions, but doesn’t give away how his forms would tighten into striated symmetry and his paint would combine hard edges and electric atmosphere. Heilmann’s Rio Nido certainly seems more provisional than the other fourteen paintings in the show, yet the label is hardly a slight. There is a playful simplicity in the painting that is emblematic of her mature practice. Blocks of bright, brushy color are overlaid with a dynamic black shape that is “punched” through with holes so that the original colors shine through. Whatever polemic it might subsequently be tied to does not alter its status as a strong statement by individual artist pursuing her own concerns first and foremost. The same can ultimately be said for each painting on view.

The exhibition itself strains at the limits of a single work per artist and the confines of the gallery. There is enough depth to the subject for a deeper museum survey, but that would require a different venue; as one moves through the spacious hanging in the front galleries, the large paintings by Whitney, Whitten, and Snyder feel constricted in the rear spaces. It is hard not to see the art world’s hierarchies coming into play, with the bigger names associated with prestigious retrospectives accorded more breathing room. At the same time I wouldn’t want to see a single painting cut, and the pairings and unexpected sightlines of the hanging serve to reveal unexpected relations between works. These are paintings that I’ve (and I suspect many others) have spent years looking at, and if they don’t all quite fit quietly and seamlessly together, that only makes the party that much warmer and more inviting.

[i] As stated in the catalog essay The Lure of the Impure.

[ii] But not really; artists never stopped painting so the various recurrences of “the death of painting” are always more a matter of critical or theoretical contrivance than artistic practice. This is certainly held up by the perverse practice on the part of artists to find any small corner of art history that has been debased or ignored and start gleefully playing around with supposed retrograde concepts.

[iii] Rubenstein’s historical discourse includes some frank discussion on the influence of the market in shaping critical reception.

[iv] And they do seem to be entirely men. Their seems to be much more diversity among groups of artists and movements not awash in money.

[v] I don’t think anyone every looked to Schnable or Salle for virtuoso performances in pigment, and the critical discourse that surrounded their work seemed to focus on pastiche and theory rather than formal analysis (the deficiencies of which needed to be explained away more than anything).

[vi] My experience was that as I became committed to abstraction, painters like Winters and Jensen provided touchstones that applied to my own sensibility and interests where people interested in employing figuration found deeper sources from which to work. The repercussions of such influence is that it spawns legions of pale imitations, and I certainly made my own fair share of watered-down Terry Winters paintings. Artists can’t be blamed for this aspect of success, but the hope must be that eventually that influence grows farther from the source to become its own thing, a different practice. The lessons of the Neo-Expressionists don’t run nearly as deep, and little wears thin more quickly than an art school enfant terrible.

[vii] At least relatively speaking when compared to the vast history of representation in western art.

[viii] The cross-pollination between High Times, Hard Times and Reinventing Abstraction is extensive; aside from Reed, Fishman, Heilman, Murray, Snyder, Whitten, and Steir were included in Katy Siegel’s exhibition. This is probably another point of evidence to just how much smaller the art world in New York was three decades ago. My own suspicion is that the amount of money circulating through art world helps determine its size, and before the wall street boom of the 1980s resources were much more scant.

[ix] Robert Ryman turned such experiments into the subject of his entire practice, but the artists focused on in High Times, Hard Times were not nearly so programmatic.

[x] Walking through the exhibition, I kept thinking back to Bernice Rose’s group exhibitions that focused on drawing, Drawing Now and Allegories of Modernism. I was very surprised to learn that only Winters and Steir were included in the later show; it goes to show that no matter how obvious Rubinstein’s thesis may seem now, the attention paid these artists has changed substantially in the intervening decades.

[xi] The introduction of this subject matter brought “nature” back into the discourse of painting without succumbing to either the saccharine conventions of Sunday plein air painting or any need to resort to ironic reserve in order to be taken seriously. It continued the trend where serious art needed to evidence a “rigor” of approach while opening up the possibilities of what might be deemed “appropriate” subject matter by maintaining a universal scope of subject.

[xii] These similarities are more evident in his drawings and prints, which are much closer in scale to such sources.

[xiii] These subtleties are difficult to capture up in reproduction; they barely register in the catalog illustration where they read as the white of the canvas priming. That photographs only provide close approximations of a painting’s surface reality is a problem that afflicts many of the works in Reinventing Abstraction. I am beginning to suspect that this is a trait shared by most of the more interesting paintings that are made where the medium is so important to the formation of the image and the varied possibilities of paint are fully exploited.

[xiv] Rubinstein admits as much, declaring that the stated (and decidedly non-provisional) intentions of the artists shaped his approach to the exhibition.

[xv] One could see the potential for a division between the otherwise very similar art of East Coast abstractionists and the “Finish Fetish” artists of the West Coast.

[xvi] He famously struggled with any resolution to a picture, and the spaces his women inhabit after the late ‘40s are largely indeterminate vehicles for painterly gesture as much as descriptions of place.

[xvii] As described in The Lure of the Impure.

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