Lee Krasner

#110. Robin Greenwood writes about “The Art of the Real”, Then and Now

1968 MOMA installation of “The Art of the Real”

“Take a giant step…” as the great Taj Mahal once sang… or was it the Monkees: “Take a giant step outside you mind”?

In April 1969, as a young art student at Wimbledon School of Art in London, I went to see a big show of abstract art at Tate Gallery: “The Art of the Real; An Aspect of American Painting and Sculpture 1948 -1968”. This was very new and exciting to me back then, and in its way, as I will explain, it still is.

The show originated and was shown in 1968 in MOMA, New York, where it was devised and directed by E. C. Goossen, and subsequently presented with the help of the Arts Council of Great Britain to the Tate Gallery, London. Here is the opening to Goossen’s introduction:

“To propose that some art is more “real” than other art may be foolhardy. Yet many American artists over the last few years have made this proposal by the nature of their work. They have taken a stance that leaves little doubt about their desire to confront the experiences and objects we encounter every day with an exact equivalence in art. That they are shaping this equivalence by modifying forms inherited from the history of modern abstraction may or may not be an accident. Certainly there seems to be a growing distrust of idealism and its unfulfilled promises. The “real” of today as it is posited by this new art has nothing to do with metaphor, or symbolism, or any kind of metaphysics. It is not the ideal Hegelian essence that Hans Hofmann was invoking several decades ago in his essay, “The Search for the Real”. It does not wish to convey the notion that reality is somewhere else. Neither is it related to the symbolic reality Malevich thought he had discovered when, in 1913, he first isolated his black square on a white field. Malevich indeed had produced a real square, but he employed it as an element in the construction of a precariously balanced, ideal order with which he proposed to bring forth a “new world of feeling”. Today’s “real”, on the contrary, makes no direct appeal to the emotions, nor is it involved in uplift. Indeed, it seems to have no desire at all to justify itself, but instead offers itself for whatever its uniqueness is worth – in the form of the simple, irreducible, irrefutable object.”

The essay concludes five pages later, thus:

“The gradual divorce of the physical means of art from expressionistic associations has been accompanied by a distinct change in attitude towards what art should attempt. Expressionism, even at its most abstract, continued many aspects of representational art, and constructivism, despite its purist look, was basically nostalgic in its search for meaning through traditional methods of composition. The new attitude has been turning art inside out: instead of perceptual experience being accepted as the means to an end, it has become the end in itself. The Renaissance artist laboured over perspective in order to create an illusion of space within which he could make believable the religious and philosophical ideals of his time; the contemporary artist labours to make art itself believable. Consequently the very means of art have been isolated and exposed, forcing the spectator to perceive himself in the process of perception. The spectator is not given symbols, but facts, to make of them what he can. They do not direct his mind nor call up trusted cores of experience, but lead him to the point where he must evaluate his own peculiar responses. Thus, what was once concealed within art – the technical devices employed by the artist – is now overtly revealed; and what was once the outside – the meaning of its forms – has been turned inside. The new work of art is very much like a chunk of nature, a rock, a tree, a cloud, and possesses much the same hermetic “otherness”. Whether this kind of confrontation with the actual can be sustained, whether it can remain vital and satisfying, it is not yet possible to tell.”

E.C.G.

This, I think even in retrospect, was pretty good, and was the start of something important for me about how to make “abstract” art, and how to make it “real”. I had by then already abandoned any connections with figurative painting and sculpture of any kind.

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#39. John Bunker writes in anticipation of “Abstract Expressionism” at the RA

Lee Krasner, “The Eye is the First Circle”, 1960, oil on canvas, 235.6x487.4cm. Courtesy Robert Miller Gallery, New York. © ARS, NY and DACS, London 2016 Photo Private collection, courtesy Robert Miller Gallery, New York.

Lee Krasner, “The Eye is the First Circle”, 1960, oil on canvas, 235.6×487.4cm. Courtesy Robert Miller Gallery, New York. © ARS, NY and DACS, London 2016 Photo Private collection, courtesy Robert Miller Gallery, New York.

“… Like a Tongue to a Loosening Tooth.”

Thoughts in anticipation of the upcoming Abstract Expressionism show at the Royal Academy, 24th September 2016 – 2nd January 2017.

“…It seems that I cannot quite abandon the equation of Art with lyric. Or rather – to shift from an expression of personal preference to a proposal about history – I do not believe that modernism can ever quite escape from such an equation. By “lyric” I mean the illusion in an art work of a singular voice or viewpoint, uninterrupted, absolute, laying claim to a world of its own. I mean those metaphors of agency, mastery, and self-centredness that enforce our acceptance of the work as the expression of a single subject. This impulse is ineradicable, alas, however hard one strand of modernism may have worked, time after time, to undo or make fun of it. Lyric can not be expunged from modernism, only repressed.

Which is to say that I have sympathy with the wish to do the expunging. For lyric is deeply ludicrous. The deep ludicrousness of lyric is Abstract Expressionism’s subject, to which it returns like a tongue to a loosening tooth.”

TJ Clark, “In Defence of Abstract Expressionism,” Farewell to an Idea.

The RA blockbuster autumn extravaganza promises to seduce us with its knock-out line up of Abstract Expressionist paintings in its lofty neoclassical halls. But scrape beneath the veneer of showtime spectacle and the history of this movement is a battleground of interpretation. It is littered with the burnt out wreckage of a thousand blood-thirsty intellectual engagements between titans of art history from the Left and the Right. By comparison, art making now seems to operate in the uncanny silence that has descended on an ideological no-mans land. But first, please forgive a digression…

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