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12.02.2015
Sam Cornish: Abstract Expressionism was a diverse set of impulses rather than a limited style.
SC: Who was the most significant British artist affected by Abstract Expressionism or its progeny?
DA: A tricky question, because I immediately think of figures such as Patrick Heron, Peter Lanyon, John Hoyland and perhaps Alan Davie. SC: Who do you think is the a€?minora€™ Abstract Expressionist painter most worthy of re-appraisal?
Could you explain why you think Stilla€™s early drawing was of such importance to his later work?
DA: If you look closely at Stilla€™s mature pictorial abstractionsa€”and to study them in their breadth and depth you have to go to Buffalo or, most preferably, Denvera€”you will see that he was capable of extremely meticulously draftsmanship rendered, unusually, with the palette knife.
Do you think an awareness of this context has the effect of making Abstract Expressionism seem an international phenomenon or are its unique (or perhaps a€?Americana€™) characteristics highlighted by contrast? CAP, of course New York didn’t invent Abstraction, or Expressionism, because New York is a city. Insert ImagePost Comment(Will not be published)Use this button to link to an image publised on the web. Transcendental meditation has featured in Hugh’s life, and he uses it to give himself space in an otherwise busy life. The star has been very open about relaxation and meditation, which has become a fundamental part of his wellbeing over the last 20 years.
The first step to learning Transcendental Mediation is to simply attend a free 1 hour introductory talk at our Centres.
If you cant see a time that suits please send us a message and we will schedule a time with you. Instead of thinking of Ab Ex (as I always call it for short) as having a fixed a€?centera€?, it makes more sense to regard this impossibly manifold phenomenon as a shifting set of positions around a core that will always remain elusive.
Furthermore, the a€?drawinga€? in these paintings lies in Stilla€™s supreme command of how to handle edges.
I remember a very good one called Le Grande Geste, curated by Kay Heymer, a few years ago at the Kunstpalast in DA?sseldorf.
Ab Ex was so seminal that even now artists are still reckoning with it in one sense or another. It is a simple, natural, effortless procedure involving a sound or a mantra, and is practiced 20 minutes twice each day while sitting comfortably with the eyes closed.


In order to post comments, please make sure JavaScript and Cookies are enabled, and reload the page. Select your preferred location and session below to reserve a place, oh and feel free to invite a friend! The closest one can come to defining such a crux is that the artists sought to figure states of consciousness. In fact, a composition such as his Symphony No.1, The Transcendental (1941-42), which now hangs in the Metropolitan Museum of Art, was ahead of Pollock in its grand size and fierce primitivist imagery. Still crafted the peripheries of his shapes with an unerring precisiona€”it is these contours that bring the fields of color to life, making them bite into the space of the canvases.
Whether it be Europeans such as Anish Kapoor, Anselm Kiefer or the younger Americans like David Reed and Mark Grotjahn (who, incidentally, is fascinated by Stilla€™s work), Ab Ex continues to cast a long shadow.
I don’t think anyone, or any group of people, can claim to be the sole originators of any artistic breakthrough, being that art is a continuation and requires a build up. It’s many debts flow back to European pre-war painting, especially the spontaneous, bio-morphic Surrealism of Miro and Masson. In this respect, it was closer to what Clyfford Still had already achieveda€”a€?working out West, and alonea€?, as Rothko put ita€”by that date. He paid the same careful attention to the a€?life linesa€?, that is, the incisive verticals, which often soar or plunge through the heights and depths of his compositions.
On the whole, I think the comparisons between American Ab Ex and what was happening in Europe and the East tend to show that Ab Ex was at once ahead of its time during the late 1940s and early a€?50s yet also how the Europeans and Japanese went their own distinctive way. Like Cubism and Pop, you simply cannot write the history of twentieth-century art and, ergo, that of our own age, without it.
To pretend that post-war European painting was so influenced by Pollock or de Kooning I think is to take a very New York-centric view of art history. We are located at 24 Serenity Way Mornington and 90-100 Canadian Bay Rd Mount Eliza and 22 Wantirna Rd Ringwood.
Even a maverick such as Ad Reinhardt upholds this notion, albeit from an oppositional stance, by striving to purge his work of any traces of the hand or, as it were, the heart. Although Scott always followed his own path, there is a largeness of feeling and a depth of colorism to his vision that seems to breathe the spirit, rather than the letter, of Ab Ex. Subsequently, throughout the 1950s Pousette-Dart continued to make many very strong paintings. The source for these graphic effects lies in Stilla€™s much earlier, representational output.


Sure they recognised Ab-Ex painters as fellow travellers, but they already had their own ideas about gesture, chance, field composition or structure and particularly notational or calligraphic sources. Furthermore, Tony Caroa€™s debt to David Smith has made him the most major Brit to have been affected by Ab Ex. In his final decades, when he could be somewhat repetitive, he still remained capable of creating incandescent, mystical canvases such as Time is the Mind of Space, Space is the Body of Time (1982). There, especially in his myriad drawings, pastels, lithographs and oils on paper, you can trace how Still honed his skills as a draftsman. Look at contemporary abstract painting; we are still dealing with these painters and the language of their marks. Ita€™s shallow, formalist, featured in at least one influential study of the a€?movementa€? and should be put to rest for good. When I included this big triptych in my show Abstract Expressionisma€”A World Elsewhere, which inaugurated the Haunch of Venison gallery in New York at Rockefeller Center in 2008a€”it ranked up there with any of the Ab Ex artistsa€™ later work. In turn, it was this figurative basis that enabled Still to inject such variety into his subsequent abstractions. In short, if Francis Bacon had been born in New York and worked there, would we count him as an Abstract Expressionist? By no coincidence, Still held Ingres in high regard: there are some little cut-out reproductions of the Frenchmana€™s drawings scattered among the pages of Stilla€™s books.
Very probably, I thinka€”that is, sort of a transatlantic Willem de Kooning, a master of angst and the loaded brush. Ingresa€™s maxim that a€?drawing is the probity of arta€? could almost be Stilla€™s as well.
By contrast, Ia€™m not suggesting that Pollock lacked any facility as a draftsmana€”merely that it flourished most memorably once he had left behind figuration per se. Nor is there anything in Pollocka€™s oeuvre to quite match Stilla€™s tremendous body of figurative and semi-representational work from the 1920s through the 1940s.



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