I FINALLY MADE IT

In a few months time I will be in San Francisco before visiting the canyons. One of the highlights of this visit was to discover the Museum of Modern Art, only to be told by my traveling companions that it is closed until 2016.  So the American Icon exhibition in Paris, would I hope satisfy my curiosity as it is part of the Doris and Donald Fischer collection.You may not have heard of this couple but you certainly have heard of  GAP (Jeans) which they founded in 1969.  Their knowledge of art was virtually non existent when they started a collection of fourteen of the most prominent American artists of the 20th century. Most of the artists I knew and as is always the case, some I like, some I don’t. The name Philip Guston did not ring a bell, nor Brice Marden or Richard Diebenkorn. My energy seemed to return as I went into the exhibition - and found it empty.

Alexander Calder floats from the ceiling at the entrance, throwing shadows above and around. A soothing beginning which cannot be said for the next room.

Calder

Calder - Tower with painting 1951

Elsworth Kelly (1923.) Kelly considers that his work are objects in their own right rather than representations of subjects. It’s certainly geometric with a bold use of color. I don’t cross borders to see his but appreciate his  statement

Red White, 1962

Cité 1951

The screams from some of my friends come to my ears as the first painting to be seen in the next room is Cy Twomboly. (1928-2011) « Just squiggles, nothing else ». It’s true but there is so much to see in his work when you look closely. It’s difficult to believe that this is « Second Version to Italy » as there is nothing obvious about the country. When the painting is looked at - bit by bit - there are shapes and faces and people. So much is happening. Frenetic brushwork, messy, scribbled drawings and letter like markings were part of his repertoire leaving his mark on canvas but I understand it is not easy to like.

Cy Twombly - Second Voyage to Italy 1962

Philipp Gaston was a discovery (1913-1980). In the 50’s he earned recognition  as one of the decades leading abstract expressionist painters. Somewhere along the line I must have come across his work as that is one I follow closely. His techniques changed often but what I saw here, I liked. Vigorous, energy and color.

Philip Guston, For M. 1965

Philip Guston, Evidence 1970

Some artists don’t attract me at all, so even if I could take photos, I chose not to. But then I cam’ across Brice Marden (b.1938). He applies paint from a distance with a long brush and then wiping it off at a short range. I looked at the two paintings closely and if his work was completed in such a way, I certainly couldn’t see it.

Brice Marden 6 (Course) 1988

Brice Marden, The Sisterz, 1991-93

Roy Lichentstein (1923-1997) is comic book inspired. We have seen work of his together. Not being a comic book fan, his work doesn’t really inspire me but this one did make me smile. There seem to be so many stories going on and that man is discovering them as he looks through the window.

Roy Lichtenstein (1923-97) - Figures with Sunset, 1978

Of course Andy Warhol (1928-1987) was there. He is definitely an icon of American art having created some of the most provocative and enduring images of 20th century celebrity. His techniques rocked the country, all of which were adopted from hand painting and screen painting techniques. Perhaps not all….

Andy Warhol (1928-1987) National Velvet, 1963

A.W. Tunafish disaster, 1963

Chuck Close (b.1940) fascinates me with his colorful mosaic like portraits. He takes photos of friends and family and when he has the photo he likes, he divides into grids and then paints in the individual grid. The painting changes all the time whether you are close to it or look at it from a distance. Such work must have taken months to complete I would think.

Chuck Close, (b.1940) - Robert, 1996-97

Chuck Close, Agnes 1998

Chuck Close, Roy I, 1994

Chuck Close, part of Roy l

Dan Flavin (1933-1996) created close to 700 unique art works using store bought fluorescent light bulbs and pictures. He introduced this material into the art world in 1963 and it quickly became his trademark. There were only two of his work which frankly I prefer in photos rather than seeing it alone in a gallery.

Dan Flavin (1933-1996) "monument" for V. Tatlin, 1969

Dan Flavin (1933-1996)

Another discovery was Richard Diebenkorn (1922-1993). Described as a figurative painter. These two are supposed to represent the names or cities which are indicated. The description didn’t do the work justice in my book. I liked his work for its abstraction, large strokes and strong use of color.

Richard Diebenkorn, Berkeley 23 1955

Richard Diebenkorn, Berkeley, 47, 1955

Richard Diebenkorn, Oceon Park 54- 1972

By now I really was at the end of my tether. Three exhibitions in a row are just too many these days. The American Icons was a nice event but the earlier American Abstract Impressionists appeal to me more. The new discoveries were well worth it and for them, I am very happy to have made the effort at the end of a particularly hectic morning.

It's a good thing that there are few days in front of  me before "attacking" The Tudors with Marielle.