By Ellen H. Johnson

ISBN-10: 0064301125

ISBN-13: 9780064301121

ISBN-10: 1429484969

ISBN-13: 9781429484961

From the Preface:The proven fact that a lot of recent artwork has dedicated itself to the exploration and statement of its personal identification is mirrored in, yet doesn't clarify, the expanding volume of writing and conversing at the a part of modern artists. particularly, the full historical past of the altering function of artwork and artists in a democratic, commercial, and technological society stands in the back of the spate of artists’ phrases and the public’s starvation for them—even a few of the normal public available in the market past art’s little circle. Statements by means of artists attraction a bit of the way in which drawings do: they convey us, or a minimum of they carry the promise of bringing us, in the direction of the artist’s concepts and emotions and to an knowing of his or her modus operandi; they carry the keys to a mysterious realm. and infrequently they provide us the sheer excitement of excellent analyzing. Such is the first raison d’être of this book.Its different motivation is academic, and stems from the challenging lack, in educating modern paintings, of any unmarried compilation of statements via American artists from 1940 to the current.

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They are all statements of my identity and come from. the constant work stream. . I belong with painters, in a sense; and all my early fxiends were painters beeause we all studied together. And X never conceived of myself as anything other than a painter because my work came right through the raised surface and color and objects applied to the surface. Some of the greatest contributions to sculpture of the twentieth century are by painters, Wad it not been for painters, sculpture woutd be in a very sorry position.

Nature is a great organized thing, an intelligence in itself. But when that's filtered through the human mind, it becomes another thing. I identify with one, but I work a Iittle bit more through the other. Of course, we have lived with w a d through the ages: the furniture in the houw, the Asors of the houses. There was a time be-fore cement when the sidewajks were made of wood. Maybe my eye has a gteat memory of many centuries. And maybe there's something a b u t wood that is closer to the feminine, too.

And if the work is good work, it is built on these laws and principles that we have within ourselves. . I don't say I'm born with a perfeet eye, but I'm born with the rightness of my k i n g . 1 have a mind for what I need. That's s h y I can du so much. I just don't have any trouble. ""So I restrain myself from saying it, But I am sure, Let's face it.. . Well, I knew X had it, and I also knew I had the energy of many people. I'VE! always had it. So I'm pdific, to begin with; but I'm also prolific b c a u s e 1 know how to use time.

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American Artists On Art: From 1940 To 1980 by Ellen H. Johnson

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