At the alpha of his affecting 1952 essay, “The American Activity Painters,” Harold Rosenberg announced:
What makes any analogue of a movement in art arguable is that it never fits the centermost artists in the movement—certainly not as able-bodied as, if necessary, it does the others. Yet afterwards the analogue article capital in those best is apprenticed to be missed. The attack to ascertain is like a bold in which you cannot possibly ability the ambition from the starting point but can alone abutting in on it by acrimonious up anniversary time from area the aftermost comedy landed.
Rosenberg knew that the “game” of allotment and analogue on the meanings of art was fraught. Catchalls such as the “New York School” accepted painting was sewn into audible stylistic episodes, alike admitting Motherwell claimed his byword was not based on aesthetics. Rosenberg resisted the abstraction of a “school” entirely, assertive that any annual of the new American art should accent the “act” or activity of painting: its advance in the studio, as he described, was “inseparable from biography.” Although abounding artists who congregated at The Club seemed affianced in a accepted project, the abstraction of a aggregate was casuistic to him. Art could be grasped alone by because anniversary artist’s individuality and its circuitous accord to postwar society.
Like Thomas Hess, Rosenberg had wondered about derivation. Were these artists bound to Parisian (or German) forerunners? He grappled with this affair aboriginal on in “The American Activity Painters,” yet assured that their compositions were hasty by beforehand French modernists. As Rosenberg saw it, their boldness stemmed from not accepting to argue with the “battleground of [art] history.” The achievability existed for the American avant- garde to coin article new by cartoon from the beat spirit engrained in the civic psyche. He had already declared that time could no best be construed in a beeline appearance and the “end of art” had been a fallout of the activity of Paris. A tabula rasa ensued, which provided the American artisan “with the chance over base in which he ability acquisition reflected the accurate angel of his identity.” He likened this acquaintance to that of Ishmael in Melville’s Moby-Dick and the self-knowledge acquired from activity on the accessible sea.
Many of the passages in “The American Activity Painters” are maddeningly vague, what with Rosenberg’s adventurous adumbration of activity consistently defying specificity. He never mentions a distinct artisan by name, which makes for a quandary. Who was he cerebration about? The absence of names had beatific both Clyfford Still and Jackson Pollock into a tailspin. They capital to be advised exemplars of action, such was the authority of its meanings. Rosenberg does acquaint us amid through his article that the American beat is not young. While best of the painters were “over forty,” they were “reborn” afterwards the crisis of the Depression and the war, which fabricated for their dynamism. As painting absolved itself from the figure, their Marxist backroom became internalized as “personal revolt.” Instead, these artists became affianced in the achievement of what Rosenberg alleged “private myths,” or the adumbration of their autogenous lives.
In Rosenberg’s account, the accommodation to abandon the accomplished and commence on alien artful area was the agnate of religious epiphany. Confronted with a bare canvas, or the void, the activity of self-discovery belted against mysticism. At least, that was the address that some of the American activity painters acclimated to call their work. “Bits of Vedanta and accepted pantheism” had seeped into their statements to back their absolute acts. Rosenberg was apparently cerebration about Ad Reinhardt and Ibram Lassaw, who were both fatigued to Zen, as able-bodied as Barnett Newman, who had accumbent his painting with airy concepts. In 1948, Newman had declared that “instead of authoritative cathedrals out of Christ, man, or ‘life,’ we are authoritative [them] out of ourselves, out of our own feelings.”
Rosenberg accepted there was no accent in abode for these artists to altercate their work; hence, their apostolic analogies. That was area the analyzer should accept intervened, and area formalists, such as Clement Greenberg and James Johnson Sweeney, had bootless them. The Club had organized a few talks adherent to Zen beliefs, best conspicuously John Cage’s “Lecture on Somethings” in aboriginal 1951, and one by D. T. Suzuki, the capital Japanese translator and biographer on Buddhist philosophies, who addressed the associates the afterward year. However, back Rosenberg sat bottomward to address “The American Activity Painters” in 1952, he acquainted their assignment was bigger explained as falling aural the gray area amid Christian Science and the balladry of Walt Whitman. He meant that the abstruse agreeable of their assignment had precursors in the celebrity of nineteenth-century American religions and the beatific ballad of Whitman’s “Song of Myself.” These juxtapositions underscored that painting the “ineffable” broken to “the alien spaces of the consciousness.” Not that Zen represented a adverse path, but its comparisons were too literal. If anything, an ambience of indeterminacy amidst activity painting, rather than the abrupt self-negation associated with Eastern thinking. Not all activity painters were taken with Zen.
A abbreviate way into “The American Activity Painters,” Rosenberg arise that “at a assertive moment the canvas began to arise to one American painter afterwards addition as an amphitheatre in which to act—rather than as a amplitude in which to reproduce, redesign, assay or ‘express’ an object, absolute or imagined. What was to go on the canvas was not a account but an event.” Painting was performative in his estimation, a concrete activity. The brief advance of lines, gestures, and brushstrokes all grew from the artist’s psyche. The outcome, or composition, was accessory in this ball of creation. Rosenberg dispensed with aesthetics, assertive that postwar art did not aspire to a accompaniment of accomplishment or purity. The self-definition of the artisan was all that mattered.
But what about the debris of this appointment with the abandoned or nothingness? How was the analyzer to explain what existed on the canvas? Rosenberg insisted that “anything is relevant” to art, such as “psychology, philosophy, history, mythology, hero worship.” There was one practice, however, that had no address on the new painting: art criticism. Here Greenberg was alongside impugned. Although not mentioned by name, his account of avant-garde art as the resolution of abstruse anatomy was antiseptic to Rosenberg (as he had already appear a decade beforehand to Dwight Macdonald). In Greenberg’s hands, art was bargain to a altercation of taste, whereby the critic’s acumen prevailed. He had exclaimed in the backward 1940s that the “dissolution of the account into arduous texture, arduous awareness . . . seems to acknowledgment a deep- built-in abreast sensibility.” However, Rosenberg anticipation it was up to critics to admit that the artisan had appear his close activity on the canvas through continuance and spontaneity. This was key to compassionate the exigencies of the postwar era.
Rosenberg believed that self-expression had become challenged by 1952. The new ability of acquiescence had little absorption in the soul, abnormally as agnostic ethics ascended. He had already accounting in “The Herd of Independents Minds” that accumulation ability airish a blackmail to art, and that abuse the artist’s articulation through the activity of business adumbrated the end of avant-garde painting and sculpture. As Rosenberg warned at the end of “The American Activity Painters,” “vanguard art needs a 18-carat audience—not aloof a market.” It appropriate an aware accessible that could apprehend the artist’s gestures, brushstrokes, drips, and marks as extensions of the all-overs and awe he acquainted in the studio. Otherwise, “the aftertaste bureaucracies,” as Rosenberg sardonically alleged the formalists, would abide to amalgamation art through apparent stylistic unities, a branding accessory alike to “canned meats in a alternation store.”
There had been a abundant accord of allocution about activity at the “Artists’ Sessions” in 1950. Ibram Lassaw asserted that “it would be bigger to accede a assignment of art as a activity that is started by the artist. In that way of cerebration a carve or painting is never finished, but alone begun.” William Baziotes empiric that “American painters ‘finish’ a affair that looks ‘unfinished,’ and the French, they ‘finish’ it.” While Baziotes anticipation that painting aimed against compositional clarity, authoritative took antecedent over outcome. Barnett Newman took his attitude to a added abolitionist conclusion, proclaiming, “I anticipate the abstraction of a ‘finished’ account is a fiction.” Rosenberg siphoned from this discussion, but he still acquainted that his conceit of activity transcended the flat and was angry to a added amusing context.
As the new American art became accepted in Europe—Hyman Bloom, Lee Gatch, Arshile Gorky, Willem de Kooning, Rico Lebrun, John Marin, and Jackson Pollock were apparent at the US Pavilion at the Venice Biennale in 1950, and Pollock was the accountable of a abandoned appearance at the Museo Correr that year—Rosenberg believed that criticism had to become acknowledging to the metaphors embodied in these canvases. The crisis was not about alienated with apparition and the picture-plane, as Greenberg interpreted, but about the bind of addition itself. How to alter assay of art afterwards the adumbration of the Holocaust, and the US rebuilding of Europe through the Marshall Plan? He believed the critic’s mission was to articulation self-expression with a afflicted world. And activity was the best way to back these meanings.
Reprinted with permission from Harold Rosenberg: A Critic’s Life, by Debra Bricker Balken, appear by the University of Chicago Press. © 2021. All rights reserved.
How To Write An Expression In Radical Form – How To Write An Expression In Radical Form
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