Around Asheville, North Carolina: Black Mountain College

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There were signs of Black Mountain College, such as the one above and the nearby Black Mountain College Museum and Arts Center, all around Asheville. Black Mountain College was a small experimental liberal arts school  from 1933 to 1956, which it closed due to lack of funds. It left a legacy in the arts, through the works of artists like Joseph and Anni Albers, John Cage, Merce Cunningham, Willem de Kooning, Franz Kline, Kenneth Noland, Robert Rauschenberg, and Cy Twombly, who all taught or studied there. Something must have been in the air of the North Carolina mountains, or in the open curriculum, or in the conglomeration of different minds and talents. Arguably, the first Happening occurred here, in a performance under John Cage’s direction, long before the story of it, among other things, inspired Allan Kaprow to initiate his first Happening.

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Not far from Asheville is the site of the former school, whose buildings were largely constructed by the teachers and students themselves. Now given over partially to guesthouses and partially to a summer camp for children, you can still walk around the old grounds. More pictures of it from a beautifully sunny day are below. I think the outdoor frescoes were painted by Joseph Albers, but I’d love to hear if anyone knows for sure.

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Kline & Motherwell

How is it that I knew and loved Franz Kline, but MoMA’s Abstract Expressionist New York was the first time I really appreciated Robert Motherwell?

New York, Franz Kline

No. 7, Franz Kline

Zinc Doors, Franz Kline

 I still have a lot of art historical catching up to do. This whole time it’s as if Robert Motherwell was waiting in the wings for me, so to speak.

Elegy 57, Robert Motherwell

Elegy to the Spanish Republic, Robert Motherwell
Beside the Sea, Robert Motherwell

Beside the Sea, above, is a new favorite of mine. Clearly, I love the stark palette with the bold, expressive brushstrokes. Both artist’s work vary much more than what I’m showing here. Yet the similarity is still distinct, and belies some of the difference that the exhibition stresses.

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The Big Picture: Abstract Expressionist NY at MoMA

One: Number 31, 1950, Jackson Pollock

Abstract Expressionist New York at MoMA is a large show, and I only had time to see ‘The Big Picture,’ a painting and sculpture-centric takeover of MoMA’s 4th Floor. Of course, the typically large Abstract Expressionist canvases, bursting with color, are difficult to hang next to each other even when from the same artist. Rather than playing off each other, they often seem strangled. Jackson Pollock’s One: Number 31 was an exception; this enormous canvas could hold its own in a brawl with just about any work of the era.

Personage with Yellow Ochre and White, Robert Motherwell

MoMA has a treasure trove of Abstract Expressionist pieces, so its great to see them all out. The exhibition wasn’t the art history lesson I had hoped to get from it, showing rooms of individual artists instead of making comparisons. Maybe that’s for the better; it’s rather a lot to take in as it is. Yet it felt lackluster and unfocused compared to some of the excellent shows MoMA has put on recently (Marina Abramovic, William Kentridge). On the other hand, this focus on artists made cherry-picking favorites easy enough: Mark Rothko, Franz Kline, Robert Motherwell, Barnett Newman. Swoon

No.5 / No. 22, Mark Rothko

Chief, Franz Kline

Two Edges, Barnett Newman

I guess the conclusion is: there’s some fantastic art up on the walls of MoMA right now, but you can’t see it very well.

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