Blackpaint 174


Frank Lloyd Wright

Documentary on the above on TV- I was amused by the fact that he was traditionalist as far as painting was concerned; he couldn’t make out the work of the Abstract Expresionists at all.  This in itself not funny, I grant you; but the Ab Exes such as de Kooning and Franz Kline vehemently opposed to his design for the Guggenheim in NY (the famous white spiral); they didn’t think it would show off their works properly.  Nice case of the traditionalist attacked by the avant garde for being too innovative.

I’d never heard the story of the murder of Mamah Borthwick and her kids at “Taliesin” in Wisconsin.  Mamah, for whom Wright left his wife and children and set up home in Taliesin, was axed to death with six others by a cook, Julian Carlton, who’d been dismissed.  He cooked their dinner, then poured petrol all round the house, set fire to it and chopped them down as they emerged.  Wright was in Chicago at the time.  So, Wisconsin Death Trip yet again.  To think I spent a couple of nights camping out in that state some years ago…

Wright rebuilt “Taliesin” on the same spot; you’d have thought he’d never want to see the place again.

I was intrigued at the difference between, say, the Guggengeim and his prairie houses and their furnishings; the latter had touches that reminded me of William Morris, those high-backed chairs, for instance.  And the low ceilings, to emphasise the horizontal distances within; I got the impression that the buildings came first, people later.  Unusual that, for an architect.

Guggenheim Bilbao 3 

The huge paintings room

My name for it, obviously.  Huge canvases by “post Ab Exes” (my term too, as far as I know).  It seems to me that the artists on display have only that in common.  Twombly first; “Nine Discourses on Commodus”.  Nine portrait panels in grey, with pink, white and yellow splotches and squirts, writing-like marks, sometimes drips and dribbles and at least one faint, sketchy grid.

Warhol – Marilyns on black, in greens, mauves, yellow too, I think.  150 Marilyns, if you count the top row of half Marilyns.

Yves Klein – huge, blue smash on canvas, done in dry pigment and resin, presumably to stick the pigment on – how was it applied? Naked women’s bodies, perhaps, although no tell-tale signs…

James Rosenquist – Raspberry, yellow and metallic silver-grey airbrush – a metal paint tube, possibly, or maybe toothpaste, with US flag stars.  Vast of course.

Robert Rauschenberg – my favourite painting in the building.  Black, white and grey, photographic transfers, painted on here and there.  The whole thing could have made 4,5 or 6 separate works.  It’s called “Barge”, for no obvious reason – maybe there’s one in it I missed.  From left to right, top to bottom: a screen,  a sketched box, several mosquitoes, an open-plan building, clouds, waterfall, umbrella, American footballers, black water cloud, shower, milky spurts, swimmers, space capsule, army vehicles, Velasquez’ Venus, a “spaghetti” road system top shot, prairie water towers, a parabolic structure, black shower, workers fuelling space craft, drawn box…. and so on.  Look it up on Google.

One more to come from Guggenheim – Rauschenberg’s Gluts, tomorrow.

Should have a new painting by tomorrow – here’s another old one.

Listening to Charlie Jordan’s Hunkie Tunkie Blues.

“Love you, woman, love your husband too;

Got to love your husband to get next to you.”

Blackpaint

13.08.10

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