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Bulletin Oberlin College Spring Is -****• ** .?pg**&»' :• 1EMORIAL ART MUS BULLETIN OBERLIN COLLEGE SPRING IS ALLEN MEMORIAL ART MUSEUM BULLETIN VOLUME >CXVIlX NUMBER 3 SPRING 1970 Contents Preface 106 Reflections on the Work of Charles Close, Ron Cooper, Neil Jenney and Other Contemporary Art by Athena T. Spear . 108 Three Young Americans: Catalogue . 135 Art in the Mind ...... 138 Notes Sam Gilliam — Artist in Residence . 141 Oberlin Friends of Art . 142 Accessions . 143 Published three times a year hy the Department of Art of Oherlin College, Oberlin, Ohio. $6.00 a year, this issue $2.00; mailed free to members of the Oberlin Friends of Art. Printed by the Press of the Times, Oberlin, Ohio. Prefcace Organizing again the biennial exhibition of "Three Young Ameri­ cans," now an established tradition in this museum for two decades, compels one to reappraise its validity. Initiated at a time of intense quest for new talents and eagerness of the public to be informed on the latest developments of contemporary art, this exhibition did partly intend to present promising young artists. Succeeding occasionally in the fifties (Ray Parker was shown in 1951, Diebcnkorn in 1955 and Frank Stella in 1959), in the sixties it included almost exclusively names still actively present on the art scene. While a few of the artists were already well-known when exhibited at Oberlin (Joan Mitchell and Rob­ ert Rauschenberg in 1963), the rest of them were at the beginning of their careers: John Chamberlain, James Wines and Tom Doyle in 1961; Claes Oldenburg in 1963; Larry Poons, Neil Williams and Charles Hin- man in 1965; Bruce Nauman, Alan Saret and Jack Krueger in 1968. However, the search for new talents has lately become so acute that some of the artists, relatively unknown when selected for our ex­ hibition (months or often a year in advance), have become greatly sought after by the time they are shown at Oberlin. For a number of the young artists, still at an early stage of their development, this constant strain is too overpowering and they soon become exhausted. As Robert Morris pointed out in a recent article: "At the present time, the culture is en­ gaged in the hostile and deadly act of immediate acceptance of all new perceptual art moves, absorbing through institutionalized recognition every art act."1 Unfortunately, in a democratic and overpopulated so­ ciety where more and more people become interested in art, this situation is inevitable. And in the technological civilization of today which de­ velops with increasing speed, attitudes and consequently art movements change rapidly. Objective as one may wish to be in his judgment, one also has to be alert and involved, in order to keep understanding the problems and interests of new generations. The main purpose of "Three Young Americans" is to show to Oberlin students, who live far away from the great artistic centers, the most important currents of today's art as represented by a few individuals of quality. In addition to helping our students understand an aspect of their world, the museum also wishes to encourage young artists by offering them a small step on their way to general recognition. At times 106 we choose to show three artists representing the same prevalent move­ ment. In other instances (like this year), it seems preferable to select individuals whose work is directed towards totally opposite poles. Three men is a small number, limited by our space and means; two years is a long time in contemporary development. Hard as one may try, one can never offer a coherent history of contemporary art in small biennial exhibitions. The only thing one can hope for is to exhibit stimulating works of art, and to attempt to interpret them within a larger context.2 A.T.S. 1 R. Morris, "Notes on Sculpture, Part 4: Beyond Objects," Artforum, VII, 8, April 1969, p. 54. 2 I should like to express my deep gratitude to Professor Ellen H. Johnson who generously discussed with me numerous issues concerning this exhibition. 107 Reflections on the Work of Charles Close, Ron Cooper, Neil Jenney and Other Contemporary Art Two or three years ago, even the most perceptive and informed ob­ server of contemporary art could not have predicted the present situation of the art scene. In painting (with the exception of a few individualists like Larry Poons), the minimal and systemic modes, both predominantly "hard-edge," led one to believe that canvases would soon be designed by the artist and executed industrially (as minimal sculpture already was). Shaped canvases, more and more three-dimensional and object­ like, were leading painting towards relief. In sculpture, the situation was decidedly more lively and innovative. While the minimal idiom had reached its full expansion, a new, seemingly antithetical formal language — "process" sculpture — was being born. Its main younger pro­ ponents had already reached a personal style by early 1968; but con­ sciousness of a new movement was attained only towards the end of that year, with Robert Morris' exhibition "9 at Castelli" at the gallery's warehouse in northern Manhattan. Conceptual art, initiated early in the century by Marcel Duchamp, had been reappearing since the mid- fifties in some work of Rauschenberg, Johns, Yves Klein, George Brecht and Robert Morris. But although a number of younger artists turned to a conceptual idiom after the mid-sixties, most of the work still retained a more or less pronounced visual aspect. However, the further changes that have occurred in the art scene during the last couple of years are so numerous and drastic that they may well have considerable conse­ quences for the future of art altogether. Although still more tradition-bound than the other visual arts, paint­ ing has had nonetheless an unexpected renewal in two different direc­ tions. There has been a fresh interest in representational images, with a wave of painters often grouped under the name of "new realists." And on the other hand, there is a larger group of young abstract painters who share a soft, fuzzy imagery, pastel colors and an involvement with new painting techniques. One can no longer say that painting may be exe­ cuted by factories in large editions. The individual's hand is very much present, although often invisible, allowing the material to be the pro­ tagonist. 108 While neither group is a tightly organized movement, "new real­ ism" is by far the looser; there is the greatest variety of intention and quality among its members. Some are older artists faithful to representa­ tion, very few of whom (like Fairfield Porter) have sustained a certain quality and validity. Among the younger artists, again some have adopt­ ed naturalistic imagery out of traditionalism, and few (e.g., Lowell Nes- bitt and Bob Stanley) have managed to make a pertinent statement in the context of contemporary art. Outstanding among the young realists is Charles Close, one of this year's "Three Young Americans." Like a number of other realists, he paints after photographic images, not after real objects; but he uses his images in a totally unprecedented manner. Earlier in his career, Close was disturbed by the fact that the eye can focus on only one object at a time, the surrounding area being al­ ways blurred (peripheral vision). Yet, in painting it is difficult to re­ produce that phenomenon, for every time that the eye moves to a differ­ ent object or area, a new field comes into focus. Capturing an object as the camera sees it with a given diaphragm opening and a defined depth of focus is, so to speak, freezing the eye and being able to im­ mobilize a segment of reality at one moment of vision. The camera, like our eye, translates spatial depth, or rather distances, in varying degrees of focus. The parts that are closer or farther back than the focusing point (or even farther on the sides) are more or less blurred — especially when we photograph, or see, objects nearby. Thus Close has found a precise and in a sense very realistic way of recording space variations on a flat surface. "Suddenly it occurred to me," he said in an interview recently, "that if I was really interested in the problem of focus, the best thing was to work from a photograph where all the information was nailed down and I could focus on blurred as well as sharp information."1 The other problem that puzzled Close as a painter, before he started working from photographs, was how to interpret space in terms of tex­ ture variations or surface incidents. A close-up of a head offers him a great number of differentiated surfaces with details which, if blown up, become irregularities able to create spatial variation. When pimples, skin pores, wrinkles or unshaven beards are magnified tenfold, they do arrest the eye and a face becomes a kind of landscape where one wanders in order to discover its uneven grounds. These preoccupations with spatial interpretation through changes of focus or texture led Close to the choice of subject and size of his paintings. In order for the viewer to be aware of the blurred areas, and C. Nemser, "An Interview with Chuck Close," Artforum, VIII, 5, Jan. 1970, p. 51. 109 for the surface incidents to become noticeable, there had to be a subject that could be magnified sufficiently within a canvas of a reasonable size. (A nude, for instance, would have necessitated enormous can­ vases.) Blowing up the image of a head to a superhuman scale forces the viewer to look at it piece by piece, area after area. He can, of course, catch the image as a whole from a distance; but the size obliges him to realize that this is not the main objective.
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