Peeling Back RoBeRt W. NEWmann �NarRatiVe PoRtfOlio by Antonia 1. 1 Dapena-Tretter dRoSte eFfECT �BULLETIN 3 Peeling Back RoBeRt W. NEWmann �NarRatiVe PoRtfOlio 3

WasHington InStaLlation Art: 1. 2 COlor ScHoOl SuBtraCTive RoOts: The EaRly LaYeRs 24 ARRows 7 ImmaTeRial Embracing the ScUlPtures: LitEral: ADditive CoNCePtUal Layers 15 CONcluSiOns 38 immaterial. to acceptandembrace theunavoidable natureofthe artwork to thespace around itultimately drove Newmann experiential, theunexpected challengesofwedding an the artist's oeuvrereinforces hisstrong attraction to the shifts inpractice and medium. Althougheachperiodof serve asacommonthread, tyingtogether enormous separate Newmann's from art thatofhisteachers and the canvas orinchesofsubstrate sandblasted away— Literal layers—taking theformofpigmentaddedto in favor oftherealspacelarge-scale installations. Color Schooltraditionofetherealstained canvases reveal theartist's surprisingrejectionoftheWashington the present. Thesediverse methodologiesintertwine to aesthetics, andthelarger market art ofthe1970s to layered approach withequalattention paidto biography, W.Unpacking Robert Newmann's requiresa portfolio PoRtfOlio NEWmann �NarRatiVe Peeling Back RoBeRt W. —

by Antonia Dapena-Tretter Abstract 1. 3 Bulletin 3 Newmann. W.on thispublication ©Robert Hirshfeld. Allartwork images Places grant. Photo by Max Arts PublicWorks inPublic National Endowmentforthe the Arts andfundedby the by theWashington Project for 93 feet2inches. Sponsored Ave, N.W., 72feet6inches x sandblasted muralat1328NY subtractive process, For Pierre L’Enfant , 1978, 1. W. Robert Newmann, Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio intersection ofNewYork Avenue and13 the sideofasix-story building. Located atthe 1 Newmann’sas Robert For Pierre L’Enfant ( canvases were bornfrom thesame inspiration edged linesoftheWashington ColorSchool the perimeter ofthe nation’s capital—are contours ofthesandblasted diamond—outlining In its finaldocumentation (pic.2)therigid was torn downfornewurbandevelopment. the work was lostabruptlywhenthebuilding five years. However, ratherthanslowlyfading, installation was expected to lastnomorethan produced by lifeinthecity. As aresult, the time withthebuild-upofair-bornepollutants N.W., thepiecewas designedto morphover and Stripes: The1960s,” Jean Lawlor Cohen, “Stars 1 plan.» by thegridsandcirclesoforiginal L’Enfant «worked from sensibility, aparticular nourished Noland, ThomasDowning, andGeneDavis that 1960sD.C.-based artistssuchasKenneth Washington PostcriticPaulRichardtheorized PaulRichardquoted in )—a sandblasted mapofWashington D.C. on 1 Ifthisistaken to betrue, thehard- 51. Life intheCapital 1940-1990, Washington Matters: Art Art th Street, pic. 1. 4 Bulletin 3 the author, September 26, 2013. 2 Photograph by Ray Kearns. L’Enfant mural, April1982. Washington, D.C. withFor Pierre at 1328NWAvenue, N.W. in 2. Demolitionofbuilding Robert Newmann, Robert emailmessage to Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio their relationshipwithfondness: many years later Newmann stillrepresented student to replacehimintheclassroom, and passing thetorch, Downinghadinvited his School painter ThomasDowning. As though instructor,his CorcoranSchoolofArt Color perfectly poisedto followinthefootsteps of his homageto thecity, Newmannhadbeen Noland. Washington ColorSchoolpainter Kenneth the similarlydiamond-shapedcanvases of L’Enfant that, despite Richard’s assertion, For Pierre oddly bothintentional andnot—reminds us the crumblingbuilding. Its temporary nature— starkly juxtaposed next to theraggededgesof friendship. to behisson’s godfather. We hadanenduring shows ofhiswork. Ultimately, Tom asked me work inmy studio, andIhelpedhiminstall class attheCorcoran School. Istored his eventually took over teaching hispainting He was my mentor, goodfriend, andI Only onedecadebeforecompleting was atbestdistantly related to 2 1. 5 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio [,]» edge, geometricstructuredWashington color was asignthatthereremained«lifeinhard- critic suggested thatNewmann’s success movement. WhentheaforementionedPost him inwithotherfollowers oftheColorSchool his connectionto Downingledcritics to lump practice revealed evidence ofnewinterests, production.it hadhisactualartistic Even ashis public perceptionofNewmann’s morethan art their uniquepupil/teacher relationship shaped will never regret hisbondwithDowning, but from Washington insearchof newartistic career, even ashe relocated hisstudioaway method oflayering bridgedhisearlyandlate School’s singularfocusonhue. Hissignature Newmann travelled away further from theColor change intechnique ortweak informat, methods ofhisformerteacher. Withevery myriad ways haddeviated theartist from the Washington Matters: Art Art Way We Were: The1970s,” Elizabeth Tebow, “The 3 PaulRichardquoted in Warm memoriesensure thattheartist 3 Richardfailedto recognizethe Arts Museum, 2013, 89. Washington, DC:Washington Life in theCapital1940-1990,

1. 6 Bulletin 3 Agency. courtesy ofthe CentralIntelligence Vincent MelzacCollection. Image the CentralIntelligence Agency on canvas, 66.5 x66.5 inches. In 3. 3. Untitled ( Arrows), 1967, acrylic Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio and . Asofone ofthe apart , , PaulReed, Washington Color painters—, along withnumerous piecescreated by the paintingwas purchasedfor thecollection interlocking arrows infive differentcolors, Collection. Representingopposedand on display oftheVincent asapart Melzac Central Intelligence Agency headquarters, canvases (pic.3)hangsinthehallsof One ofNewmann’s earlypolychromatic arrow RoOts: TheEaRly ARR Was Hington COl between thesculpturalandpictorial. fully immersive art, thrivinginthegrey space layers ofwall orfloor, Newmannembraceda from additive layers ofpaintto subtractive installations inrealspace. After switching tethered to acanvas to sandblasted from hisgeometricornon-figurative shifts inNewmann’s techniques art-making reviewfollowing portfolio tracesincremental from eachperiodoftheartist’s oeuvre, the influences inManhattan. Examining key pieces or ScHoOl o ws

1. 7 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio by theNorton Gallery inPalmBeach—The the movement. A1974 exhibition presented it isdifficultto pin-pointadefinitive end for generation Washington Color Schoolpainters, trends.common withtheColorSchool art polychromatic arrow serieshasthemostin is tiedto histrainingunderDowning, his October 2, 2013. message to the author, 4 noting inparticular: recognizes thathistableau isingoodcompany, Washington ColorSchoolpaintings, Newmann nation’s mostrepresentative installations of Robert Newmann, Robert email that experience. when Imixorneedacolortoday it’s basedon foreightyears,the CorcoranSchoolofArt and the attention they deserved. Itaught colorat is aGod, andDowningMehringnever got School. Iliked theColorSchool. [Morris] Louis With so-calledsecondand third Given thatNewmann’s colorsensitivity I looked longandhardattheColor 4 1. 8 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio 6 and SchoolofArt, 1974, 17. Beach Florida:Norton Gallery Washington ColorPainters, Palm Melzac Collection, One:The Part 5 1962. the firstgenerationto theyears of1958to Washington ColorPainters—narrowly confined Vincent MelzacCollection, One:The Part a “Washington School”inart.» Greenberg wrote: «I’mtickledby theideaof Colorist GeneDavis onAugust 5, 1961. from criticClementGreenberg to Washington an informalusagecanbetracedto apostcard Washington GalleryofModernArt. However, Color Painters, heldattheno-longer existent used inrelationto anexhibition, Washington term didnotoccuruntil1965when itwas the firstformallyrecordedinstance ofthe naivete, butdespite Greenberg’s doubts, movement.a bonafideart Oneistickledby consider theDistrictascapable ofproducing choice ofwords reveals a reluctance to , TheVincent SueScott, “Toward aNew 5 Thisrangeislikely notaccurate, as Museum of Art, 1990, 15. Scott etal.), Orlando: Orlando (eds. Sue , HowardMehring, Gene Davis, ThomasDowning, The FirstGenerationPainters— Aesthetic,” Washington Color: 6 The critic’s 1. 9 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio exist onlywithin purecolor relationships. Inthe described thisrevolutionary development: Washington show GalleryofModern Art A passagetaken from thecatalogue forthe with thesurfaceofrawpaintingsupport. of acrylicpaint. Oncethinned, itwould bond with theinvention ofmagna—anearlyversion unencumbered by texture. Thisbecame possible the painterly infavor oflarge fieldsofcolor and ThomasDowning—soughtto eliminate Howard Mehring, Kenneth Noland, Paul Reed Painters exhibition—Gene Davis, Morris Louis, artists chosenfortheWashington Color stylings oftheNewYork school, the six painting. Washington anewschoolof hadbirthed or as a part of,or asapart awelding together. seeing thefabric texture above velvety surfaceandgives theeye asense of of thecanvas, omits theoilsheen, produces a staining thecolor deeplyinto thevery fiber Absorbed into thecanvas, contrasts The absenceofoil, andthepracticeof Reacting againstthereigninggestural the paintstain 7 1. 10 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio depicted withinthebordersofcanvas the numberfrom twenty-five smallarrows complexity ofhisarrow compositions, dropping against redandwhite againstdarkgreen—pop. contrasts intheC.I.A.’s painting—yellow sealant was clearlyeffective, andtheresultant With utter crispnessatcolorjunctures, the colorwithinitsa particular designated area. pigment would notbleed, was usedto contain tape, sealedwithamatt mediumto insurethat painted inacrylicwithminimaltexture. Masking Newmann’s 1967Arrows Paul Reed, Washington, Downing, HowardMehring, Noland, GeneDavis, Thomas Morris Louis, Kenneth Washington ColorPainters: 7 aesthetic. with movements characterized by aformal were «technique-driven,» asisoften thecase unprimed canvas. Thissmallgroup ofpainters was minimizedthrough staining onto unsized, Color Painters avoided thickpaint; tactility interest opticalclarity, offurther Washington GeraldNorland, The In 1968, Newmann reducedthe 8 Whilenotstained, thecolorsof Aesthetic,” 10. 8 , 1965, 8. DC: Washington Gallery of Scott, “Toward aNew canvas were flatly 1. 11 Bulletin 3 Muten. inches.244.5 Photo by Burliegh 1968, acrylic oncanvas, 79.5 x triptych installationGallery ofArt the 4. Photograph of1968Corcoran Three SeparateRealities, Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio artist experimentedartist withcolorstructure rather to replicate rows ofinterlacing arrows, the and endingin yellow (pic.4). Bychoosing a hot, deepred, transitioningto amediumred, was athree-color progression beginningwith New Painting exhibit, ThreeSeparateRealities, shift inpaintingmethodology. New Painting: Structure—meantto highlighta One oftwo triptychs displayed inthe Corcoran show—Washington 1968 for inclusioninanupcoming Downing recommendedNewmann After seeingthenewpaintings, underlying structureofthegrid. to agreater interest inthe complicated colorcompositions had changedever soslightlyfrom reduced. Newmann’s emphasis exploration was alsonecessarily canvas, forcolor the opportunity fewer numberofarrows onthe unchanged, butasaresultofthe arrows. Theformatwas otherwise to five muchlarger, complete 1. 12 Bulletin 3 inches. Collectionoftheartist. 1968, crayon onpaper, 6.25 x19.25 hang attheCorcoranGalleryofArt, 5. Study forUntitledTriptych to Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio broke away from the brightlycolored aesthetic upcoming Pyramid Galleryopening, hefinally himself inthe city. break forthe young painter making anamefor a contract, anditproved to beanimportant by onestudyforthesecondtriptych inthe prior to actually mixingpaints, ascanbe seen the various huepossibilitieswith crayon, white template. Hewas thenableto explore could bemadeonasimplexeroxed blackand no longerchanged, hispreparatory studies than composition. Becausetheoverall layout As Newmann beganto prepareforhis artist beenofferedsuchartist Never beforehadaD.C. gallery representation. offer Newmanncoveted the PyramidGallery, to Ramon Osuna, ownerof ultimately inspired ( color-mixing process illustrate theartist’s careful of paintaround theexterior Corcoran exhibition; dabs pic. 5). Thisexhibition 1. 13 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio absorbed pigment Downing’s formula, introducing layers of the early1970s deviated deliberately from color orpaintapplication. Thepaintings of by his teacher’s essentialiststatements about it appearsthatNewmannwas notinfluenced consideration.perhaps forfurther Nonetheless, Vatomandry,” unpublished “ 9 the fabric.» more luminousthanifitispainted ontop of which issoaked into afabricwillbemuch saturating apieceofclothwithit. Any color of theresonatingdepthacolorthanby read: «There is nobetter way to getfull benefit mailed acopy to hisformerpupil. Newmann importance ofhismediumandmethods and 1972, hetypedanineteen-page doctrineonthe all-important natureofdisembodiedcolor. In contrast, Downing continuedto espousethe from theirneighboringpigments. As apointof popped becamemuted, mereshadesaway of theWashington ColorSchool. Huesthat Andevorante and ThomasDowning, onto thecanvas, ratherthancolor into theweave. 9 Hekept theessay inhisfiles, 1972. Newmann,Robert November statementartist mailedto 1. 14 Bulletin 3 Tremaine. CT. GiftofMr. andMrs. Burton Atheneum MuseumofArt, Hartford, 79 xinches. IntheWadsworth Series, 1973, acryliconcanvas, 6. Untitled from MiddlePeriodArrow Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio illusionistic thirddimension andread asflat these bright stripsof colorbreakaway from the projections. Against mostlydimpigments, highlight theartist’s purposefulorthogonal palette thatopposethesharp blueaccents and is theclosevalues andchroma ofthe muted the top offourthefive complete arrows. It to electric bluestripsrunningstrictlyalong the shifts from darkbrowns andforestgreens There isapurposefultension represented in Connecticut, demonstrates thisnewtechnique. Wadsworth Atheneum MuseuminHartford, collectors EmilyandBurton Tremaine to the An untitledarrow canvas (pic.6)donated by matte through theadditionofdental pumice. beneath thick, smoothlayers ofpaint, rendered the weave ofthecanvas, hehidthe support artwork—the tactile. Instead ofembracing the understated, non-opticalqualities ofthe not overwhelm, theviewer couldappreciate into asmooth, matte finish. Withhuesthatdid were composedofdark, naturalcolors layered Newmann’s paintingsatthePyramidGallery Layers Embracing theLiteral:Additive 1. 15 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio added: and resulting product inmoredetail, theartist vision. thesubtletiesofprocess Articulating exclusively through thehumaneye’s binocular be observed through lightandshadow, visible differences between depicted arrows couldonly completely. Withnovariation incolor, differentiate figurefrom ground disappeared arrow canvases, thelong-standing concernto Due to themonochromatic natureofhis new all colorcontrasts, even themostsubtle. paintings, Newmannthensoughtto eliminate unprecedented successofhisexperimental in Washington, D.C. Spurred onby the something thathadnever beforehappened sold beforetheexhibit openedto thepublic— dimensional whereitmeets thearrows above. the lower two arrows butisalsoimpossibly two- center, readsasavoid created by thevolume of imperfect fiftharrow, positionedsquarely inthe viewer approaches thatthey rejointhegrid. The rest ofthearrow composition, anditisonlyasthe across theroom, they floatunattached from the parallelograms againstadarkfield. Viewed from Every paintingatthePyramidGallery 1. 16 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio could notbephotographed.» collectors, museums, etc. becausethisseries White Squall:«Studymadeinorderto sendto he noted ofa1972 monochromatic canvas titled be sufficient. Respondingto thenewdilemma, studio orgallery, aphotograph would simplynot these pieceswithanaudienceoutside his it no further thancollectorit nofurther Vincent Melzac, who 5, 2014. message to theauthor, July Newmann,10 Robert email point, andthey arenotphotogenic. to adjust. They shiftwiththeviewer’s vantage of day andrequiretimefortheviewer’s eyes are slowpaintingsthatchangewiththetime of thecanvas to afullydetailed surface. They from theabsolute blankmonochrome square and theavailable light. Perceptionranges were intheroom inrelationto thepainting, of painted layers withinshapes, whereyou shapes was achieved by varying thenumber A perceived differencebetween painted Should Newmannhave hopedto share personal archive, 1972. unpublished fileinartist’s Record,”Squall Artist Newmann,11 Robert “White 11 Thework made 10 1. 17 Bulletin 3 Collection oftheartist. on canvas, 19.5 x19.5 inches. 7. White SquallII, 1972, acrylic Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio quite astutely that whatwas perhapsmost Washington BillDutterer artist commented Intrigued by thiscompositional evolution, fellow moves closerthey reappear in wholeorpart. are atriskofvanishing completely; as(s)he away from thepainting, thetextured arrows to the painting(pic.8). As theviewer moves light and/or shadowsandtheviewer’s proximity the reflective, environmental qualitiesof the rangeofvisualpossibilities, dependingon enhancement andtheother without–simulate photographs ofFlashParadise–onewithdigital to heighten theirsubtlecontrasts. Two can beamplifiedusingcomputer software nuanced layers ofNewmann’s monochromes development ofdigital photography, the of TheKreegerMuseumcollection. Withthe larger canvas, forexample FlashParadise compared to thewidth, thaninaconsiderably height oftheridgesisproportionally greater, as best observed onasmallerscale where the Squall II( shades ofoff-white. As canbeseeninWhite Newmann painted backups, allslightlydifferent promptly purchaseditforhiswife. pic. 7), hislayering technique is

1. 18 Bulletin 3 collection, Washington, D.C. inches. In TheKreegerMuseum acrylic oncanvas, 54x enhanced onright), c. 1971, 8. Flash Paradise(digitally Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio an attachment, May 8, 2015. note emailedto the authoras unpublished, hand-written 12 another time. You have to live withthem.» offer by walking around themorlookingat photograph] allthemoments thesepaintings in between. It’s notpossibleto capture[via the viewer, andofcoursethereare many more are butopposite moments ofexperience for captured by thetwo photographic states: «Both experiential variables oftheviewingprocess Robert Newmann,Robert 8, 2015. message to theauthor, May Newmann,13 Robert email of existence. the arrows out or not, painted inadvertently Newmann had, that over time of arrows was the threeperiods interesting about reference to the making embellished, Newmann 13 12

1. 19 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio able to perceiveatall»(emphasisadded). physical andphysiological factor inourbeing Irwin wrote: «Mostcritically, changeisthekey Circumstance: NotesToward, aConditionalArt Irwin.Robert InhisseminalbookBeingand change isnoted by installation artist on theCorcoranrotunda floor, surrounded by with theolderartist, NewmannsatwithIrwin Gallery and SanFrancisco in conjunction withPace Culver City, CA: LapisPress (ed. LawrenceWeschler), Toward aConditionalArt and Circumstances: Notes 14 air withaknife.» that was soatmospheric you couldcutthe what Newmanntermed a«densedeadgreen rotunda andhadjustfinishedpainting thewalls Ambient LightintheCorcoranGalleryofArt was installing ScrimCeiling— dating backto 1970. Inthespringof1971, Irwin a buddinginterest inaudienceperception published untilthe1980s, hisartworksreveal While Irwin’s thoughts onthesubjectwere not Robert Irwin,Robert Being A similardependenceonenvironmental

15 Initiatingaconversation an attachment, May 8, 2015. note emailedto the authoras unpublished, hand-written 15 1985, 9. Museum ofModernArt, Robert Newmann,Robert Acoustic Point— 14 14 1. 20 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio was established between the layer that could besplit into two, andthuslyadichotomy built-up to reflectlight inothers. Onecolor in preciseareas (thesereadasdarker) and canvases, paint was saturated into theweave School. Inthecaseof theSplitMonochrome the immaterial aimsoftheWashington Color controlled pigmentabsorption, butnottoward two concurrent series. Bothinvolved carefully towarddeparture theliteral represented in final plungeaway from optical illusionism—a more thanfive years, Newmanntook the composition thathadcaptivated himfor within thearrow formatbotheredhim. conditions, thesubtleillusionismcontained attraction to realspaceandits variable larger installation projects. Given hisnewfound eventually abandonhiswork asapainter for left animpressiononNewmannwhowould qualities ofart-making. Thischanceencounter to theirmutualinterest intheexperiential and hadasurprisingamountincommondue practices forafullninetyminutesart-making filtered light. They discussed theirindividual Leaving behindthegeometric

1. 21 Bulletin 3 Gift ofConstance andFredHarris. Asheville Museum collection. Art canvas, 54.5 x54.5inches. Inthe 9. Limelight F3,1974, acrylicon Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio

A classic taken from thisseries, figure 10 traps thepicture plane, fixed inspace. finite surface, andthedepicted imageryitself side. Hehadpurposefullyemphasized thethin, his viewers to literally seethroughto theother illusionistic spacebeyond thecanvas, forcing the canvas verso, hemocked thevery ideaofan trace, backwards, ontheother. Byhighlighting that theformsononesidecould beviewed asa viscosity, thepigmentbledthrough so partially of thecanvas, andby carefullycontrolling its Paint was appliedto boththefront andback for morecontrol inthebleedingprocess. now revertedthe artist to oilwhichallowed acrylic paintalmostexclusively since1963, canvas, split by thecanvas itself. While using Monochromes withonlyonecolorappliedto the Technically, these paintingsarealsoSplit far themostliteral ofNewmann’s canvases. was theDouble-Sided green intwo distinctsaturations. However, it example from thisseries, showcasing lime Asheville Museum collection, Art isanideal that reflected it. LimelightF3( absorbed lightandtheopposingsurface paintings thatwere by pic. 9), inthe

1. 22 Bulletin 3 Collection ofthe artist. oil oncanvas, 54.5xinches. 10. Untitled ( A/B Painting), 1975, Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio ignored when viewing sideA. Thetwo have a room’s décor. However, sideBcannotbe over onthewall from timeto timeto change February 7, 2015. discussion withtheauthor, Newmann,16 Robert in with anAandBside. Theletters arearranged playfully relates thecanvas to avinyl record separate imagesthatmightbeflipped Sided sense, callingthese paintingsDouble- put to work toward differentaims. Ina Washington ColorSchoolhadbeen very techniques usedby artists ofthe break from theColorSchool.» «aggressive painting… anecessary support, created theartist instead an the literal qualitiesofthepainting’s on thecanvas—but by exaggerating formats—a large ringofdots centered echos oneofDowning’s favorite the reverse. Formally, thecomposition ghost imageoftheletter «B»painted on painted onthefront surfaceandthe in aring, alternating between the«A» is misleading. Itsuggests two 16 The 1. 23 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio inspired by thecontemporary scene, art he While Newmannmay have beensubconsciously box other thanthatoftheroom’s dimensions. wasThis newart nolonger contained by any would transform the spacearoundhisviewers. by Irwin, Newmann’s next ventures artistic in searchoftheunlimited world described behind thecanvas withits restrictive edges, Toward, aConditionalArt 12. and Circumstances: Notes Irwin,17 Robert Being there were nosuchlimits?» canvas? Yet whatkindofaworld would itbeif demand thattheworld endattheedgeofmy this thatallowed itself suchabstraction asto point, asking: «Whatkindofa“reality”was pushed themediumofpaintingto its terminal Irwin struggledinthelate 1960s when he Installation Art:Subtractive Layers depth—the thicknessofthecanvas itself. width, breadth, andanundeniable, albeitslight, are nottwo-dimensional butthree, having merged, andNewmann’s Double-Sidedcanvases 17 Finally leaving 1. 24 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio something relevant to theW.P.A.» had visited inMexico to make somethingnew, process ofanarcheologicaldigfrom sites I the building’s history. Icouldborrow the layers to make awork thatincorporated ofart remembering: «Icouldselectively subtract old building»asasite excavation, forartistic Newmann envisioned the«large ramshackle W.P.A.’s inauguralshowat1227GStreet, N.W., invited to the artist do«something» forthe founder oftheWashington Project fortheArts, beneath. So, in1975, whenAliceDenney, process ofremoving layers to reveal ahistory on canvas—to its opposite—a subtractive shift from hiscustomary additive layers—paint earth’s strata. Theresultwas anastounding inspired by archeologists diggingthrough the in theYucatan, was thattheartist profoundly Times, March3, 1984, 12. Case Over New Art,” York “Manhattan Wall Spurs aTest 18 David Margolick, Mayan culture. acknowledged asurprisingaffinitywithancient Using ahand-held utilityscraping 18 Itwas in1974, whilestudying October 26, 2013. message to theauthor, Newmann,19 Robert email 19 1. 25 Bulletin 3 Photo by theartist. Washington Project fortheArts. 276 inches. Supported by the subtractive process, 156x 11. 1227 GStreetNW, 1975, Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio contrast to its initial appearance andto the resembles alarge, painterly abstraction. In elaborated:artist «Inappearance, the“mural” dramatically. Inaproject description, the choices onthe right—theprocess hadchanged the previous occupants’s wallpaper orpaint with avariety ofdecorative patterns from of thebuilding’s wall constructionon theleft down thecenter, contrastingtheeven tones and plaster, reachingadepthofapproximately device, pealedbackwallpaper, theartist paint, irregular settlement crack composition—with asharp, canvas inshape andeven product resembleda 11). Whilethefinished decorative exterior (pic. long agoburiedbeneatha and supportive arches, building, its originalbricks patches thehistory ofthe 276 incheslong, revealed in in thewall, anastounding The rectangle embedded three quarters ofaninch. 1. 26 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio relation to theroom’s edges—a mapinfullscale and thediagonalorientation oftheboardsin giant rubbing, recordingthetexture ofthegrain paper, Newmannandhisassistants made a floorboards ofhisEuclidMarket studiowith Covering over feetofthewooden forty the confinesofatwo-dimensional structure. toof theartist site reflectaparticular within demonstrated auniqueattempt onthepart site altered by humancontact. with anew-foundinterest inthehistory ofa balanced hisexploration ofcolor and shape less discomfort. Inthistransitionalwork, he beyond thelimits describedby Irwin, with Newmann to slowlyeaseaway from thecanvas, painting withinhisnewpracticeallowed the formalcharacteristics ofnon-objective G Street, NW,” unpublished “Project Descriptionfor1227 Newmann,20 Robert subtraction orremoval oflayers.» work derived from thesculpturalprocess of additive-layering conceptofpainting, itisa A similarlytransitionalartworkfrom 1976 archive, 1975. file inartist’s personal 20 Maintaining 1. 27 Bulletin 3 Photo by the artist. inches. Collection oftheartist. on paperandRoplex, 96x177 study ofstudiousing paint-stick 13. by theartist. Roplex, 504x276inches. Photo 1976, paint stickonpaperand 12. Installation ofEuclidMarket , Euclid Market, 1976, scaled Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio ( other signsof wear onthesurface ofthefloor nuanced clusters of spots, smudges, scars and rubbing—remains starkly contrasted with running parallel to each otherthroughout the the two-and-one-half-inch bandsconsistently use ofpreciselinesandrepetition—a resultof time, thevisualinterest created through the surface. Whilethe Roplex hasyellowed with in, andprotected by, thetransparentRoplex easily removed, butthepaperwas encased against therubbing. Oncedry, theglasswas the otherside, andRoplex was againpressed A secondpieceofglasswas usedto cover of glassandimmersedinclearliquidRoplex. pic. 13 ). reduction was thenlaidonalarge piece the sizeoforiginalfloorplan. This the footprintto approximately one-third been showninfull, later theartist scaled and thepossibilitythatitmay never immensity oftheproject’s dimensions uninterrupted. However, given thesheer the linesoffloorboardswould appear were thento bepiecedtogether sothat ( pic. 12). Theselarge stripsofpaper 1. 28 Bulletin 3 by RonRoberson. 6, 2008 beforedemolition. Photo Washington, D.C. taken onApril the EuclidMarket buildingin 14. Exterior photograph of Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio record of thepast, incorporatingreal time, finished product became atwo dimensional negative spacebetween thefloorboards. The paintings, butthosesame marksalsotracethe represents thepositive layers ofhisearlier paint-stick pigmentonpaper, EuclidMarket been created through theapplication ofblack attentionartistic moving forward. Having that would singularly cometo dominate his closed forbusinessafter Luther the1968 Martin market customers untilthecorner-store was where acashierstood, processing payments for two footprints, delineatingthepreciselocation The mostnoticeableofthemarkstrace paint andnewsite-specific techniques embodied elements ofbothhisformer that theEuclidMarket site-plan 1976. As such, itisperhapsunsurprising progressionsslow artistic to from 1971 witnessed much, includingtheartist’s building’s uniquepast. Thespacehad ( down to make way forcondominiums the dooruntilbuildingwas torn King riots. Its formersign, visibleabove pic. 14), remindedNewmann ofthe

1. 29 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio large squaresnested within thegallery’s inch bandsspaced onefootapart, essentially specific piecewas composedoftwo twelve- system, thegalleryonlylasted ayear. The site- midst ofconstructionforthe newMetro subway at641Indiana Avenue.of Art Caughtinthe short-lived Gallery 641neartheNationalGallery installation was created onthewalls ofthe outgrowth of thisnewtechnique, hisnext and allowforlarger areasto beetched. An speed uptheartist’s subtractive process February 7, 2015. discussion withtheauthor, Newmann,21 Robert in matter-of-factly. be doneandthendoingit,»stated theartist surfaces. Itwas simple:«knowingthatitcould before refinishing—asatool to sculptother used to remove oldpaintfrom thecar’s exterior considered theprocessartist ofsandblasting— despite alackofobvious, tactile depth. subtractive process—an archeologicalrecord— himself, andhighlighted Newmann’s new space, andhumanactivity, includingtheartist While restoring anAustin-Healey, the 21 Thiswould considerably 1. 30 Bulletin 3 Photo by Ray Kerns. Gallery 641, Washington, D.C. process, 300xinches, at the Urgent, 1976, subtractive sandblasting 15. W. Robert Newmann For theAncientand Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio conflicting temporal influencesatwork in ( author, 2013-2015. email messages to the Newmann,22-24 Robert penetrated, ifyou will,»explained Newmann. room, andcouldbe walked around andthrough, within theconfinesoffloor, butthelarger parameter (pic.15). Thesmallersquarefit pic. 16), thepiecesoughtto express the Titled For the AncientandtheUrgent became inseparably part ofthebecame inseparablypart attached to thespaceitinhabited, nature, becauseitwas integrally although flat, «was sculpturalin the brickwall. Theshallowrelief, through thewhite paintcovering baseboard andsandblasted wall was chiseledthrough the strip thatfoldeduptheadjacent the floor’s wooden finish, butthe were created by sandingthrough wide linesetched into thefloor gallery wall, changingplanes. The wrapped from thefloorup outside banddidnot. Oneside 22 1. 31 Bulletin 3 Hirshfeld. Washington, D.C. Photo by Max x 300inches, atGallery641, 1976, subtractive process, 300 16. For theAncientandUrgent, Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio new.» and thearchitecture ofthegallerywas the room into itself theart by using thematerials way to make art. Directlyincorporating the surface to make amarkisindeedan ancient articulated:the artist «Scratching through the ancient lingeringtraces. Aware ofthisparadox, outcome was entirely contemporary. Painting, technique, heclaimeditashisown, andthe 23 Beginningwith anancientart-making for thatwhichhadalreadypast— together withhisdeeprespect to come—theurgent—joined Newmann’s appreciationofthings change theoutcome. Therefore, tounless thereisanopportunity After all, asituationisnoturgent awareness ofafuturecondition. which would seemto express an the very conceptof«urgency,» Something ancientisatoddswith together express anoxymoron. two halves ofthetitletaken methodologies.art-making The traditional andcutting-edge the process—a dichotomy of 1. 32 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio in part, by Newmann’s SoHoneighbors—Donald artworks, theinstallation was inspired, atleast declaring itself as belongingto anewcampof at TheQueensMuseum(pic.17 ). Loudly in Manhattan andseeninhis1984installation with freshinfluences, reflectinghisnewhome constantThe artistic ofphysical layers merged District andmadeanewhome inNewYork City. artist’s practiceashesaidgoodbye to the author, 2013-2015. email messages to the Newmann,22-24 Robert process] evolved into theraisond’être.» «The physical edges[created through hislaying techniques oftheWashington Color School, his 1970 from departure theflatpainting quantify, butineachcase, datingbackto Newmann’s ispurposefullydifficultto art Post-Modernist, sculpturalorpictorial— Ancient orurgent, oldornew, Modernistor and changeourexpectations ofthemedium. toancient practiceasanopportunity innovate and beforeetching, Newmannhadusedthat too, isanestablishedproduction, methodofart Layers would remaincentralto the 24 1. 33 Bulletin 3 artist. Walls exhibition. Photo by the Museum, NewYork forActivated inches, installation atQueens process, gypsumboard, 108x312 17. ABC’s, 1984, subtractive Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio square. Their depthwas real, carved from the geometric forms—the triangle, circle, and asimplesilhouettebirthing ofart’s primary of thepealed sheetrock becamerigidlydefined, of drywall accumulated attheirfeet, theedges days foracrewoftwo to accomplish. As layers was alaborious, slow process thattook several brown subsurfaceunderneath. Inpractice, it paint andpaperondrywall to reveal thecotton that hecouldeasilypeelback thelayers of Newmann knewfrom experiments inhisstudio Ancient andtheUrgent. Pierre L’Enfant and techniques utilizedinFor deviated from thesandblasting the subtractive process but a straightforward example of Activated Walls exhibition, was This installation, ofthe apart known simplyasABCart. terminology forMinimalism to apopularbutalternative title can belittle doubtthatthe Judd andCarlAndré—forthere ABC’s makes reference For the 1. 34 Bulletin 3 Krausse. Philadelphia. Photo by Karen installation atBellofPennsylvania, process, glass, 108x592inches, 18. Silicon Shuffle, 1986, subtractive Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio the main lobby from therestof thebuilding. was meantto functionpracticallyto separate might bepainted, asthevertical partition an opaquesecurity wall onto which a mural into hiscomposition—agrandimmersive he introduce even thebodiesofhisviewers etching process to aclearglassmedium, could but abreakthrough was onthehorizon. case witheven theearliestsubtractive works, the samespaceastheirviewer, ashadbeenthe wall, andwed to theenvironment. They shared If the artist appliedhissubtractiveIf theartist Bell ofPennsylvania proposed technological function. Initially, related directlyto thebuilding’s of amicrochip exploded and resembled theinterior patterning The imagedepicted ontheglass proposal to finalinstallation. one year to complete from University, took approximately Computer Center atTemple Pennsylvania forits newCorporate ( performance? pic. 18), commissioned by Bellof Silicon Shuffle 1. 35 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio in figure 18, hiswifeMary Carol modelsthe visual experience for otherpassersby, and hand, meldedwiththeartwork, changing the to hisobject. Hissiliconshufflers, ontheother qualities, hisaudience consisted ofsubjects the viewer to fullyappreciate theirsculptural canvases requiredmovement of onthepart in space. Even ashismonochromatic arrow attention to anthropomorphic relationships demonstrated tangibly Newmann’s developed would oftheinstallation. becomepart Italso transparency ensuredthatpeople shufflingpast structural integrity. chosen substrate aspossiblewhile maintaining allowed Newmannto etch asdeeplyinto his within theotherwisefragilematerial, andthis glass contains athinlayer ofplasticembedded glass panels. Like acar’s windshield, safety glass foreightseparate four-foot by eight-foot setaboutsecuringenoughsafetythe artist of thebuilding. After securingtheirapproval, wall whichthey sawasenhancingthesecurity the increasedvisibilityofproposed glass Ultimately, Newmann’s clientwas thrilledby From standpoint, anartistic this 1. 36 Bulletin 3 by Jay Nadelson. Pennsylvania, Philadelphia. Photo 24 inches, installation atBellof subtractive process, glass, 8x 19. Silicon Shufflemaquette, 1986, Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio during theearly stages ofdesign. Color Schoolteacher whohadpassedaway was asubtletribute to Newmann’s Washington imagery from aThomas Downingdotpainting. It installation combinedtheenvironmental A/B Painting. Thisimpressive subtractive the carefullyemployed letters ofNewmann’s glass pictureplanewas sandwichedasifby partition, ortheetchings themselves, the effect. Whetherbodiesoneithersideofthe ( visible inthemaquette of thewall, andquite slightly belowthebottom left, dippingever-so- dotted squarefrom the also note thatthethird careful observer might of and thesite-awareness double-sided paintings, the transparency ofhis monochromatic arrows, interest ofNewmann’s pic. 19), takes its . A Euclid Market. A 1. 37 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio and his virtual output hasbeenprolific.and his virtual Only new skills, Newmannjumped into acyber studio, dimensional computer modeling. Usingthese certificates incomputer-aided design andthree- York University and Pratt University to receive regrouped, enrolling inclassesatbothNew After the stingoftermination, theartist Daniel PatrickMoyihan, to fortheartist getpaid. another year, working withtheFDICandSenator Corporation terminated thecontract, andittook of nearly$100,000, theResolutionTrust ceiling forAtlantic Financial, withabudget point, oneyear into fabricatinganetched glass fundraising, andhiringofhelp. As acasein permissions andpermits to thegrant-writing, The entireprocess was laborious, from the of whomhadtheirowncreative inclinations. with strong-willed clients andarchitects—both found itoftenartist difficultto collaborate Einsteinand theAlbert MedicalCenter, the St. Joseph’s University, Bristol Meyers Squibb, large installation projects forclients suchas While regularlycommissionedto work onother CoNCePtUal CONcluSiO ns Imma teRial ScUlPtures: 1. 38 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio Recent Works Exhibition: Newmannin “Robert Newmannquoted25 Robert They have aplace.» related, Idon’t have to findhomesforthem. a turn-around forme. Becausethesearesite- to findhomesforthem. The[installations] are in away, arelike puppies:you arealways trying in aninterview withDavid Tannous, «Paintings, on display. Aware ofthisfact, Newmann noted require arepository—whether stacked, hung, or be hardto comeby, andphysicalobjects art concern, space ofthenon-digital variety can and never worry aboutstorage. Whileapractical series atthesametime, switch mediuminstantly, in thedigital realmcanhesamplefrom several If art is temporary,If art whyfabricate itatall?In in Newmann’s finalplungeinto theimmaterial. specificity may have subconsciouslyresulted make impact withafuturewreckingball? attached to theirhome, were they destinedto strictly intherealmofdocumentation. Literally been destroyed (alongwithits place)andexists one ofNewmann’s large-scale installations has Ironically, experimentation withsite- 25 Tannous,” Gallery641, 1976. A Conversation withDavid However, almostevery 1. 39 Bulletin 3 x 18long3feettall. painted steel sculpture, 36wide 20. Untitled, 2013, plansfor Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio November 28, 2015. message to the author, Newmann,26 Robert email activity clearly facilitated hiseventual dimensional surface. colors foundwithinthepicture’s limited two- object’s surroundings ratherthanwithother monochromatic tableaus, to contrastwiththe Color isusedminimally, asithadbeeninthe remain athingofthepastfor Newmann. Comprehending paintingasalayered C.I.A. canvas orCorcorantriptych— compositions—represented inthe of theWashington ColorSchool absent. Theinternal colorcontrasts on colordifferentiationisnoticeably ( qualities ofthe1970s arrow paintings reclaim thestrong colorandgrid-like ripe forconceptualconsideration, of therecentintangible projects, actually buildingthework.» the ideamay bemoreimportantthan has occurred to methatdocumenting response, Newmannpostulated: «It pic. 20). However, theearlyreliance 26 Many 1. 40 Bulletin 3 Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio a general exploitation ofmaterial until his illusionary, aninterest inthe experiential, and an investigation ofreal depthratherthan together Newmann’s lifework post1970— influence, thesearetheconstants thattie shifts inmedium, technique, andartistic elements beyond thepictureplane. Despite present anawareness ofenvironmental experience, buteven Newmann’s paintings controlled anthropomorphic, art-viewing layering technique to envelope theviewer—a successful installations usehissignature from Modernismaltogether. Newmann’s most of environment, heslowlytransitionedaway layers onthecanvas to subtractive layers rather thananabstracted one. From additive plateaus ofpigmentwere aphysical reality the possibilityofcolorasabstractform;raised With thebuildupofpaint, therewas nolonger compositional focusversus experiential, etc. disembodied colorversus skinsof pigment, flat versus layered, opticalversus tactile, his practicefrom thatoftheColor School: speed—and moreimmediately differentiated move into sculpture—asnowballgathering 1. 41 Bulletin 3 Museum in SanFrancisco. field atinstitutions suchasTheKreegerMuseumin Washington, D.C., andTheWalt Disney Family Catalogue Raisonné . maintains areal passionforColorfieldpainting which stemsfrom hertimeworking onthe JackBush Historyfromin Art theUniversity ofToronto. Whilelecturingandpublishing oncontemporaryart, she Antonia Dapena-Tretter graduatedsummacumlaudewithherBAfrom DickinsonCollegeandherMA Drawntoobject-oriented scholarship, she hassincemadeacareerinthemuseum Peeling Back Robert W.Peeling BackRobert Newmann—Narrative Portfolio tangible ofyesterday. andpermanentart orinstallationart innovations—beyond the working withartiststo documentsite-specific critics, andscholarsto tell theotherhalf, half ofthestory, anditisupto historians, art curator seesfit. Themuseumchapter isonly hung onslidingracksorrotated outwhena throughout, buthismatureworks cannot be tableaus the contributionsofaselectfew. Newmann’s demonstrate alarger societal value placedon easily stored inamuseum’s warehouse, or sculpted outofexistence. Canvases, materials vanish, ashad hisarrows, painted are thusly honored, ashasbeennoted 1. 42 Bulletin 3