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Contemporary American Painting and Sculpture ILLINOIS LIBRARY AT URBANA-CHAMPAIGN ARnM!TFXTURE KIOMR LliiHAKY AKOHITKTUKfc UNiVEIWTY OF ILLINOIS NOTICE: Return or renew all Library Malerlalst The minimum Fee for each Lost Book is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli- nary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN L16I—O-1096 ' » • .( ij.^.'. / »f T»^ 'A^Vc^ * • ir* ;' I n'V', ii'.mM :"! ii'vi '' > ' i: 1 "i .m'i ;:[ ' iv/iv/,''ir' ',!.;' ill ! i;'M,'i)">'i>''; I I I'^i'iii' , I ji II, >,M]' i,,i,ii, I * l'.',, i ! I i M!, ,.ll;!;J!-!;'!li^:*^'(WrM''^ I 1 ' ' I •,''',•1 ' , ill'' I fe!(''::!:ifi!'yi§li''i'!''';iVM^ »ntemporary American Painting and Sculpture] niversity off Illinois . -i&Sv i; z^' ii^ THE LIBRARY OF THE FEB ,?4iS5G UNIVERSITY OF ILLINOIS c ^MTifn? Y-^.m ARCWTEcnwi oi .n oi. =4 CONTEMPORARY AMERICAN PAINTING AND SCULPTURE University of Illinois, Urbana Sunday, February 27, through Sunday, April 3, 1955 Galleries, Architecture Building Co//ege of Fine and Applied Arts THE LIBRARY OF THE IVIAR 1 1955 iiMi\fFe<:rrv nr iiiiNrii5$ Copyright 1955 by the University of Illinois Manufactured in the United States of America RICKFP 5-^>/ ,^r^^ tIRRARY ARCHITCCTU8E 7 UMVfcXS.IY OF lumois CONTEMPORARY AMERICAN PAINTING AND SCULPTURE LLOYD MOREY President of the University- ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts G. R. Bradshaw R. E. Hull OPERATING COMMITTEE N. Britsky R. Perlman R. A. Ginstrom E. C. Rae J. D. Hogan C. V. Donovan, Chairman L. F. Bailey J. H. G. Lynch E. H. Betts M. B. Martin C. E. Bradbury A. J. Pulos W. Raushcnberger STAFF COMMITTEE MEMBERS C. W. Briggs J. L. R. Chesney F. J. Roos J. W. Crist H. A. Schultz E. F. de Soto J. R. Shipley C. A. Dietemann M. A. Sprague W. F. Doolittle R. T. Taugner G. N. Foster L. M. Woodroofe D. E. Frith W. R. Youngman B. M. Jackson L. W. Zamiska Ziroli J. W. Kennedy N. V. H. E. Jordan, Secretary GRAND CENTRAL ART GALLERIES, INC. GRAND CENTRAL MODERNS HACKER GALLERY JOHN HELLER GALLERY, INC. EDWIN HEWITT GALLERY MR. JOSEPH H. HIRSHHORN ALEX.ANDRE lOLAS GALLERY SIDNEY JANIS GALLERY ACKNOWLEDGMENTS PAUL KANTOR GALLERY M. KNOEDLER AND CO., INC. The College of Fine and Applied Arts MR. AND MRS. SAMUEL M. KOOTZ SAMUEL M. KOOTZ GALLERY is grateful to those who have made loans KRAUSHAAR GALLERIES paintings sculpture this institu- of and to LA BOUTIQUE FANTASQUE tion and acknowledges the cooperation of LANDAU GALLERY the following collectors, museums, and MRS. H. GATES LLOYD MR. AND MRS. STANLEY MARCUS galleries: PIERRE MATISSE GALLERY ACA GALLERY BETTY MC LEAN GALLERY MR. AND MRS. WEBSTER AITKEN MIDTOWN GALLERIES THE ALAN GALLERY BORIS MIRSKI ART GALLERY ASSOCIATED AMERICAN ARTISTS, INC. MR. IRA MORRIS BABCOCK GALLERIES, INC. BETTY PARSONS GALLERY MISS PATRICIA BARRETT FRANK PERLS GALLERY MR. AND MRS. HARRY A. BERNSTEIN PERLS GALLERIES, INC. GRACE BORGENICHT GALLERY MRS. JOHN D. ROCKEFELLER. Ill MARGARET BROWN GALLERY PAUL ROSENBERG & CO. MR. PHILLIP A. BRUNO RUINS GALLERY COLORADO SPRINGS FINE ARTS CENTER SAN FRANCISCO MUSEUM OF ART THE DOWNTOWN GALLERY BERTHA SCHAEFER GALLERY DURLACHER BROTHERS STABLE GALLERY EGAN GALLERY MR. AND MRS, HERBERT R. STEINMAN MR. AND MRS. G. OWEN FAIRWEATHER SWETZOFF GALLERY CHARLES FEINGARTEN GALLERY MR. R. L. B. TOBIN MR. H. K. FLETCHER CURT \ALENTIN GALLERY, INC. THE FORUM GALLERY CATHERINE VIVIANO GALLERY ROSE FRIED GALLERY MR. AUBREY WEINZELBAUM LA GALERIA ESCONDIDA MR. DAVID G. WHITCOMB GANSO GALLERY WILLARD GALLERY C. V. DONOVAN JURY OF SELECTION I. D. HOGAN A. S. WELLER 1948 1949 1950 LEONARD BECK CLAUDE BENTLEV MAX BECKMANN EUGENE HERMAN LOUIS BOSA DEAN ELLIS RAYMOND BREININ FRED CONWAY FREDERICK S. FRANCK JOSEPH DE MARTINI JOHN HELIKER ROBERT GWATHMEY HOFMANN WILLIAM J. GORDON CARL HOLTY HANS PHILIP GUSTON RICO LEBRUN CHARLES RAIN HAZEL JANICKI ARTHUR OSVER ABRAHAM RATTNER AWARDS KARL KNATHS FELIX RUVOLO HEDDA STERNE JULIAN E. LEVI YVES TANGUY ANTHONY TONEV LESTER O. SCHWARTZ BRADLEY WALKER TOM LIN 1951 1952 1953 WILLIAM BAZIOTES SAMUEL ADLER ROBERT L. GRILLEY BYRON BROWNE TOM BENRIMO YNEZ JOHNSTON ADOLPH GOTTLIEB CAROL BLANCHARD GYORGY KEPES CLEVE GR.\Y CARLYLE BROWN LAWRENCE KUPFERMAN MORRIS KANTOR WILLIAM CONGDON THEODORE J. ROSZAK LEO MANSO WALTER MURCH BEN SHAHN MATTA RIFINO TAMAYO MARGARITA WORTH GREGORIO PRESTOPINO KURT SELIGMANN JEAN XCERON Many of the works of art in this exhibition arc for sale. Visitors are cordially invited to obtain in- SALES formation from the attendant at the desk in the West Gallery. The University of Illinois charges no commission on any sale. Appearance and Reality One of the frequent causes for misunderstanding contemporary forms of art, for the gap which all too often divides the artist from the non-artist, is hick of clarity in understanding the position of the artist in society today. It is not possible to judge either the artist or the work of art of our own times by the standards which prevailed in periods in which art occupied a posi- tion far different from that which is now the case. Of course this is a two- way proposition, and it is just as true that much of the art of the past has been misinterpreted by some of our contemporaries because they have been unable to look at it from the perspective it was made to occupy. Fortu- nately, there is an extraordinary richness about the true work of art which allows it to exist quite independently of an understanding which may or may not be sociologically and historically "correct" or "incorrect," and in a certain sense it may be said that if one "likes" a work of art, the reason for doing so is unimportant. It is probable that we like fine examples of African sculpture for all of the "wrong" reasons (judged from the point of view of the people who made these works), but is it not a heartening thing to realize that the artist may ha\e provided avenues of approach to his work about which he himself is ignorant ? This is a subject which can be interpreted in different ways. Sometimes one feels that the work of art alone is the most important thing of all, that biographical, historical, and technical details should be rigorously excluded from its indi\idual study. But again, one feels that the artist as a human being is the central factor in the whole development of art, and that it is even more important for us to recognize an artist as such, than it is to "understand" the work which he accomplishes. What is an artist? It is easy enough to answer this from a sociological point of \icvv. He is someone who makes works of art. My own feeling is that the term "art" is broad enough so that it can easily include all sorts of objects. These things may be badly done, incompletely realized, if they are the works of an incompetent artist. But he is still an artist, just as a parent is still a parent, even if he has not made a success of this role of life. I am not infrequently baffled by people who dismiss pictures they see on the walls of exhibition galleries by telling me that these things cannot be art. When I ask them what, then, they are, I get very obscure answers. There is an opposite group who will tell you about another kind of work, "It's pretty, but is it art?" Of course it is art, though it may be art on a very low level indeed. (Recently, Randall Jarrell has maliciously inverted this classic remark into its contemporary equivalent, "It's ugly, but is it art?") Among other things, the artist is someone who stains a piece of canvas with colors and hangs it up on a wall for you to look at. Sometimes (in- creasingly so nowadays) he does not even put a frame around it. He may do this well, so that you like what he has done and may even feel that you understand why he did it and what it is all about. Then, for you anyway, he is a successful artist. Perhaps you cannot see why he did this particular thing at all. It may be that this is because his whole activity was just a mistake from beginning to end. But it is also possible that you have missed the point of what lie was doing because you think of art from a point of view completely difTercnt from his. This by no means indicates that just because you do not understand a work of art it is intrinsically successful ("good," if you prefer the word), but it may be. But a sociological definition of the artist, which I ha\c suggested above, though it can be a \ery simple one, is not enough. Psychologically, crea- ti\elv, the artist is someone who has special qualities which differentiate him from the rest of humanity. He is someone who is obsessed with the idea of re-creating and re-interpreting his experiences. We all do this in some degree, as we gi\e form and consistency to our everyday acti\ities. Art is not so much a matter of understanding as it is a matter of feeling. The artist "feels" that something is right, and must build his accomplishments on this feeling.
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