' Three Decades its help in allowing artists of the period to go to school. They were set of Abstract Expressionist Painting free economically, and were allowed to live comfortably with tuition and supplies paid for. The Fine Arts School would last about 3 years Ernest Briggs, a second generation Abstract Expressionist painter under McAgy. The program took off due to the presence of Clyfford known for his strong, lyrical, expressive brushstrokes, use of color and Still, , along with , , Elmer sometimes geometric composition, first came to New York in late 1953. Bischoff and others. Most of the students at the school, about 40-50 He had been a student of at the California School of Fine taking painting, such luminaries as Dugmore, Hultberg, Schueler and Arts. Frank O’Hara first experienced the mystery in the way Ernest Crehan, had had some exposure to art through university or art school. Briggs’ splendid paintings transform, and the inability to see the shape But there had been no exposure to what was going on in New York or in as a shape apart from interpretation. Early in 1954, viewing Briggs’ first Europe in the art world, and Briggs and the others were little prepared one man show at the in New York, O’Hara said in Art for the onslaught that was to come. in America “From the contrast between the surface bravura and the half-seen abstract shapes, a surprising intimacy arises which is like The California Years seeing a public statue, thinking itself unobserved, move.” With the entry of Still, the art program would “blow apart”. It was Clyfford Still who would galvanize the Fine Art school’s art Ernest P. Briggs, Jr. was born Decem- “When Briggs first started program. would also arrive in 1949 to teach during the ber 24, 1923 in , California. painting he was painting in summer months. Still had been at the School for one semester teaching a He spent his childhood and youth in a figurative symbolic style, design and composition class, and by the time McAgy knew who he was California, and then served in the and not really knowing and more about him, Still turned the program over to those working Army during WW11. He spent about where he was headed.” 18 months in Tampa as part of the abstractly. Briggs would later recall that the real stimulation, the Army Air and Signal corps, where he excitement of the California School was the tension that arose when got to read Dali’s Secret Life. He would later serve a year in India. After David Park (and Elmer Bishoff) switched back to figuration. Still and the service he moved back to . As a child, Briggs had Park were the central figures at the school, and although they socialized taken up drawing and design, and was exposed to and had met Mark together were not much in agreement on anything in their approach Tobey. His major influence early in life was that of Paul Klee’s work. to art. An interesting argument was set up between the disciples of He would carry Sweeny’s book on Klee around with him during his Still, Rothko, and Pollock and the new figurative artists. Park was a Army service abroad. But Briggs was totally lacking in any historical art taciturn, New England quiet person; Still was a hyper-Romantic, very orientation. After the Army, he had initially intended to attend articulate and historically oriented person. Briggs knew he had lucked Cranbrook, but because San Francisco was a beautiful city and out in the mix of the students and that this was the opening phase in his environment, and knowing there was an art school locally “up there commitment to painting. After one semester, Briggs switched to Still’s on the Hill”, decided not to leave the area. In 1946-47, while working class because he had a reputation for having something to say to the at Gumps trimming windows, he attended Rudolph Schaeffer’s School students. According to Briggs, Park would just come around, slap the of Design, managed by his uncle. But Briggs realized that something students on the back and disappear back into his private studio. psychological had occurred, and he knew he couldn’t fit in with those areas of graphic and industrial design. He inadvertently fell into an When Briggs first started painting he was painting in a figurative exciting situation in 1948 where Douglas McAgy had started a program, symbolic style, and not really knowing where he was headed. Park, one primarily for WW11 veterans at the California School of Fine Arts. He of his first instructors, said “We don’t have a model; we don’t have still Ernest Briggs, 1984, Maine, would study there until 1951. The G.I Bill cannot be underestimated for life; we just paint.” Among the 30 or so students, they all just painted Image courtesy of Bob Brooks. and didn’t look at anything, but they all influenced each other. It was in terms of personalities. Rothko was the epitome of the New York and wanted to move to New York. Alan Frumkin, a dealer, along with Pollock, de Kooning and Kline. Briggs would observe the a revelation to Briggs, as he had thought there had to be a “subject”, Jewish intellectual artist/painter who exuded an entirely different kind offered not only to include Briggs in a group show there, but also to “cold war mentality”, paranoia and anxiety – the very characteristic of as in the Ashcan or Regionalist style. The fact that one could include of energy. He was urbane, deeply intent, and a quintessential New pay the expenses of shipping his art to Chicago and on to New York in the individuals involved. However, nobody was really well served by all their own imagination as the starting point or as the interpretative or Yorker. This was a complete contrast to Still’s Puritanism, almost the fall of 1953. While landing in Hoboken, he and the conflict. dominant element and that one could just paint was liberating for him. Calvinistic manner. Rothko would pay attention to each student and would take a couple floors above a bar in the Fulton Fish Market. He One could start with a stretched canvas; paint big color shapes and his work, and would have something to say to each, whereas Still would was soon to have his first show at ’s Stable Gallery in the Brigg’s 1954 Stable Gallery show was important to his career. Mark just feel one’s way through the process. The interaction with the other stand in the room and declaim. The importance of Rothko’s presence winter of 1954. Rothko, John Ferren, and , among others came to the open- students was sustaining in this. Students had come from New York, was his weekly lecture to all the students, not just the painting class, ing and were very supportive and gave him the recognition to establish Chicago, Seattle, and various parts of the country, and most of taking questions and getting into conversations with the students. In The New York Years him in the art world. Several of the pieces in his first show had been them had different kinds of experience in the service; it was an the studio, his attitude was very similar to Still’s. In 1949 there were done on the West Coast. By that time through a view of de Kooning’s extraordinary experience for Briggs. Students socialized and saw each no ideological programs yet in terms of their esthetics. It was more Briggs’ arrival in New York late in 1953, and early 1954, was work, he would become aware of the possibility of gesture and thinking other five days a week at school, and they worked after school and at in terms that they knew what they did not want. It was an attempt exciting. Fantastic things happened to him in a city where things in terms of the quality of color, and in trying to use color to eliminate or home. Some had very clear ambitions to get to New York as soon as they to eliminate, from their imagery and from their practice in order to can click and where one was suddenly swept into a whole milieu recapture and restore some kind of quality to his work that eliminated could. Others opted to eventually stick it out on the West Coast. About arrive at what was their big image, their big style. They were trying meeting dozens of new people in an art world that was very small. Philip and freed it from some of the decorative aspects. While reading much two dozen would go on to continue painting and sculpture. The Fine Arts to work away from the past, eliminate all temporal images, whether Pavia immediately helped him get a job to help with expenses, and literary criticism, and trying to educate himself in the activity of the art program would subsequently close due to its focus on abstraction, transparency, movement, or space. Still and Rothko were very tight and he also invited Briggs to join “”. This was a scene where world, Briggs would turn completely away from any reference to the McAgy’s departure and Still’s move to New York. By this time, the were a tremendous stimulus to each other and each in their own way, artists were still fighting the battle of , where there was a lot French School of Bonnard and Matisse. Ward would show Briggs once Annuals had begun at the , and one room would be in their kind of poetics, stimulated each other to a high degree. But it still to develop. Abstract was in its height, and things more at the Stable Gallery, his second show was in 1955. Her attitude devoted to the ; included would be the works of Still, was Still’s influence on Rothko, as well, that comes out of the period, the were moving fast. Everybody traveled and moved fast where there was that it took three – seven years to build a reputation. It entailed a Rothko, Pollock, Gottlieb, Baziotes, and Motherwell. The California arrival of a big style, big form painting, and the confidence to move away was a pressure of anticipation of showing, and in ways of showing art. certain amount of critical appraisal and articles, a consistent showing of School would be considered the counterpart to the Hoffman School in from the significant influences of Rothko’s mentor Milton Avery, as well Galleries were evolving, and the whole business of presentation and progress to establish an artist’s name in relation to the older generation. New York. as Baziotes’ and Gottlieb’s work of the time. Briggs was engrossed and building reputations was under pressure and refined during this period. Through the intervention of Still, Dorothy Miller from the Modern in the mix. By 1949 Rothko would start his large rectangle paintings came and looked at his work and would include him in her landmark Briggs reminiscenced in a 1982 Smithsonian oral history interview with entirely different surfaces. Their attitude was to paint and then In retrospect to Briggs, it was similar to the rest of society. By 1956 “Twelve Americans” show. noting: “Still’s main thrust was characteristic of his own problem which after the fact figure out what had been done. It was totally visual, not in the time Briggs arrived in New York the world was was to know what he didn’t want to do. It ranged all the way from terms of some idea, but to circumvent what had been done. It was not evolving into separate manners, though not in ambition. Pavia was Ordinarily this would have been Brigg’s stepping stone and the launch philosophical, psychological, political, economic, all the aspects of the just to find some novelty but to take your life, your experience and what managing The Club, and it was dominated by Kline and de Kooning. of his career. However, Briggs still wasn’t making much money, and he way art is dealt with. He didn’t like to talk about it was about”. While Still and Rothko would subsequently have Still, Rothko and Pollock had moved out to eastern Long Island; and was struggling along with subsistence jobs. He also found the attitudes anyone else’s work directly, including student’s “That one could include a falling out, they continued to be lifelong friend and influences Barnett Newman represented another path. Still argued with Newman, of both dealers and curators nerve-wracking. The work he was pro- work. He did not criticize student’s work. He their own imagination as on Briggs’ work and career. Rothko and Motherwell about possibly circumventing the whole gallery ducing wasn’t what they wanted; it was what they could see and hope talked on broad issues, art politics and the the starting point and that system and going straight to the top – to museums and then to see on the horizon. More than anything, Briggs was feeling by this politics of art historically and whatever he one could just paint was Briggs first exhibited while a student in San Francisco in 1949 at becoming commercially viable, establishing a time the beginnings of the true commercial nature knew about all the gossip of the moment. His liberating for Briggs.” the Metart Gallery which he had helped co-found. His work was career without going through a commercial “ of the art world. He felt that more than most in his attitude was populist and radical, but subsequently included in three San Francisco Museum Annuals gallery. He felt that artists had potentially was in its height, and things generation, he poked around and “journeyed” to not leftist. In fact Briggs considered it and in the 1953 Legion of Honor’s “Five Bay Area Artists”. His enormous power in the cultural world of the were moving fast. different shores. He always felt that this was sort conservative and very stimulating. Still considered his position, his painting continued to evolve. He had finished school in 1951, but stayed moment, and that they had a choice to really buck the of a possibility rather than something to shy away real function, to be an irritant and to get the student to question and in San Francisco painting and exhibiting until 1953, working odd jobs system. He was willing to pay the dues, but he also made from. At times he would make radical changes in to develop some position in terms of a philosophical approach or as a builder of exhibit display cabinets, contract house painting, and enormous demands on his colleagues. Still and Rothko’s actual his work; at times he would grind away and changes would be deliber- stance in terms of the world or wherever their ambition was going to carpentry. He had married by that time, but that was soon to end. After falling out came when Rothko accepted Sidney Janis’ offer to show ate and a way to refine his style. But he felt overall there was a consis- lead them. Mark Rothko’s arrival from New York was a total difference this early, initial success in San Francisco, Briggs saved enough money tency. During this period Briggs was very much influenced by Clyfford Still’s attitudes about the art world, and he believed that he probably switched back to using oil paint again. and canvas, freeing his work from took on more than he should have. He took them on strongly. It was an conventional forms to reach the ideology that Still had struggled with and that had come out of his ex- In the early 1960’s many of the art ideas were being rethought and highest level of conceptual expres- perience but which was totally different from Briggs’ experience. Briggs questioned, partly by the advent of , but also Minimal- sion. Raw, heavy pigment smears had a relationship to society as a whole and to other artists, and he ism and Hard-edged painting. Those painting in the abstract ex- across unprimed canvas expose the found warmth in their acceptance, much like in Art School after the pressionist and improvisational styles felt the onslaught very sig- image-making process and the rug- war. He also found an awful anxiety and com- nificantly. Many abstract artists moved onto hard edge ged intensity of human nature, going petitiveness with all the gossip that was ongo- “Briggs believed that he painting and other styles. The criticism of the time dogmati- beyond beauty and reason in illu- ing at the Cedar Bar, in who was selling at the probably took on more cally attacked abstract expressionism. Donald Judd made sionary impulse. At times he erupted time. It wasn’t great conversation by this point, than he should have.” his reputation with his endless diatribes against and “snotty” into lyrical outbursts, at others he it was about the careers of individuals. While reviews of abstract shows during this time. Curators at the Met brooded with dark forces interrupted there would be drinks and dancing and some were saying that painting was an obsolete medium. With this by brilliant flashes. He was inspired discussions, inevitably talk turned toward what was happening to the attitude, artists in Briggs’ circle were backed into a very hostile environ- by the fundamental forms of nature, careers of the various people. It was the reality of the business of art and ment. Briggs would note that the artists had to physically stand there to architecture, and Oriental calligra- the competitiveness. Kline and de Kooning were being handled and protect their work. It was also the beginning of the commercial exploi- phy, references which can be found promoted and they themselves were on call. Things were happening tation of the art world. Simultaneously, sources that had been support- throughout his work. to them so everyone felt it could happen to the others. Briggs felt, in ive of abstract artists began looking elsewhere. He felt that “ well, now his innocence, that he had the work so it could happen to him. But, he that we got rid of abstract expressionism, we can make some money, Firmly grounded in the fundamen- also felt a foreboding and withdrew showing at galleries during the late too.” He found parallels with the “end” of jazz and the beginning of tals of the Abstract Expressionist 1950’s while continuing to paint and do odd jobs. rock and roll, where these musicians started making money. Briggs tradition, Briggs’ active involvement would chuckle, “thousands of ex-painters and ex-musicians were lolling in the development of the scene has The 1960’s around the streets of .” had a lasting influence on successive generations. Briggs’ final works were Briggs started showing again with Howard Wise in 1960. He had three In 1961, Briggs began regularly teaching, initially at Pratt, and a year permeated with a deeply reflective years of consistently good shows and modest sales, good coverage and at Yale with stints at Florida, Penn, Hopkins and Maryland. This was personal metaphor. These penetra- reviews. The gallery was quite grand and handsome and was the envy the sustenance that allowed him to continue painting. He would con- tive works provided satisfying dignity of most other galleries of the era. It set the stage for large, extensive in- tinue exhibiting at various galleries and invitational’s throughout the to his final years. He died of cancer at stallations. However, the gallery would only last a few years. Briggs felt 1960’s and 70’s. He jumped at the chance during these years when he age 61 in New York. He was survived Wise, while sincere, not very good at business and the ways of surviving had an opportunity to show, even though there probably might not be by his wife, Anne Arnold Briggs, his in it. Wise would switch from representing painting to other kinds of commercial prospects in the effort. In 1980, Briggs joined the Gruene- father, Ernest Briggs, Sr., and a sister, art such as kinetic and pop, and he eventually phased out of business. baum Gallery where he had two shows with decent financial success Susan Torres. Briggs was disappointed and thought Wise made a mistake, and that he prior to his death in 1984. The (established could have stuck it out with the financial resources he had and very fine 1982), which specializes in all artists of the 1950's, has been exhibiting his work since 1991. Thanks is given to Ernest Briggs. artists. He represented: Dugmore, Resnick, McNeil, and Von Wiegand. This essay is derived directly from Ernest Briggs produced large canvasses, generally six feet and up during the Briggs' words given in an 1982 Oral History 1950’s and 1960’s. In early 1963 he would begin working with acrylics, As he infused the New York art scene with Still’s raw and spirited tech- Interview with Barbara Shikler for the Smith- making the paints up himself out of the basic materials, using dried nique, he explored, reworked and developed a multiplicity of composi- sonian . Ernest Briggs, Untitled, 1950s, Oil on canvas, dye pigments. It was exciting for him to be using a new medium which tional arrangements and painterly strategies. His work is distinguished allowed him to experiment and work on a smaller scale. By 1975 he by its bold, sensual use of form and color. Briggs exposed his inten- tions with a crushing, heavy technical structure of his material, paint Ernest Briggs (1923-1984) Solo Exhibitions (cont.) Group Exhibitions (cont.) Group Exhibitions (cont.) 1998 Abstract Paintings from the 1950s to the 1970s, 1965 Maine Coast Artists, Rockport, ME 1997 Artists of the 1950s, Part 1 and 2, Anita Shapolsky Biography with Michael Loew, Anita Shapolsky Gallery, 1967 Johnson Museum, , Ithaca, NY Gallery, NYC 1923 Born in San Diego, CA NYC Large-Scale American Painting, Jewish Museum, 1997 Special Collection, Anita Shapolsky Gallery, NYC 1943-46 US Army Signal Corps, in India during 1945-46 2001 Artist of the Fifties, Anita Shapolsky Gallery, NYC NYC 1998 Paper Works, Anita Shapolsky Gallery, NYC 1946-47 Studied at Schaeffer School of Design, San 2002 Artist of the Fifties, Baruch College/Mishkin 1969 Maine Coast Artists, Rockport, ME 1998-99 Artists of the 50s; The Development of Abstraction, Francisco, CA Gallery, NYC 1969 & 70 American Academy of Arts and Letters, NY Anita Shapolsky Gallery, NYC 1947-51 Studied at California School of Fine Art, San 2004 Ernest Briggs: Paintings of the 50th and 60th’s, 1970 Proctor Art Center, , 1999 The Abstract Expressionist Tradition, Anita Francisco, CA Anita Shapolsky Gallery, NYC Annandale-on-Hudson, NY Shapolsky Gallery, NYC 1953 Moved to New York, lived and worked in NY and 2007 Nassos Daphnis & Ernest Briggs: OPPOSING San Francisco 1945-50, Oakland Art Museum, 2000 Art for Art’s Sake – Credo of the Fifties, Anita Maine FORCES, Anita Shaplosky Gallery, NYC CA Shapolsky Gallery, NYC 2012 Ernest Briggs’ Three Decades of Abstract 1976 California Painting and Sculpture: The Modern 2002 Anita Shapolsky Art Foundation, Jim Thorpe, PA Solo Exhibitions Expressionist Painting, Anita Shaplosky Gallery, Era, San Francisco 2004 New York School Artists – Work of the 50’s and NYC 1977 Bay Area Update, Huntsville Museum of Art, AL 60’s, Anita Shapolsky Gallery, NYC 1949 Metart Gallery, San Francisco, CA 1978 Gallery Group, Cape Split Place, Addison, ME 2004 Rockford Art Museum, Rockford, IL 1954 & 55 Stable Gallery, NYC Spring Show, Cape Split Place, Addison, ME 2004 Crocker Museum, Sacramento, CA 1956 San Francisco Art Association Gallery, CA Group Exhibitions 1984 Underknown, Institute for Art & Urban 2005 Ernest Briggs: Paintings of the 50th and 60th and 1960, 62, 63 The Howard Wise Gallery, NY 1948, 49, 53 San Francisco Art Association Annuals Resources, PS 1, , NY Sculptures by Thomas Beckman, Hayden, Anita 1968 Yale University Art Gallery, New Haven, CT 1953 Five Bay Area Artists, California Palace of the 1989 Anne Weber Gallery, Georgetown, ME Shapolsky Gallery, NYC 1969 Alonzo Gallery, NYC Legion of Honor, San Francisco, CA Portland Museum of Art, Portland, ME Llevellyn Davies, , Clement 1973 Green Mountain Gallery, NY Allan Frumkin Gallery, Chicago, IL 1991 The Prevailing Fifties, Anita Shapolsky Gallery, Meadmore, Edgar Negret and Nancy Steinson, 1975 Susan Caldwell Gallery, NYC 1955 US Painting: Some Recent Directions, Stable NYC Anita Shapolsky Gallery, NYC 1977 Aaron Berman Gallery, NYC Gallery, NYC 1992 The Tradition, Anita Shapolsky Gallery, NYC 2005 New York School: Another View, Opalka Gallery 1980 Landmark Gallery, NY Vanguard 1955, Stable Gallery, NY 1994 New York-Provincetown: A 50s Connection, of the Sage Colleges/Parish Art Museum, South 1980 & 82 Gruenebaum Gallery, NYC 1956 Twelve Americans, Museum of Modern Art, NY Provincetown, Museum, MA Hampton, NY 1984 Memorial Exhibition, Gruenebaum Gallery, NYC 1955, 56, 61 Annuals and Biennials, Whitney Museum of Josiah White Exhibition Center, Jim Thorpe, PA 2005 Ernest Briggs, Imagination and Eloquence: From 1991 With Edward Dugmore, Anita Shapolsky Gallery, American Art, NYC Maryland Art Institute the Jan Verhoeven Collection, Woudrichem Tower NYC 1961 International, Carnegie Institute of Technology, 1995 The Fifties, Anita Shapolsky Gallery, NYC Exhibition, Stichting Yellow Fellow, Woudrichem, 1992 With lbram Lassaw, Anita Shapolsky Gallery, Museum of Art, , PA 1996 Other Artists of the 50s, Kendall Campus Art Netherlands. NYC Corcoran Biennial, Corcoran Gallery of Art, Gallery, Miami-Dade Community College, FL 2005 The Invisible in the Visible, Anita Shapolsky 1994 With Clement Meadmore and Erik van der Grijn, Washington, D.C. Group Show, Josiah White Exhibition Center, Gallery, NYC Anita Shapolsky Gallery, NYC 1962 Museum of Contemporary Art, Dallas, TX Jim Thorpe, PA 2008 Masters of Abstraction, Anita Shapolsky Gallery, 1996 Two Painters and a Sculptor, with Clement Contemporary Art Exhibition, San Francisco The San Francisco School of Abstract NYC Meadmore and Erik van der Grijn, Anita Museum of Modern Art Expressionism, San Francisco Museum of Art, Shapolsky Gallery, NYC 1963 Directions-Painting-USA, San Francisco Museum of Modern Art CA Selected Collections Selected Bibliography (cont.) Selected Bibliography (cont.) San Jose Museum, San Jose, CA San Francisco and the Second Wave : the Blair collection New York School: Another View, January 24-March 20, Blair Collection of Bay Area Abstract Expressionism of Bay Area Abstract Expressionism, 2004, 2005, Opalka Gallery, The Sage Collages, 140 Carnegie Institute, Pittsburgh, PA Crocker Art Museum & Laguna Art Museum New Scotland Avenue, Albany, New York Ciba-Geigy Corporation, Ardsley, NY (Laguna Beach, California). Art in America, May 2002, Gerrit Henry Hirshhorn Museum, Smithsonian Institute, “The Artist’s World in Pictures,” 1960, Fred W. McDarrah Art Matters, December 2004, “At Last Obscure Briggs Washington, DC “Painting and sculpture in California, the modern era,” Paintings Unearthed,” Ellen Slupe Housatonic Community College, CT San Francisco Museum of Modern Art Art in America, June/July 2005, “Ernest Briggs at Anita Michigan State University, East Lansing, NU September 3-November 21, 1976, National Shapolsky” Oakland Art Museum, Oakland, CA Collection of Fine Arts, , Art in America, September 2007, “Nassos Daphnis and Portland Museum of Maine Washington, D.C., May 20-September 11, 1977. Ernest Briggs at Anita Shapolsky” Rockefeller Institute, NY “A Period of Exploration,” Mary Fuller McChesney, 1973, Art in America, March 2011, Faye Hirsch San Francisco Museum of Art, San Francisco, CA Oakland Museum Wikipedia, “Ernest Briggs” , CA “Sunshine Muse,” , 1974, Praeger Artforum, Walker Art Center, , MN February 1970, Robert Pincus-Whitten Teaching & Visiting Critic Whitney Museum of American Art, NYC “Ernest Briggs interview,” 1982 July 12 - Oct. 21. Mark 1958 University of Florida Jan Verhoeven Collection, Stichting Yellow Fellow, Rothko and His Times Oral History Project, 1961-84 , Brooklyn, NY Woudrichem, Netherlands Barbara Shikler 1967-68 Graduate School of Art, Yale University Smithsonian Institute, Washington, DC “Ernest Briggs,” August 6th 1984, Lawrence Campbell, 1967 Philadelphia College of Art Graduate School of Grunebaum Gallery Memorial Exhibition, Art, University of Pennsylvania Selected Bibliography October 1984 Graduate School of Art, Maryland Institute, 12 Americans, 1956, Dorothy Canning Miller New York Times, June 14th 1984, “Ernest Briggs, Artist Baltimore, MD The New School: The Painters & Sculptors of the Fifties, and for 2 Decades a Teacher at Pratt” 1968 Art History Department, Johns Hopkins, 1978, Irving Sandler Art in America, February 1992, Lawrence Campbell Baltimore, MD The San Francisco School of Abstract Expressionism, 1996, ARTnews, 1992, “In the Tradition,” Sue Scott Graduate School of Painting, Pratt Institute, Susan Landauer ARTnews, October 1994, Sue Scott Brooklyn, NY New York School Abstract Expressionists: Artists Choice by ARTnews, October 1994, “Ernest Briggs, Clement Artists, 2000, ed. Marika Herskovic Meadmore, Erik van der Grijin, Seymour American Abstract Expressionism of the 1950s: An Boardman,” Anita Shapolsky Illustrated Survey, 2003, ed. Marika Herskovic The New York Review of Art, Summer 1994, JCW American Abstract and Figurative Expressionism Style: San Francisco School of Abstract Expressionism, 1996, Ernest Briggs, Untitled, July 1961, Oil on canvas, 89” x 106” Is Timely Art Is Timeless, 2009, ed. Marika Susan Landauer Herskovic New York Times, Friday, October 26th 2001, Grace Glueck