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CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=

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Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. and Mrs. Rick Nelson, Los Angeles, Feingorten Galleries, Los Angeles, The Albreaux Gallery, Son Francisco, California California California Lee Nordness Galleries, York, Allan Frumkin Gallery, Inc., Chicago, New Aldrich Museum of Contemporary Art, Illinois New York Ridgefield, Connecticut Allan Frumkin Gallery, Inc., New York, Palm Springs Desert Museum, Inc., Palm Mr. and Mrs. Harry W. Anderson, Atherton, New York Springs, California California Gilman Galleries, Chicago, Illinois Mr. and Mrs. John J. Pascoe, Tacoma, Ankrum Gallery, Los Angeles, California Washington Richard Gray Gallery, Chicago, Illinois The Arleigh Gallery, Son Francisco, Quay Gallery, San Francisco, California Gump's Gallery, San Francisco, California California Dr. Nathaniel Ritter, York, The Hansen Gallery, San Francisco, S. New Babcock Galleries, New York, New York California New York Mr. Jerrold C. Ballaine, Berkeley, Mr. Roger Hull, Evanston, Illinois Galleria Roma, Chtcogo, Illinois California Martha Jackson Gallery, New York, Paul Rosenberg & Co., New York, Molly Barnes Gallery, Los Angeles, New York New York Collfornia Mr. Rodger Jocobsen, San Francisco, Mr. Victor A. Royer, Berkeley, California Adele Bednarz Galleries, Los Angeles, California Bertha Schaefer Gallery, New York, California Coe Kerr Gallery, New York, New York New York Berkeley Gallery, San Francisco, California Mr. and Mrs. Edward Kienholz, Los Mr. and Mrs. Jack Schafer, San Francisco, Angeles, Californlo Mr. and Mrs. Robert E. Bernard, Lafayette, California California M. Knoedler & Co., Inc., New York, Gallery 669, Sacramento, California New York Mr. David E. Black, Columbus, Ohio Stable Gallery, New York, New York Dr. and Mrs. Leonard Kornblee, New York, John Bolles Gallery, San Francisco, New York Stoempfli Gallery, New York, New York California Kornblee Gallery, New York, New York Allan Stone Galleries, Inc., New York, Galeria Bonino, Ltd., New York, New York New York Kroushoor Galleries, New York, New York Leo Castelli Gallery, New York, New York David Stuart Galleries, Los Angeles, Felix Landau Gallery, Los Angeles, The Chase Manhattan Bank, New York, California California New York Triangle Gallery, San Francisco, California Landau-Alan Gallery, New York, New York Comoro Gallery, Los Angeles, California Galeria Carl Van der Voort, San Francisco, Dr. and Mrs. Harold Laufman, New York, - Tibor de Nagy Gallery, New York, California New York t~^^ New York Catherine Vivlano Gallery, New York, Mr. and Mrs. Joseph E. Levine, New York, Dilexi Gallery, Son Francisco, California New York New York Terry Dintenfass, Inc., New York, New York Waddell Gallery, New York, New York Mr. and Mrs. Robert Levyn, Los Angeles, The Downtown Gallery, New York, California Ruth White Gallery, New York, New York New York Joseph Faulkner-Main Street Galleries, Howard Wise Gallery, New York, Dwan Gallery, New York, New York Chicago, Illinois New York Purchase Awards 1967 1948 1951 1957 DAVID ARONSON JOHN BATTENBERG LEONARD BECK WILLIAM BAZIOTES MAX FINKELSTEIN EUGENE BERMAN BYRON BROWNE JACOB EPSTEIN FRIEDENSOHN FRANK GALLO RAYMOND BREININ ADOLPH GOTTLIEB ELIAS JOHN HULTBERG CHARLES HINMAN JOSEPH DE MARTINI CLEVE GRAY KANTOR WOLF KAHN ROBERT INDIANA WILLIAM J. GORDON MORRIS CARL MORRIS JOSEF LEVI PHILIP GUSTON LEO MANSO UMLAUF JOSEPH RAFFAEL HAZEL JANICKI MATTA CHARLES NICHOLAS VA5ILIEFF KARL KNATHS GREGORIO PRESTOPINO SELIGMANN JULIAN E. LEVI KURT LESTER O. SCHWARTZ JEAN XCERON 1959 LAWRENCE CALCAGNO 1949 1953 FRED FARR KINIGSTEIN CLAUDE BENTLEY SAMUEL AOLER JONAH LEBRUN LOUIS BOSA TOM BENRIMO RICO OKAMURA FRED CONWAY CAROL BLANCHARD ARTHUR JOHN HELIKER CARIYLE BROWN REUBEN TAM CARL HOLTY WILLIAM CONGDON RICO LEBRUN WALTER MURCH 1961 TAMAYO ARTHUR OSVER RUFINO LEONARD BASKIN FELIX RUVOLO CHARLES BURCHFIELD YVES TANGUY 1953 DAVID PARK BRADLEY WALKER TOMLIN ROBERT L. GRILLEY JULIUS SCHMIDT YNEZ JOHNSTON 1950 GYORGY KEPES 1963 LAWRENCE KUPFERMAN MAX BECKMANN STUART DAVIS THEODORE J. ROSZAK DEAN ELLIS LOREN MAC IVER FREDERICK S. FRANCK BEN SHAHN GWATHMEY MARGARITA WORTH ROBERT 1965 HANS HOFMANN JAMES BROOKS CHARLES RAIN 1955 PAUL JENKINS ABRAHAM RATTNER RALPH S. DU CASSE ERLE LORAN HEDDA STERNE FRANK DUNCAN SALVATORE SCARPITTA TONEY ANTHONY LEONARD EDMONDSON MORRIS GRAVES MARGO HOFF ROGER KUNTZ GEORGE RATKAI KARL ZERBE Sales Many of the works in this exhibition are for sale. Visitors are invited to obtain price information at the Museum office. The Krannert Art Museum reserves the right of priority in purchases made from the exhibition. W-'^ ^te:.^. The New Artist Has there ever been a period in which the re- But side by side with the self-expressive stylists sponse of the artist to his society has been more is another group of artists — on the whole, a varied than it is today? On the one hand, we younger one — which directs its energies in very see a large number of artists who seem to deny different directions. These artists completely ac- the social situation, or reflect its efFect on them by cept the events and the objects of the life which an almost total rejection of it. This is not neces- surrounds them, either uncritically or with a cer- sarily bad. Art as on escape from life, as an tain impersonality. Old ideas of self-expression, opening up of new and otherwise unobtainable and still older ideas of beauty, seem meaningless vistas, has been a completely legitimate activity. to them. Reality, to them, is less the kind of This group, on the whole o very mature one, con- selection which artists have historically made of tinues a tradition which equates form with con- the objects and experiences which surround them tent, and places the highest possible value on than it is the isolation of experiences which more style. If is a group (one almost said a generation) and more often seem to be random. The specta- profoundly concerned with self-expression, and tor's initial feeling that this material is handled these artists react to life experiences in highly with elements of satire or Irony often turns out individualistic manners. This group has conse- to be incorrect: no such quality may be upper- quently achieved no uniformity of style, but con- most in the artist's mind. Subjects and themes tains strong individual talents. Much of the which have traditionally been the vehicles for abstract and non-objective art which has been a emotive reactions are more and more frequently dominant aspect of contemporary art for two presented with a singular impersonality, as if the generations belongs in this basic category of artist is deliberately avoiding those responses self-expressive stylists, but the artist who places which these same themes would have evoked in the highest value on form, style, and self-expres- an earlier period. We see more and more works sion can also deal effectively with objective ex- in which overtones, associations (which are im- periences. When he does so, however, it is the plicit and essential in all forms of art conceived impact which such experiences have upon his primarily as expressive of the unique personality Inner being which gives character and quality of the creator) are played down. When they are to his work. Such an artist tends to be highly suggested by the creations of the new brand of selective, to worry about subtle adjustments and realists, they seem to be brought to the work by relationships, to play numerous variations upon the spectator rather than either consciously or the same theme. To him, experimentation tends unconsciously called forth by the creator. Such to be an investigation in expression, rather than artists accept their surroundings almost com- a material investigation, and it is often done in pletely, embracing themes, attitudes, and ma- an intuitive fashion. terials which were formerly rejected by artists as unsuitable for expressive personal material. The He bears little relationship to the abstract ex- fact that a thing exists is reason enough for its pressionists of the immediate post-World War II use; total availability seems to be the rule. period, to say nothing of his predecessors in the A third tendency emphasizes technological more remote past. The new breed of artist creates discipline and focuses upon very pure and in response to a new aesthetic, a new sensibility frequently very restricted expressions. Like the so- and state of mind which is utterly different from called new realists, these artists have abandoned that which we have known heretofore.
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