In his introductory essay to the catalogue of the Royal Academy’s current exhibition, Abstract Expressionism, of which he was one of the two principal curators, David Anfam suggests that while it has proved difficult to pin down a clear definition of abstract expressionist style, there has long existed a consensus as to the major figures involved: start with Pollock and Rothko and add two or three more. Men,that is.
In 2010, as Anfam notes, the U.S. Postal Service issued ten stamps commemorating Abstract Expressionist painters: Pollock, Rothko, de Kooning, Gorky, Adolph Gottlieb, Hans Hoffman, Joan Mitchell, Robert Motherwell, Barnett Newman and Clyfford Still. And the name that jumps out, of course, is Mitchell’s. An artist who has been largely absent from most considerations of the AbEx canon; or if not absent, someone who was seen to be existing somewhere on the periphery. No call to query the reason why. As Anfam says, “she lingered on the margins for being a woman.”
He goes on to point out that in the 1,269 pages of his collected criticism, the intellectual champion of Abstract Expressionism, Clement Greenberg, mentions Mitchell just once and then in passing. And yet her work had been included in major exhibitions of American Painting in New York and Chicago from 1951 onwards and in international touring shows organised by the Museum of Modern Art in 1956 and 57. She had solo shows in New York from 1952 through the 50s and in both Milan and Paris in 1960. To quote Anfan again: “A brilliant critic, everything Greenberg wrote nevertheless expressed his considerable ideological biases.”
Joan Mitchell: La Grande Vallée III
Joan Mitchell: La Grande Vallée XVI
Joan Mitchell: Le Chemin des Ecoliers
Joan Mitchell: Sunflowers
A choice here then for the curators of this show: to follow the established canon, while acknowledging the elements of bias inherent in it, or, without presenting a false picture, take steps to ensure a fairer balance, one which acknowledges the important work produced during the period in question by artists such as Joan Mitchell, Helen Frankenthaler, Grace Hartigan, Lee Krasner and others.
Joan Mitchell, Helen Frankenthaler & Grace Hartigan at the opening of an exhibition of Frankenthaler’s paintings.
Of the 12 rooms at the Royal Academy, five feature a mixture of work, five are given over to the heavyweights of the genre – Gorky, Pollock, de Kooning, Rothko and Clifford Still, one is shared between Barnett Newman and Ad Reinhardt, one between Franz Kline, Jack Tworkov and Robert Motherwell. A lot of guys.There are just two works by Joan Mitchell in the exhibition, the strong and strikingly beautiful Mandres in the room named Gesture as Colour – a setting she shares happily with the likes of Philip Guston and Sam Francis – and a magnificent four panel work, Salut Tom, from 1979, in the final room, Late Works. Lee Krasner does rather better, with four pieces, including the imposing The Eye is the First Circle, painted as a tribute to her husband, Jackson Pollock, and displayed in the double room devoted to him. Helen Frankenthaler – a major figure, if not the major figure, in the colour-field subset – is represented by only one painting and not an especially good one at that. Thinking back to the exhibition of her work at Turner Contemporary in Margate in 2014, it’s clear how well, and how brilliantly, her large and vibrant canvasses would have shown here. As for Grace Hartigan, although she is referenced five times in the catalogue, not a single piece of hers is included.
Helen Frankenthaler with some of her paintings
Okay, moan over. Point, possibly, taken. What about the show as it exists? Well, it’s good, of course. Very much worth seeing. With so much good work, so many good pieces collected together, how could it fail to be? The space given over to Pollock, with canvasses ranging from his first epic canvas, Mural, painted in 1943 for one of walls in Peggy Guggenheim’s New York townhouse, through Summertime: Number 9A (1948) to the magnificent Blue Poles ((1952) – one of the few truly great paintings it’s been my good fortune to see in person – is fully deserved. And, depending on personal taste, there’s much else besides: two late de Koonings that seem to breath the same air as Richard Diebenkorn; Franz Kline’s Requiem, a belligerent doom-laden sky with apocalyptic overtones which seem to hark back to John Martin and forward to Anselm Kiefer; Louise Nevelson’s Sky Cathedral – Moon Garden + One, a wall sculpture made up of boxes and assorted shapes, bits and pieces of machinery, of ‘stuff’, a three dimensional collage that somehow aspires to painting at the same time as seeming to refer to the free-standing, airy sculptures of David Smith, which are placed at the centre of almost every room, as if demanding a presence for something more real, more of the world than canvas and paint.
Finally, what about Rothko, I hear you say? Well, with the Rothkos there’s a serious problem, and that’s the choice of room in which most of them are displayed. You can see, I think, why that choice was made. The room is circular in shape, under a sort of rotunda, and, as such, it has echoes of the Rothko Chapel in Houston, a place for quiet, almost religious contemplation, time to let the paintings work on you in the way that, given time and space, they should. But this space is at the very cross-roads of the exhibition, with the result that people are forever passing to and fro, leaving little room or time to simply stand and stare. Certainly not sit, as, with all that movement, any benches, however necessary, would simply have got in the way.
The Abstract Expressionism exhibition is at the Royal Academy in London until January 2nd, 2017. The Robert Rauschenberg retrospective is at Tate Modern until April 2nd, and America After the Fall: Painting in the 1930s, is at the R.A’s Sackler Galleries from February 25th till June 4th.