Jessica Duran, Post 5

Jessica Duran

From its inception, American Abstract Expressionism art has been both denounced for being a “social hazard” and praised for exemplifying and advocating the very ideals our nation was founded upon (Mathews 161). Unlike the artwork of Norman Rockwell which promoted and idealized wholesome American values or the clearly representational artwork of Andrew Wyeth; American Abstract Expressionist art deviated from formal artistic conventions and American traditions and therefore was branded as being Communistic in nature (Mathews 156). This artwork was also condemned for its lack of concrete subject matter and for portraying a contorted view of reality (Mathews 166). Because of their unrestrained departure from traditional American values and ideals and the unwavering resistance these artists had to conforming to the set standard, many political figures like George Dondero and Richard Nixon adamantly denounced this art movement and its artists and viewed it as a direct threat to all that was American (Mathews 156).

The prominent artists of this era included Jackson Pollock, Mark Rothko, Robert Motherwell, Willem de Kooning, and Franz Kline. Though they all belonged to the same artistic movement, each of these artists was unique in the artistic techniques and mental approaches they utilized in creating and executing their artwork. Their artwork eschewed all forms of traditionailism and challenged the societal and cultural norms of the era. This avant-garde artwork exalted passion of reason, chaos over order, and the individual over community, and for these reasons was viciously attacked and denounced by dictatorial regimes (Mathew 164).

Ironically, it was American Abstract Expressionist art that ultimately designated New York as the epicenter of the art world and would eventually come to embody the American values of freedom and individuality (Cockcroft 168). Though it is nearly impossible to dissect into its individual components, at its most fundamental level, American Abstract Expressionist art is the celebration, exploration, and exaltation of the “inner, subjective, psychological world of self” (Mathews 171).

"Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within."
- Jackson Pollock

Jackson Pollock’s famous painting, Autumn Rhythm, is a direct manifestation of what American Abstract Expressionism represented. This painting could be denounced by many for being dangerous and a threat to all social and cultural order and harmony for several reasons. Firstly, it lacks a concrete subject matter and portrays a distorted, chaotic, nonrepresentational depiction of reality; thus failing to provide its audience with any readily identifiable or associable images or depictions (Mathews 168). It does not dictate what the viewer should or should not see, but instead places the responsibility on the viewer and challenges them to interpret the painting through their own eyes. Secondly, since this artwork relies so heavily upon the personal subjective views of the artist; it could be easily misinterpreted or misunderstood. The initial inability to readily comprehend and fully grasp the meaning of this painting could cause individuals to feel intimidated and frustrated and ultimately brand this type of art work as “degenerate” and even elitist (Mathews 171). Finally, this painting does not concretely propagate or glorify American ideals and values, and therefore could be viewed as a Communist conspiracy to eradicate all that is American, and in essence a direct threat to American Democracy (Mathews 162).

On the other hand, this painting can be viewed as the visual personification of artistic freedom and a living testament to the wonder of unrestrained creativity. The inherently defiant nature of the chaotic dance of colors in this painting beckons the viewer’s complete attention. Free from the restraints of technical formality, the intertwining of paint splashes exudes a sense of haphazardness and unpremeditation. It is the viewer’s duty to extrapolate meaning from the ambiguous melding of color, lines, form, and spatial orientation. The viewer is challenged to lose themselves in this massive mural-sized painting; forcing them dive into unmarked territory and ultimately explore the tenebrous labyrinth of their own subconscious (Mathews 170). This painting gracefully epitomizes the ideals of unrestrained self-expression and individuality; two values that are quintessentially American. Pollock’s radically innovative method of painting resulted in the production of artwork that has yet to be rivaled in its uniqueness.

While researching the life and artwork of Jackson Pollock; I stumbled upon the website, www.JacksonPollock.org. This website allows any individuals the opportunity to create Pollock-esque artwork. As I sat at my computer desk creating my own “masterpiece”, a sense of complete liberation washed over me. Creating this type of artwork was in essence pure individualism, a hundred percent unblemished self-expression.

"Every shape becomes an organic entity, inviting the multiplicity of associations inherent in all living things"- Mark Rothko

Mark Rothko’s color field painting, Red, Orange, Tan, and Purple, is an excellent example of artwork that “speaks” to its audience through the use of abstract means. In many ways this painting could be viewed a direct threat to American society. Firstly, it lacks any recognizable representation of American symbols, images, or ideals, and therefore could be considered to be Communist-inspired and an impending danger to our nation (Mathews 171). Secondly, this painting it not easy for individuals to understand or analyze, and therefore could be classified as elitist in nature. Finally, this painting does not clearly represent reality to the viewer, but instead depicts the subjective reality of Mark Rothko. This rebellious act could be viewed by many as both decadent and degenerate (Mathews 171).

On the other hand, this painting celebrates Rothko’s subjective perception of reality and is therefore an ideal representation of pure, untainted artistic self-expression. The dynamic interactions of the solid bands of color engulf the canvas and create a cohesive harmony that subliminally speaks to the viewer. The irregular boundaries of the rectangles express a wild, primitive like quality and the lack of any recognizable subject matter only helps to add to the dimension of the painting. This painting connects the viewer with their inner psyche; promoting deep self reflection and introspection. The viewer is ultimately allowed to extract whatever underlying meaning they wish to subconsciously discover. This is a work of art that glories the inner self and applauds the expression of individual creativity.

"Without ethical consciousness, a painter is only a decorator."
—Robert Motherwell

Robert Motherwell’s painting, Elegy to the Spanish Republic No. 110, is a model example of how American Abstract Expressionist art is an individualistic experience for both the artist and the viewer. Critics could openly denounce this work for the social commentary it makes against war and the horrendous pain and suffering that it brings to all humanity; a main reason many politicians wanted to censor abstract art during the Cold War years (Mathews 156). Though it lacks any discernible subject matter, the use of bulbous, irregular ovals sandwiched tightly between rectangular columns conveys an atmosphere of intense conflict and hostility. The unique spatial arrangement of the ovals also aids in conveying a rebelliously expressive tone to the viewer. I believe the contrasting utilization of black and white paint in this painting may to serve to be a metaphor for the undying struggle between good and. evil, right and. wrong, and the individual against the world. This painting hypnotically entices the viewer and dares them to search the depth of their souls; subconsciously asking the questions that will ultimately lead them to the painting’s innate essence. Eventually, after much introspection and contemplation, the viewer should be able to fuse the abstract images with the deeply embedded concrete meaning of this painting. This painting is not only creative and unique in its design and execution, but is also the visual personification of authentic artistic self-expression and unrestrained freedom; in essence the very type of art that Hitler, Stalin, Dondero, and many other prominent political figures passionately detested and feared (Cockcroft 152).

“An artist is forced by others to paint out of his own free will.”
-Willem de Kooning

Willem de Kooning’s painting, Woman, is an example of American Abstract Expressionism art that uses ambiguous subject matter to convey its meaning. In this painting, Kooning ambiguously represents the female form using his own individualistic perception of what the essence of a woman truly is. This artistic act could be viewed by many as an overt attempt to defy social and political order, and therefore could be classified as a direct attack on American values and principles and ultimately identified with communism (Mathews 162). The manner in which the woman is visually represented could be also be denounced by the viewer as being distorted and degenerate if they are not willing to take the time to fully analyze this painting (Mathews 165). There is a sense of unfinished deliberation and defiance in this work of art. The woman’s breasts are overtly protruding and her arms are defiantly placed on her waist. The voluptuousness of her body is enhanced by the stark black outlines that caress her fluid curves. The bold use of colors and geometric shapes create a wildly, energetic air to the painting. She is a strong, independent, fearless, and confident woman, and she knows it too. This painting attests to the incredible masterpieces that can be produced if artistic ingenuity and intuition are allowed to take their course and be fully expressed.

"The nature of anguish is translated into different forms."
-Franz Kline

Franz Kline’s painting, Painting Number 2, is a dynamic exemplification of how American Abstract Expressionist art can express innate emotions and feelings through the mode of abstract execution. Void of any visibly apparent subject matter, this painting utilizes the contrast of black paint against a stark white canvas to create a dynamic, chaotic atmosphere. The spontaneous, erratically aggressive brush strokes used in this painting also relay to the viewer a sense of internal turmoil and struggle. The chaotic reality portrayed in this painting could be associated by some with the Communist left in its attempt to distort reality and eschew American traditionalism (Mathews 165). The viewer is challenged to try to internalize the chaos presented in this painting and somehow subconsciously apply a unique subjective meaning to it. There is an organic, earthy visual intensity in this painting that inherently attests to Kline’s genuine creativeness and intuitiveness. This painting honors the sacredness of the individual freely expressing his/ her inner self; a concept that we strongly revere and uphold in American society and culture.