ELLSWORTH KELLY

In an age of modernity, where religion’s powers are waning and art was moving away from the representative, Ellsworthy Kelly wondered what would become of the altar-piece. Spending nearly a decade in Europe in the late 40s and early 1950s, he spent time in classical churches and cathedrals and became infatuated with the large scale, multi-panel works that served as their centre-pieces. On his return to America, he tried to incorporate this idea of art works composed of separate pieces, each serving as stand-alone painting but contributing ultimately to something greater than the sum of their parts. This seven panel work was the answer to his wondering, arranging the colours through chance techniques, he removed himself from the aesthetic decision making of the work and instead let the beauty of the artwork live in the intersections of its medium. The dialogue happens at the edges of the panels, where block colours interact across flat planes, and like the religious altarpieces that inspired it, the work tells a story of humanity and emotion when seen in its totality.

STANLEY TIGERMAN

After decades of dominance, in the 1970s the architectural style of Mies van der Rohe that had held the American architect in its grips was beginning to wane. Modernism was being replaced by postmodernism, and the clean minimalism that was considered the paramount of aesthetic style was being challenged by iconoclastic ideas that uprooted the very principles the modern nation had based its visual language. Yet, as architectural schools and practices around the country were rebelling against Miesian ideals, Chicago, where van der Rohe had held the position of director of the School of Architecture at the Illinois Institute of Technology was the last hold out of his pure, unadulterated philosophy. Tigerman created this photocollage of the Rohe’s famous ‘Crown Hall’ building sinking into the depths of the ocean as a sort of ultimatum to the architectural institutions. He mailed out the image to leading figures in the medium, with the option for a one way ticket on the Titanic, implicitly urging them to adapt, improve, modernise or die. The work has become a landmark of postmodernism, and a watershed moment in the history of American architecture, serving as the most implicit nail in the coffin of van der Rohe.

JACKSON POLLOCK

Jackson Pollock was at the height of his fame when he started to abandon the medium that had brought him there. Working with a more commercial gallery, that called for a more demanding production schedule from Pollock, he sunk deeper into alcoholism, depression and the ‘drip paintings’ that had made him seemed to represent a past he was no longer in touch with. This is one of the last substantial abstract works that Pollock made, and one of the few in his later career that still features the elements of chance creation that defined his major period. This painting can be read as a self-portrait of Pollocks interior life, as bright splashes of color, hopefully suggestions of the rainbow sit in the bottom third, increasingly obscured by a darkness that seems to overtake and move down the canvas in a chaotic dance. The rainbow has been greyed, the light are going out of the artist’s spirit and he paints in an attempt, perhaps, to communicate the internal turmoil that he cannot put into words.