NYC-ARTS

S2020 E475 | CLIP

NYC-ARTS Choice: Joan Snyder's Smashed Strokes Hope

A visit to The Metropolitan Museum of Art for a look at "Smashed Strokes Hope," which belongs to artist Joan Snyder’s breakthrough series of abstract paintings, sometimes referred to as "stroke paintings" because they emphasize the primacy of the artist’s brushwork.

AIRED: January 09, 2020 | 0:03:44
ABOUT THE PROGRAM
TRANSCRIPT

>>> NEXT, WE VISIT THE

METROPOLITAN MUSEUM OF ART FOR A

FRESH LOOK AT THE MUSEUM'S

COLLECTION OF POST-WAR AND

CONTEMPORARY ART.

EPIC ABSTRACTION, POLLOCK TO

HERRERA EXPLORES LARGE-SCALE

ABSTRACT PAINTING, SCULPTURE AND

OTHER WORKS OF ART.

IT SEEKS TO BROADEN THE

NARRATIVE OF ABSTRACTION,

BRINGING TOGETHER 60 WORKS FROM

THE COLLECTION, REPRESENTED HERE

ARE SUCH ICONIC ART I WAS AS

JACKSON POLLACK, AND IGUCHI AND

CARMEN HERRERA AND MARK

BRADFORD.

RANDALL GRIFFEY, CURATOR OF

MODERN AND CONTEMPORARY ART AT

THE MET LOOKS AT A SINGLE WORK

FROM THE EXHIBITION.

>> THE COLORFUL AND ATTRACTIVE

PAINTING BEHIND ME IS SMASH,

STROKES HOPE FROM 1971 BY JOAN

SCHNEIDER.

SCHNEIDER IS ONE OF THE

CONTEMPORARY ARTISTS FEATURED IN

EPIC ABSTRACTION, POLLACK TO

HERRERA AND THE EXUBERANT COLOR

AND THE SENSE OF EXPERIMENTATION

BREAKS FROM THE INTENSE

FORMALISM OF MINIMALISM,

SPECIFICALLY THE MINIMALIST GRID

THAT WAS CONSIDERED TO BE THE

MOST DESIRABLE TEMPLATE OR

TOUCHSTONE FOR COMPOSITION OR

DESIGN FOR MANY ARTISTS,

PAINTERS AND SKULL OPPORTUNITY

ARES COMING OF AGE IN THE 1960s

AND 70s.

THIS IS A PAINING ON CANVAS.

OIL, A KRILLIC AND SPRAY ENAMEL.

SHE'S APPLYING PAINT FAIRLY

TRADITIONALLY IN CERTAIN

INSTANCES WITH THE SEQUENCE OF

VERY CLEAR BRUSH STROKES.

MOST OF THOSE ARE WITH THE OIL

PAINT, BUT THERE ARE INSTANCES

SHE'S EXPLORING MARK MAKING IN

OTHER WAYS.

HER PROCESS IS BOTH ADDITIVE AND

SUBTRACTIVE.

SHE MAKES STROKES BY ADDING

INDIVIDUAL BRUSH MARK, BUT SHE

ALSO EXECUTES STROKES IN THE

SUBTRACTIVE MANNER.

IN SOME CASES, SCRAPING INTO

THICK PAINT TO MAKE AN ABSENCE

OF A STROKE.

PART OF THE APPEAL OF JOAN

SCHNEIDER'S PAINTING IS THAT IT

ALMOST EXPANDS AND BLOWS UP IN

SCALE WITH AN ARTIST PALETTE

MIGHT LOOK LIKE WHERE YOU GET A

SENSE OF THE PAINT BEING MIXED

AND THERE'S THE SENSE OF A FULL

RANGE OF AN ARTIST'S PALETTE

THAT SHE'S PREPARING TO USE THE

PAINT IN CERTAIN INSTANCES AND

CERTAIN PASSAGES, IT'S PILED UP,

AND THICK AND IMPOSTED AND

COAGULATED.

IN OTHER INSTANCES SHE HAS THE

PAINT DILUTED AND OVER WIDE

EXPANSES OF THE PAINTING.

THE PAINTING SERVES AS A KIND OF

INVENTORY OR CATALOG OF PAINTER

STROKES.

SOME THICK, SOME THIN, SOME

STABLE, SOME STRONG.

OTHERS FLUID, OTHERS WEAK.

SCHNEIDER HERE WALKS THE VERY

FINE LINE BETWEEN

EXPERIMENTATION AND

DELIBERATION.

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