New Guy In Town

One of my favorite activities, when I’m not in my studio, is visiting museums. On a recent trip to Denver I went to the new Clyfford Still Museum. It is adjacent to the Denver Art Museum, its straight lines and solid mass contrasting sharply with the DAM’s angular walls. The Brad Cloepfil designed building houses almost 94% of Still’s total output (paintings, works on paper and sculptures).

Clyfford Still Museum - gallery

The path from representational depictions of farm workers in the 1920’s and 30’s to his fully realized Abstract Expressionist paintings of the 50’s until his death in 1980 are beautifully displayed, several to a gallery.

I was in college during the heyday of Abstract Expressionism. I was not as aware of Still and his contemporaries as maybe I should have been, (no Jackson Pollacks in my collection), but I was greatly influenced by one of the group, William Baziotes, who was my teacher at Hunter College. His discussions of how to “see” the world around us in terms of color, shape, line and texture influenced the direction my own art would take.

Clyfford Still "PH-272", 1950, detail

I have always said my work is about those “relationships.” As long as you understand that, you will be comfortable with the absence of object or narrative in my work.

Cecelia Feld #249 Sienna, acrylic painting, 69x53", 1983

Cecelia Feld #1209 This Must Be Your Lucky Day, collagraph collage, 8x11", 2009

See what I mean?


11 thoughts on “New Guy In Town

  1. Love it, and I love your work! It’s great to hear the stories and background that inspired your explorations in art. Keep it coming. 🙂

  2. Loved your #249. reminds me of our Sam Francis. Looking forward to the trip. Perhaps a visit to Clyfford Still.

  3. It’s great to see the statement that your work is all about relationships of color, line, shape and texture. Can it really be anything else, ultimately? I am so uncomfortable with critics who insist that the work must be a about larger social issues. It can be both, but without the first relationships, there is no communication.

    • Since you are a weaver, you know where I’m coming from. The artists who deal with social commentary should, hopefully also consider how the work “looks,” Some do, some don’t. For that reason, I have trouble with some ” installation” art. I’m still learning. That’w what its all about.

  4. Can’t wait to go see the Clifford Still museum with our own eyes. It’s wonderful to hear about how you use relationships and lines in your work.

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