{"id":811,"date":"2020-11-04T18:29:24","date_gmt":"2020-11-04T18:29:24","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=811"},"modified":"2020-11-04T18:53:22","modified_gmt":"2020-11-04T18:53:22","slug":"more-thoughts-on-american-art-after-abstract-expressionism-nancy-graves","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2020\/11\/04\/more-thoughts-on-american-art-after-abstract-expressionism-nancy-graves\/","title":{"rendered":"More Thoughts on American Art After Abstract Expressionism: Nancy Graves"},"content":{"rendered":"\n<p>In the last entry of this blog, <a href=\"http:\/\/blogs.rollins.edu\/cfam\/2020\/10\/28\/pausing-to-appreciate-wolf-kahn\/\">I wrote about the American painter Wolf Kahn<\/a>, whom the art historian Barbara Novak regarded as perfectly blending the American landscape tradition with the formal innovations of Abstract Expressionism.<sup>1<\/sup> In this post I will examine Nancy Graves, another artist who owed a formal debt to the Abstract Expressionists while exploring very different subjects in her work. Graves, who was born twelve years after Kahn, came from a younger artistic generation. Instead of the Hans Hofmann School, she studied English literature at Vassar before attending the Yale School of Art for her MFA. While there, she studied with a group of artists including Chuck Close, Richard Marden, Janet Fish, Brice Marden, and Rackstraw Downes, all of whom helped to set the terms of American art after the era of Abstract Expressionism\u2019s dominance.<sup>2<\/sup> These artists, working in a variety of mediums and traditions, including photorealist painting, sculpture, Conceptual art, and a suddenly resurgent figurative expressionism, seem at first glance to have little in common with each other, let alone with the intensely personal, large scale abstractions created by Jackson Pollock, Willem de Kooning, and others of their generation.<\/p>\n\n\n\n<p>Yet, as both artists and art historians have noted, Graves and her colleagues entered an art world irrevocably altered by Abstract Expressionism. In particular, the artist Allan Kaprow noted that Pollock had severed painting from the responsibility to be a window on the world, instead freeing up the artist to allow elements of the world back into painting. In Pollock\u2019s case, this was accomplished through his translation of the gestures of his body onto the painted surface.<sup>3<\/sup> In particular, Abstract Expressionism, no matter how it was practiced by individual artists, led to the predominant mode of painting becoming an allover style of composition, originating with Cubism, that saw the painting occupy the entire canvas. The canvas, further, was usually presented unframed, completely denying the aforementioned window-on-the-world quality that had so long been central to the Western tradition.<sup>4<\/sup> In her paintings Graves, who also worked extensively as a sculptor, combined this allover compositional style with a dense series of references to science and art, combining the very old\u2014Paleolithic cave paintings, paleontology\u2014with the modern and even futuristic, including NASA satellite photographs and modern art movements like Cubism and Fauvism.<sup>5<\/sup> <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"718\" height=\"700\" src=\"http:\/\/blogs.rollins.edu\/cfam\/wp-content\/uploads\/2020\/11\/graves-nancy-time-shapes-the-stalactite.jpg\" alt=\"Nancy Graves, Time Shapes the Stalacite, Cornell Fine Arts Museum, Rollins College\" class=\"wp-image-812\" srcset=\"https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/graves-nancy-time-shapes-the-stalactite.jpg 718w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/graves-nancy-time-shapes-the-stalactite-300x292.jpg 300w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/graves-nancy-time-shapes-the-stalactite-308x300.jpg 308w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/graves-nancy-time-shapes-the-stalactite-100x97.jpg 100w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/graves-nancy-time-shapes-the-stalactite-150x146.jpg 150w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/graves-nancy-time-shapes-the-stalactite-200x195.jpg 200w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/graves-nancy-time-shapes-the-stalactite-450x439.jpg 450w, https:\/\/blogs.rollins.edu\/rma\/wp-content\/uploads\/2020\/11\/graves-nancy-time-shapes-the-stalactite-600x585.jpg 600w\" sizes=\"auto, (max-width: 718px) 100vw, 718px\" \/><figcaption>Nancy Graves, American (Pittsfield, Massachusetts, United States, 1939 &#8211; 1995, New York City, New York, United States), <em>Time Shapes the Stalactite<\/em>, 1991, Etching and silkscreen, 51 1\/2 in. x 52 in. print, Purchased with funds donated by SunTrust, N.A. to the Cornell Anniversary Acquisitions Fund, 1994.5 \u00a9 Nancy Graves, Artists Rights Society (ARS), New York, NY  <\/figcaption><\/figure>\n\n\n\n<p>Graves\u2014who called her painting post-cubist\u2014increasingly in her later career combined all of these references at once, creating densely-layered and complex visions of a variety of natural and human phenomena.<sup>6<\/sup> The 1991 print <em>Time Shapes the Stalactites <\/em>&nbsp;is a stellar example of this process at work. In the left center, rendered in pink and black in a mix of pointillism and minutely swirling lines, is a fourth-century Roman head, a frequent motif in Graves\u2019s work of the time. This pointillist style, though it references the history of art, is also related to Graves\u2019s close study of geographic survey maps.<sup>7<\/sup> Her study of maps was reinforced by the wonders of NASA\u2019s first satellite images, released to the public while she was establishing her artistic identity.<sup>8<\/sup> The flowing blue lines that move from top to bottom of this print are likely references to the stylized way rivers are represented on maps, and the work\u2019s title directly calls forth the natural processes that have shaped the world we live in, in particular the flows of water that cascade across the print\u2019s surface. The image rewards closer examination, with an astute viewer able to pick out warring figures on horseback and chariot, spirals reminiscent of seashells, plantlike forms rendered in ghostly purple, and a large fish, rendered in luminous green, goldenrod, and a dark, bricklike red. <\/p>\n\n\n\n<p>Graves executed this work\u2014a\nbravura combination of intaglio printmaking techniques and silkscreen\u2014in\ncollaboration with the Italian print studio 2R Edizioni d\u2019Arte. In her early\nfifties she was settled into a mature, confident style, bringing together the\nmany interests she had explored since her childhood among the taxidermy\ncollections at the Berkshire Museum in her native Pittsfield, MA.<sup>9<\/sup>\nUnfortunately, Graves made her last works just a few years later, in 1995, <a href=\"https:\/\/www.nytimes.com\/1995\/10\/24\/arts\/nancy-graves-54-prolific-post-minimalist-artist.html\">succumbing\nto ovarian cancer in October of that year<\/a>. Works like these, along with the\ncomplex, three-dimensional blends of painting and sculpture she was making\nduring the early 90s, thus also serve as bittersweet reminders of what new and\nfascinating directions her art might have taken over the last twenty-five\nyears.<sup>10<\/sup><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><sup>1<\/sup> Barbara Novak, \u201cIntroduction,\u201d in <em>Wolf Kahn Pastels<\/em> (New York: Harry N. Abrams, 2000), 7.<\/p>\n\n\n\n<p><sup>2<\/sup> Nancy\nGraves, Linda Konheim Kramer, and Ameringer &amp; Yohe Fine Art (N.Y.), <em>Nancy\nGraves: A Retrospective.<\/em> (New York: Ameringer &amp; Yohe Fine Art, 2005),\n3.<\/p>\n\n\n\n<p><sup>3<\/sup> \u201cNancy Graves: Back to Nature, Robert Storr,\u201d n.d., 9\u201310.<\/p>\n\n\n\n<p><sup>4<\/sup> Graves, Kramer, and Ameringer &amp; Yohe Fine Art (N.Y.), <em>Nancy Graves<\/em>, 3\u20134.<\/p>\n\n\n\n<p><sup>5<\/sup> Christopher Lyon, \u201cNancy Graves: In the Desert of Style,\u201d in <em>Nancy Graves.<\/em>, 2015, 31\u201336.<\/p>\n\n\n\n<p><sup>6<\/sup> Joanna Weber, \u201cOf Colored Bones and Metal Rods: Nancy Graves\u2019s \u2018Calegli,\u2019\u201d <em>Yale University Art Gallery Bulletin<\/em>, 1997, 92.<\/p>\n\n\n\n<p><sup>7<\/sup> Lyon, \u201cNancy\nGraves: In the Desert of Style,\u201d 32.<\/p>\n\n\n\n<p><sup>8<\/sup> Nancy Graves and Mitchell-Innes &amp; Nash, <em>Nancy Graves: Mapping.<\/em>, 2019, 11\u201313.<\/p>\n\n\n\n<p><sup>9<\/sup> Graves, Kramer, and Ameringer &amp; Yohe Fine Art (N.Y.), <em>Nancy Graves<\/em>, 3.<\/p>\n\n\n\n<p><sup>10<\/sup> Graves, Kramer, and Ameringer &amp; Yohe Fine Art (N.Y.), 6.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the last entry of this blog, I wrote about the American painter Wolf Kahn, whom the art historian Barbara [&hellip;]<\/p>\n","protected":false},"author":16,"featured_media":812,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[55],"tags":[72,84,29],"class_list":["post-811","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-research-highlights-insights-into-the-american-art-collection","tag-cornell-fina-arts-museum","tag-nancy-graves","tag-rollins-college"],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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