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And with that, the cover lot,
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Clyfford Still 1949, A number 1.
3
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And started here at
18, 19, 20 million dollars.
4
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Let's bid at 20 million, 21, 22, 23, 24,
5
00:00:53,350 --> 00:00:55,013
25 is already bid at 25.
6
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At 45 million, 47,500,000.
7
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50 million.
8
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Selling then for $55,000,000.
9
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Sold! Thank you Lisa.
10
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You have the Iberian
blacks of Robert Motherwell's
11
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"Elegy to the Spanish Republic" number 126.
12
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And here we have Barnett Newman on one side
13
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on the right hand side of the gallery,
14
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and Ad Rheinhardt on the other.
15
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Here, in the penultimate gallery,
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gallery 11, you have 10 monumental canvases
17
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by Clyfford Still.
18
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Well, Clyfford Still, one
of the most enigmatic,
19
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mysterious, toughest, most emotional,
20
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of all the great American
abstract impressionists.
21
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Jackson Pollock said that Clyfford Still
22
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makes the rest of us look academic.
23
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He was just a very
clearly strange individual.
24
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I never know of anybody who
was quite so off the wall as he.
25
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It's a quote from Pollock
and I think it's 1947,
26
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when he says, "Clyff Still, Rothko and I,
27
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"we change the face of painting."
28
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Who's Clyfford Still?
29
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Well, we're still finding out.
30
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We weren't even allowed to
know, for decades and decades,
31
00:02:40,740 --> 00:02:44,850
he famously sort of
absented himself at the height,
32
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or at the end of abstract expressionism.
33
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I don't think he removed
himself from the world of art,
34
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from the world of ideas. He
definitely removed himself
35
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from the art world.
36
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He had to get away from what he called
37
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the corruption of the art world.
38
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He was more interested
and more firmly convinced
39
00:03:07,490 --> 00:03:10,630
about an artist doing what Still felt
40
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that artists should do.
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Paint.
42
00:03:13,820 --> 00:03:17,910
He kept himself apart, he
was a very secretive man.
43
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And if you make yourself an outsider,
44
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then people who look at the movement
45
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are going to put you outside the movement,
46
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as simple as that.
47
00:03:30,530 --> 00:03:33,550
You know, it's not a popularity contest,
48
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and art and life are
incongruous to each other.
49
00:03:36,610 --> 00:03:38,370
I mean, you make a decision
that you wanna do that,
50
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it doesn't mean that you're
gonna be in favor all the time.
51
00:03:41,370 --> 00:03:42,610
It doesn't mean that you're gonna have,
52
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there are gonna people who don't understand
53
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what you're doing.
54
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Painting is about time.
55
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Painting is about death,
56
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and you're making a physical fact.
57
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And paintings bring you into their present
58
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whenever you get in contact with them.
59
00:04:07,330 --> 00:04:09,970
For years and years and
years, my parents would take me
60
00:04:09,980 --> 00:04:11,750
to the San Francisco Museum of Modern Art
61
00:04:11,760 --> 00:04:14,253
to see whatever the
exhibition of the time was.
62
00:04:17,760 --> 00:04:20,970
And I have a vivid memory
of seeing Still's work
63
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at the museum there, I
was probably 10 years old.
64
00:04:23,930 --> 00:04:26,490
And what I remember about
it was a particular painting
65
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that I focused on, kind of human sized,
66
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maybe six foot high, largely black painting.
67
00:04:50,329 --> 00:04:53,820
And what captivated me
was that the title of the painting
68
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listed on the label was "Self Portrait."
69
00:05:01,450 --> 00:05:03,410
There was nothing about
this that a 10 year old
70
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could in any way, shape, or form, think of
71
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as a self portrait.
72
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And I was hooked.
73
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I didn't understand this at all,
74
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but I was completely captivated
75
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and that was my introduction to modern art.
76
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I was very much impressed not only by
77
00:05:33,180 --> 00:05:38,180
his own person and persona
but in terms of his intellect
78
00:05:38,580 --> 00:05:43,580
and his integrity about his own work,
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how it was to be displayed,
80
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all those things of course that would drive
81
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museum directors a little crazy perhaps,
82
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but, but that's the way it was with him.
83
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I loved him but I was
terrified of him you know,
84
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because he did look like God as some,
85
00:06:01,460 --> 00:06:05,410
one of the painters so kindly said.
86
00:06:05,420 --> 00:06:09,930
He turned out to be
an extraordinary artist,
87
00:06:09,940 --> 00:06:14,360
and I'm proud and lucky
that of all his contemporaries
88
00:06:14,370 --> 00:06:16,453
that I got to be his daughter.
89
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It's a complicated
journey that the guy went on.
90
00:06:21,400 --> 00:06:23,463
It's also a real story of America.
91
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It was as a journey that one must make
92
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walking straight and alone.
93
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No respite or shortcuts were permitted
94
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and one's will had to hold
95
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against every challenge of triumph,
96
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or failure, or the praise of vanity fair.
97
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That's the recorder,
98
00:06:52,760 --> 00:06:53,920
tape recorder.
99
00:06:53,930 --> 00:06:55,240
I remember when he bought that,
100
00:06:55,250 --> 00:06:57,100
he came home with it.
101
00:06:57,110 --> 00:06:58,580
Audio tape? - Audio tape, yes.
102
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Jesus Christ.
103
00:06:59,962 --> 00:07:00,785
Why didn't you tell me
about... - 30, how many hours
104
00:07:00,795 --> 00:07:01,621
did you come up with Jess?
105
00:07:01,631 --> 00:07:02,780
30? - 34.
106
00:07:02,790 --> 00:07:06,410
34 hours of audiotape.
107
00:07:06,420 --> 00:07:08,025
Do I know this?
108
00:07:08,035 --> 00:07:09,100
Well okay, I want you to hear this.
109
00:07:09,110 --> 00:07:11,045
Which one is this?
110
00:07:11,055 --> 00:07:12,433
This is our new machine,
111
00:07:13,490 --> 00:07:15,093
we just got it today.
112
00:07:17,657 --> 00:07:19,893
And it's all ours.
113
00:07:21,045 --> 00:07:22,500
Well on the one hand I'm amazed
114
00:07:22,510 --> 00:07:24,640
at an archival discovery of this kind,
115
00:07:24,650 --> 00:07:27,880
and on the other hand it
doesn't surprise me that much
116
00:07:27,890 --> 00:07:30,310
because Still was really very, very,
117
00:07:30,320 --> 00:07:32,927
intent on recording everything he did,
118
00:07:32,937 --> 00:07:36,778
and this is an expression
of that kind of mindset.
119
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Creatively reflecting
120
00:07:40,250 --> 00:07:42,830
the anxious temper of the times is modern art
121
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and impatience with
old-fashioned forms and limitations
122
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had launched the 20th century artist
123
00:07:49,000 --> 00:07:51,910
on a restless search for
new ways of expression,
124
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and for new techniques.
125
00:07:53,450 --> 00:07:55,540
If they are to find a place
126
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in the civilization of the next half century,
127
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the visual arts must in effect
compromise with the machine.
128
00:08:02,740 --> 00:08:05,500
This can be done, only within the terms
129
00:08:05,510 --> 00:08:07,623
of what we call abstract art.
130
00:08:10,240 --> 00:08:13,000
Abstract Expressionism
was an American art movement
131
00:08:13,010 --> 00:08:15,670
that developed during and
after the Second World War,
132
00:08:15,680 --> 00:08:20,630
that fused the relatively
recent idea of an abstract art,
133
00:08:20,640 --> 00:08:23,350
with the age-old tradition of Expressionism.
134
00:08:23,360 --> 00:08:25,970
Before that virtually all the artists
135
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had lived through the Great Depression
136
00:08:27,600 --> 00:08:30,790
and they were marked by
that for decades to come.
137
00:08:30,800 --> 00:08:33,779
There's a strong argument
to be said for the idea that
138
00:08:33,789 --> 00:08:38,013
Abstract Expressionism
really mirrors the age of anxiety
139
00:08:48,110 --> 00:08:52,440
Abex if you call it was
such a huge movement
140
00:08:53,610 --> 00:08:56,983
in the United States, it
went all over the world.
141
00:09:00,930 --> 00:09:04,160
One of probably the largest
exports that this country
142
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still has exported.
143
00:09:08,340 --> 00:09:11,240
It's sometimes called
the School of New York
144
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and that's a complete geographical misnomer.
145
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It spans both coasts of the United States
146
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West Coast and the East Coast,
147
00:09:20,160 --> 00:09:23,610
and significantly, Still was actually moving
148
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between those coasts in
the 1940s with his Jaguar
149
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Still, moved around a heck of a lot.
150
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He was peripatetic.
151
00:09:34,550 --> 00:09:38,220
Location, with the
exception of Alberta prairies,
152
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didn't mean a lot to Still.
153
00:09:43,560 --> 00:09:45,030
Clyfford Still has a very important
154
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one-person exhibition in
the Bay Area in 1947 at the
155
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California Palace of the Legion of Honor,
156
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that includes almost exclusively
157
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works that we would now
call Abstract Expressionist.
158
00:09:55,620 --> 00:09:59,200
This is the exhibition that
Rothko said left not only him
159
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but everyone else who had seen it breathless.
160
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Still and Rothko talk together at the
161
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California School of Fine Arts in 1946,
162
00:10:27,920 --> 00:10:32,340
and it's no coincidence
that 1946 was the very year
163
00:10:32,350 --> 00:10:36,280
when Rothko began to make
his breakthrough into abstraction
164
00:10:36,290 --> 00:10:38,743
with his so-called multiform canvases.
165
00:10:45,570 --> 00:10:48,233
Yes, I was first aware of Mark Rothko
166
00:10:48,243 --> 00:10:53,243
who taught at the
California School of Fine Arts
167
00:10:53,290 --> 00:10:54,690
at the same time my dad did,
168
00:10:54,700 --> 00:10:57,560
and we would have dinner
with him occasionally,
169
00:10:57,570 --> 00:11:01,540
but I remember he was
a presence in the school.
170
00:11:01,550 --> 00:11:04,377
I think dad thought
he found a kindred spirit.
171
00:11:05,210 --> 00:11:08,270
Dad analyzed him, they were good friends,
172
00:11:08,280 --> 00:11:10,520
dad said were kind of different species.
173
00:11:10,530 --> 00:11:14,900
Still was from this Wild
West so to speak of Canada,
174
00:11:14,910 --> 00:11:18,603
Rothko was more European,
a more sentient person.
175
00:11:22,160 --> 00:11:23,860
Interestingly the criticism
176
00:11:23,870 --> 00:11:26,480
that surrounds his
exhibitions in San Francisco
177
00:11:26,490 --> 00:11:29,120
starts Still off on this relationship,
178
00:11:29,130 --> 00:11:31,720
bad that he will have with art criticisms.
179
00:11:31,730 --> 00:11:35,190
In 1943 they spell his name wrong twice,
180
00:11:35,200 --> 00:11:38,540
in 1947 I think, the
critics are only met with
181
00:11:38,550 --> 00:11:40,800
baffling images that they
don't even know how to read
182
00:11:40,810 --> 00:11:41,923
let alone interpret.
183
00:11:49,690 --> 00:11:52,800
Mark Rothko introduces
Still to Peggy Guggenheim
184
00:11:52,810 --> 00:11:54,940
who had opened a gallery
called Art of the Century
185
00:11:54,950 --> 00:11:57,150
in New York during the Second World War.
186
00:11:57,160 --> 00:12:00,470
She knew what Clyfford had was extraordinary
187
00:12:00,480 --> 00:12:04,257
and even admitted "I'm
really more into surrealism
188
00:12:04,267 --> 00:12:07,280
"but I will show you."
189
00:12:07,290 --> 00:12:09,480
Rothko helps stretch the paintings,
190
00:12:09,490 --> 00:12:13,264
wrote on Stills work, he
installed his first one-man show.
191
00:12:13,274 --> 00:12:14,717
And Rothko told him,
192
00:12:14,727 --> 00:12:18,650
"Please come to New York, this is Mecca."
193
00:12:18,660 --> 00:12:22,200
So Clyfford went to Mecca, we all followed.
194
00:12:22,210 --> 00:12:24,060
He liberated their work, their work
195
00:12:24,070 --> 00:12:26,813
changed almost overnight because of him.
196
00:12:27,810 --> 00:12:30,370
They were fumbling,
"Where do we go from here?"
197
00:12:30,380 --> 00:12:33,150
And Clyfford provided them with the answer,
198
00:12:33,160 --> 00:12:36,500
get rid of the frame, go inward,
199
00:12:36,510 --> 00:12:39,830
what is that that you have to say and so on,
200
00:12:39,840 --> 00:12:42,208
and their work blossomed.
201
00:12:47,910 --> 00:12:49,840
There exists a fantastic photograph
202
00:12:49,850 --> 00:12:52,120
that appeared in Life magazine in 1950,
203
00:12:52,130 --> 00:12:54,190
that we call the Irascibles Group,
204
00:12:54,200 --> 00:12:55,960
that includes all the seminal figures
205
00:12:55,970 --> 00:12:57,610
of the Abstract Expressionist movement,
206
00:12:57,620 --> 00:13:00,670
and particularly Jackson
Pollock, Clyfford Still,
207
00:13:00,680 --> 00:13:02,880
Mark Rothko and Barnett Newman.
208
00:13:02,890 --> 00:13:05,740
Those four who were
famously called by Betty Parsons
209
00:13:05,750 --> 00:13:07,713
the Four Horsemen of the Apocalypse.
210
00:13:08,640 --> 00:13:13,200
I think of what Diebenkorn
said about Clyfford Still
211
00:13:13,210 --> 00:13:17,070
when he was invited to go to the studio
212
00:13:17,080 --> 00:13:19,770
in the bottom of the
California School of Fine Arts,
213
00:13:19,780 --> 00:13:22,427
he said, "Well, his stuff was very austere.
214
00:13:22,437 --> 00:13:24,410
"it didn't have anything to do with,
215
00:13:24,420 --> 00:13:29,420
with European painting, it
was it was fiercely independent."
216
00:13:47,806 --> 00:13:51,473
"It was not seductive, it was very American,
217
00:13:54,207 --> 00:13:57,420
"it was rejecting influence."
218
00:13:57,430 --> 00:14:01,290
Well, that's a lot to say
219
00:14:01,300 --> 00:14:04,000
and it's a lot to undertake,
220
00:14:04,010 --> 00:14:06,800
and I think that Clyff stood for that.
221
00:14:10,240 --> 00:14:13,450
Of the group he was the roughest one.
222
00:14:13,460 --> 00:14:15,200
The edge is a little more jagged,
223
00:14:15,210 --> 00:14:17,130
you can see the paintbrush strokes,
224
00:14:17,140 --> 00:14:20,173
you really saw his hand
and you saw the struggle.
225
00:14:25,063 --> 00:14:26,830
You're not sure if he's referencing nature,
226
00:14:26,840 --> 00:14:28,833
you're not sure if he's referencing.
227
00:14:31,020 --> 00:14:33,220
You don't know where those points come from.
228
00:14:34,650 --> 00:14:36,914
They look like oscilloscopes in a way
229
00:14:36,924 --> 00:14:39,424
and at the same time
they're like mountain ranges.
230
00:14:46,501 --> 00:14:49,180
You kind of travel over all the marks
231
00:14:49,190 --> 00:14:51,423
that are painted in the paintings,
232
00:14:52,490 --> 00:14:54,660
so there's a real voyage that you take
233
00:14:54,670 --> 00:14:56,170
when you look at those things.
234
00:15:00,290 --> 00:15:02,657
When I hang a painting I would have it say,
235
00:15:02,667 --> 00:15:04,297
"Here am I.
236
00:15:04,307 --> 00:15:08,627
"This is my presence, my feeling, myself.
237
00:15:08,637 --> 00:15:13,317
"Here I stand implacable, proud, alive,
238
00:15:13,327 --> 00:15:15,957
"naked, unafraid.
239
00:15:15,967 --> 00:15:18,817
"If one does not like
it, he should turn away,
240
00:15:18,827 --> 00:15:21,210
"because I am looking at him."
241
00:15:21,220 --> 00:15:23,870
It went well for a time,
242
00:15:23,880 --> 00:15:28,880
but then who did what,
when, where, became an issue.
243
00:15:29,400 --> 00:15:31,650
Who painted something first?
244
00:15:31,660 --> 00:15:33,973
Dad would start to back off and back off.
245
00:15:41,220 --> 00:15:44,707
When Dorothy Miller did
the "15 Americans" in 1952
246
00:15:44,717 --> 00:15:46,513
she really had a tough time.
247
00:15:49,860 --> 00:15:51,870
Because Still was given his own room,
248
00:15:51,880 --> 00:15:53,580
Rothko was given his own room,
249
00:15:53,590 --> 00:15:56,063
and are almost in rivalry with each other.
250
00:15:57,420 --> 00:15:59,260
Rothko wanted blazing lights
251
00:15:59,270 --> 00:16:01,483
to bring out the intensity of the colors,
252
00:16:02,410 --> 00:16:03,560
and on the other hand,
253
00:16:03,570 --> 00:16:06,260
Still showed a very famous painting,
254
00:16:06,270 --> 00:16:07,757
a big, black painting that's now
255
00:16:07,767 --> 00:16:10,000
in the Art Institute of Chicago,
256
00:16:10,010 --> 00:16:12,083
and he called it a "big black monster".
257
00:16:14,436 --> 00:16:15,650
And it's as if you've got these two artists
258
00:16:15,660 --> 00:16:17,530
really, kind of you know,
259
00:16:17,540 --> 00:16:19,430
fighting against each other almost,
260
00:16:19,440 --> 00:16:21,390
to outdo each other.
261
00:16:21,400 --> 00:16:23,270
The fact that these two artists fought
262
00:16:23,280 --> 00:16:26,400
for their own rooms
at a point in their career
263
00:16:26,410 --> 00:16:27,520
where they were still very young
264
00:16:27,530 --> 00:16:29,410
and not well-known to anyone,
265
00:16:29,420 --> 00:16:31,320
shows a certain audacity, and I think,
266
00:16:31,330 --> 00:16:33,463
belief they had in what they were doing.
267
00:16:35,210 --> 00:16:37,820
I think after "15 Americans" in '52
268
00:16:37,830 --> 00:16:40,830
the tension between them
starts to grow and grow,
269
00:16:40,840 --> 00:16:43,493
until they completely break from each other.
270
00:16:45,230 --> 00:16:48,060
Clyfford Still is particularly watching
271
00:16:48,070 --> 00:16:50,433
the path that Mark Rothko takes.
272
00:16:52,350 --> 00:16:55,570
Very actively involved with
art museums and galleries,
273
00:16:55,580 --> 00:16:58,720
commercial galleries and
various public commissions,
274
00:16:58,730 --> 00:17:01,503
like the Seagram's murals later in the 1950s.
275
00:17:07,127 --> 00:17:09,650
I think this all says to Clyfford Still
276
00:17:09,660 --> 00:17:12,153
that Rothko has gone to the other side.
277
00:17:14,579 --> 00:17:17,520
And I think Still turns out to be right
278
00:17:17,530 --> 00:17:20,440
given the deep depression
that Rothko starts to face
279
00:17:20,450 --> 00:17:23,150
in the 1960s that eventually
ends with his suicide
280
00:17:23,160 --> 00:17:24,490
in his studio in 1970.
281
00:17:27,180 --> 00:17:28,512
He didn't begrudge that.
282
00:17:30,370 --> 00:17:32,880
He didn't begrudge that at all.
283
00:17:32,890 --> 00:17:34,800
He understood it, he also understood
284
00:17:34,810 --> 00:17:38,603
that Rothko stopped being creative, growing.
285
00:17:40,150 --> 00:17:41,590
They all stopped growing
286
00:17:41,600 --> 00:17:44,483
as soon as that particular
work became important.
287
00:17:45,790 --> 00:17:48,083
Pollock got killed, killed himself.
288
00:17:49,000 --> 00:17:50,023
Rothko did too.
289
00:17:51,860 --> 00:17:56,193
And dad felt like Rothko had sold out,
290
00:17:58,960 --> 00:18:01,783
and I guess Rothko was
pretty upset about that,
291
00:18:02,780 --> 00:18:05,853
because I remember walking
down the street in New York,
292
00:18:06,820 --> 00:18:10,860
in the early 60s, and there was Mark Rothko
293
00:18:10,870 --> 00:18:15,483
coming toward us, and he looked so angry.
294
00:18:16,714 --> 00:18:20,890
He looked at dad, and it was just sad,
295
00:18:20,900 --> 00:18:23,970
because he understood what dad was doing,
296
00:18:23,980 --> 00:18:25,130
but he couldn't commit to it.
297
00:18:25,140 --> 00:18:28,900
His excuse was, "I have a family to raise."
298
00:18:28,910 --> 00:18:29,950
Still, in some ways,
299
00:18:29,960 --> 00:18:33,030
almost predicted this outcome for Rothko.
300
00:18:33,040 --> 00:18:35,150
They hadn't spoken in many, many years.
301
00:18:35,160 --> 00:18:37,650
When Still was in Buffalo
visiting his paintings
302
00:18:37,660 --> 00:18:40,310
at the Albright-Knox, the
news was delivered to him
303
00:18:40,320 --> 00:18:42,517
and Still was known to have said.
304
00:18:42,527 --> 00:18:45,687
"Evil falls to those who live evil lives."
305
00:18:47,470 --> 00:18:48,580
He might have said something,
306
00:18:48,590 --> 00:18:51,640
but I just don't ever, never remember him,
307
00:18:51,650 --> 00:18:53,833
talking about Rothko as evil.
308
00:18:55,510 --> 00:18:59,890
Kind of failing his art maybe,
309
00:18:59,900 --> 00:19:03,440
but I never heard him use the word evil once
310
00:19:03,450 --> 00:19:04,913
about any of them.
311
00:19:07,610 --> 00:19:10,356
Well that kind of quote
you know, it's pure Still.
312
00:19:10,366 --> 00:19:14,060
Very aphoristic, very moralistic.
313
00:19:14,070 --> 00:19:16,050
He said what he wanted
to say at the end of the day.
314
00:19:16,060 --> 00:19:18,927
He was cutting out because
he wanted to be cutting.
315
00:19:20,440 --> 00:19:23,840
I told Rothko on several occasions
316
00:19:24,750 --> 00:19:27,680
that he should abandon such nonsense,
317
00:19:27,690 --> 00:19:30,340
forget this myth thing which he was tying up
318
00:19:30,350 --> 00:19:31,350
to the Greeks.
319
00:19:32,350 --> 00:19:34,873
Rothko moved on, back where he belonged,
320
00:19:36,850 --> 00:19:41,850
into his fuzzy Bauhaus,
cultural associations,
321
00:19:44,270 --> 00:19:47,043
and was very happy to leave the rigor I set,
322
00:19:48,459 --> 00:19:52,118
for the creative act for
his steady manufacture of
323
00:19:52,128 --> 00:19:53,923
varieties of rectangles.
324
00:20:04,630 --> 00:20:06,400
Well you've got to remember that Still
325
00:20:06,410 --> 00:20:08,500
had a very difficult upbringing,
326
00:20:08,510 --> 00:20:11,830
and unlike most of the
other, much more urbane,
327
00:20:11,840 --> 00:20:14,380
New York-based Abstract Expressionists,
328
00:20:14,390 --> 00:20:17,463
Still had a tough life on
the Canadian prairies.
329
00:20:34,697 --> 00:20:36,707
The art historian Dore Ashton,
330
00:20:36,717 --> 00:20:39,970
recounted that Still used to talk to her
331
00:20:39,980 --> 00:20:44,173
about shucking wheat
until his hands were bloody.
332
00:20:49,750 --> 00:20:52,340
He was a free laborer to his father
333
00:20:52,350 --> 00:20:54,183
and he was treated that way.
334
00:20:55,370 --> 00:20:57,960
It was nothing romantic about
335
00:20:57,970 --> 00:21:02,060
that kind of farming and survival.
336
00:21:02,070 --> 00:21:04,693
This is struggle, this is hard.
337
00:21:15,780 --> 00:21:18,000
When I look at the earlier works,
338
00:21:18,010 --> 00:21:20,360
the romantic trains that he did,
339
00:21:20,370 --> 00:21:23,450
and if you look at the
photographs that he took,
340
00:21:23,460 --> 00:21:26,440
and I think it was around 1929,
341
00:21:26,450 --> 00:21:28,773
pretty barren land.
342
00:21:31,540 --> 00:21:33,420
Trains were freedom.
343
00:21:33,430 --> 00:21:36,573
The smoke going
across, that's to civilization.
344
00:21:41,490 --> 00:21:43,343
The vertical is crucial to Still.
345
00:21:47,220 --> 00:21:51,810
Sometimes it might be
smoke rising from a train,
346
00:21:51,820 --> 00:21:54,387
it might be a figure, but he said,
347
00:21:54,397 --> 00:21:57,297
"Where I come from, you
either stood up and lived
348
00:21:57,307 --> 00:21:59,107
"or lay down and died."
349
00:22:01,080 --> 00:22:04,200
The vertical amounts to a life force,
350
00:22:04,210 --> 00:22:06,293
as he put it, lifelines.
351
00:22:07,320 --> 00:22:09,770
The space is what in the later paintings
352
00:22:09,780 --> 00:22:12,460
will become the
extraordinary chromatic fields
353
00:22:12,470 --> 00:22:14,800
and gulfs of the abstractions,
354
00:22:14,810 --> 00:22:18,100
and this struggle between the vertical
355
00:22:18,110 --> 00:22:20,420
and between an empty field-like space
356
00:22:20,430 --> 00:22:23,473
is absolutely central to Still's entire art.
357
00:22:25,100 --> 00:22:26,538
I asked him one time, I said,
358
00:22:26,548 --> 00:22:28,670
"What is this thing about the lifeline?"
359
00:22:28,680 --> 00:22:30,877
And he said, "Well when I was a little kid
360
00:22:30,887 --> 00:22:33,737
"up in Canada when my father was farming
361
00:22:33,747 --> 00:22:35,047
"on very, very bad land,
362
00:22:35,057 --> 00:22:36,483
"they were digging a well,
363
00:22:37,917 --> 00:22:39,947
"and they dug this well down, you know,
364
00:22:39,957 --> 00:22:42,143
"20, 30 feet something like that,
365
00:22:43,323 --> 00:22:45,037
"and they needed to get somebody down there
366
00:22:45,047 --> 00:22:47,607
"to see if they've gotten
as far as the water.
367
00:22:47,617 --> 00:22:49,877
"So they tied a rope around my ankle
368
00:22:49,887 --> 00:22:51,960
"and dropped me down the well slot,
369
00:22:51,970 --> 00:22:53,137
you know, headfirst."
370
00:23:00,362 --> 00:23:01,923
And he said, "It was such
a traumatic experience
371
00:23:01,933 --> 00:23:03,983
that it remained with me all of my life."
372
00:23:09,942 --> 00:23:10,931
Whenever I see that lifeline
373
00:23:10,941 --> 00:23:14,770
I think of Clyfford hanging by his ankles
374
00:23:14,780 --> 00:23:15,780
down the well.
375
00:23:33,070 --> 00:23:35,110
There always been much imitation,
376
00:23:35,120 --> 00:23:36,640
but the record is still a history
377
00:23:36,650 --> 00:23:38,083
of a very few individuals.
378
00:23:39,010 --> 00:23:40,800
I see Barney for all his energy,
379
00:23:40,810 --> 00:23:42,933
a man of almost pathetic impotence.
380
00:23:44,543 --> 00:23:45,950
With a good mind he is incapable
381
00:23:45,960 --> 00:23:48,250
of transcending ambition.
382
00:23:48,260 --> 00:23:52,190
Only in the total destruction of this drive
383
00:23:52,200 --> 00:23:55,820
or in escape therefrom,
will he ever be in a position
384
00:23:55,830 --> 00:23:58,117
to create more than a pathetic act.
385
00:23:59,520 --> 00:24:03,370
Clyfford Still did not admire
Barnett Newman, period.
386
00:24:03,380 --> 00:24:06,120
He reduced Still to a nothing.
387
00:24:06,130 --> 00:24:09,390
Barnett Newman took Clyfford Stills lifeline
388
00:24:09,400 --> 00:24:12,993
and made a zipper out
of it on a wall of color.
389
00:24:14,540 --> 00:24:16,940
We know art is not a race,
390
00:24:16,950 --> 00:24:19,800
but artists themselves, they're,
391
00:24:19,810 --> 00:24:21,650
they're very conscious of how they stand
392
00:24:21,660 --> 00:24:23,160
with regard to other artists,
393
00:24:23,170 --> 00:24:26,166
and no one wants to be left behind.
394
00:24:28,090 --> 00:24:31,410
Barnett Newman really
first discovered his upright
395
00:24:31,420 --> 00:24:34,773
vertical zip no sooner than 1948.
396
00:24:36,760 --> 00:24:38,323
A painting called "Onement, 1"
397
00:24:41,615 --> 00:24:43,490
the point about Still is that he had been
398
00:24:43,500 --> 00:24:47,053
investigating the vertical since the 1920s.
399
00:24:53,182 --> 00:24:54,006
And there was a painting
400
00:24:54,016 --> 00:24:56,250
which was once known as "Quicksilver"
401
00:24:56,260 --> 00:24:59,260
and then "July 1945-R",
402
00:24:59,270 --> 00:25:02,480
which basically consists
of a single, snaking,
403
00:25:02,490 --> 00:25:07,380
upright white line,
surrounded by a dark brown
404
00:25:07,390 --> 00:25:09,033
abyss of darkness.
405
00:25:15,480 --> 00:25:16,700
That painting we know,
406
00:25:16,710 --> 00:25:21,487
was shown at Peggy Guggenheim's
Art of the Century in 1946.
407
00:25:22,320 --> 00:25:24,933
That's two years before
Barnett Newman's Onement, 1.
408
00:25:28,605 --> 00:25:30,090
Some of these men
409
00:25:30,100 --> 00:25:34,360
are deeply concerned
in destroying the priorities
410
00:25:34,370 --> 00:25:35,683
which they know exist.
411
00:25:36,800 --> 00:25:41,520
I am ready to defend
everything about those pictures
412
00:25:41,530 --> 00:25:44,260
with everything I have, and I have plenty.
413
00:25:44,270 --> 00:25:47,130
I have ample documentation for every picture
414
00:25:47,140 --> 00:25:50,584
as to date and place, and Newman knows this
415
00:25:50,594 --> 00:25:52,344
and so does Tom Hess.
416
00:26:03,647 --> 00:26:05,660
Interestingly, Still forms
a close relationship
417
00:26:05,670 --> 00:26:08,650
with Pollock who is living in Long Island
418
00:26:08,660 --> 00:26:11,993
for most of the late 1940s and early 1950s.
419
00:26:14,740 --> 00:26:17,970
People forget that Jackson Pollock
420
00:26:17,980 --> 00:26:20,760
was one of the very few artists
421
00:26:20,770 --> 00:26:24,910
with whom Clyfford Still never fell out.
422
00:26:24,920 --> 00:26:29,860
In 1956, Still planned to take Pollock
423
00:26:29,870 --> 00:26:32,710
on a road trip west.
424
00:26:32,720 --> 00:26:35,433
Pollock looked up to Clyfford Still
425
00:26:43,410 --> 00:26:46,083
Pollock was failing, he was alcoholic.
426
00:26:48,600 --> 00:26:50,920
Pollock knew that Clyfford was getting ready
427
00:26:50,930 --> 00:26:52,870
to go cross country.
428
00:26:52,880 --> 00:26:55,553
He knew about these
trips that happened often,
429
00:26:56,540 --> 00:26:58,347
and he wanted to go with dad,
430
00:26:58,357 --> 00:27:00,460
and he said, "Oh, I'll drive the Jag,"
431
00:27:00,470 --> 00:27:03,800
and dad was "no, no",
Pollock was not a good driver.
432
00:27:03,810 --> 00:27:05,890
He was a very dangerous driver
433
00:27:05,900 --> 00:27:09,427
and he said, "No, but
join me, let's caravan."
434
00:27:11,430 --> 00:27:13,930
The car that Pollock wanted to drive
435
00:27:13,940 --> 00:27:18,205
is the one that was exchanged for a painting
436
00:27:18,215 --> 00:27:20,453
and a case of booze.
437
00:27:21,790 --> 00:27:24,347
So dad told Pollock, "We'll caravan.
438
00:27:24,357 --> 00:27:25,470
"I'm leaving Trenton,"
439
00:27:25,480 --> 00:27:27,217
where he stored the Jaguar,
440
00:27:27,227 --> 00:27:28,977
"at such and such a time,
441
00:27:28,987 --> 00:27:30,480
"on such and such a day."
442
00:27:30,490 --> 00:27:34,120
And he waited for Pollock, he waited.
443
00:27:34,130 --> 00:27:35,130
No show.
444
00:27:37,450 --> 00:27:39,290
They open up Time or Newsweek,
445
00:27:39,300 --> 00:27:40,940
I don't know which one,
446
00:27:40,950 --> 00:27:42,563
and dad was just heartbroken.
447
00:27:44,990 --> 00:27:46,487
Pollock had taken
448
00:27:46,497 --> 00:27:49,074
a very different kind of road trip.
449
00:27:54,790 --> 00:27:57,293
The terrible fatal accident he had.
450
00:27:59,300 --> 00:28:00,300
And it disturbed dad,
451
00:28:00,310 --> 00:28:02,313
he told me the story many times.
452
00:28:05,450 --> 00:28:07,490
Still recognized Pollock's greatness
453
00:28:07,500 --> 00:28:10,710
and vice versa, I have not
the slightest doubt about that.
454
00:28:18,680 --> 00:28:21,793
He made things impossible for Betty Parsons.
455
00:28:23,760 --> 00:28:26,460
She was allowed to sell the paintings
456
00:28:26,470 --> 00:28:28,770
but she wasn't allowed
to show them virtually.
457
00:28:33,870 --> 00:28:36,110
After three very successful exhibitions
458
00:28:36,120 --> 00:28:37,480
at Betty Parson's gallery,
459
00:28:37,490 --> 00:28:40,727
he writes Betty with
the following information,
460
00:28:40,737 --> 00:28:42,977
"I tell you now that I am withdrawing my work
461
00:28:42,987 --> 00:28:44,687
"from public exhibition."
462
00:28:49,480 --> 00:28:51,730
Those latter years in New York,
463
00:28:51,740 --> 00:28:54,770
he's in the very epicenter of the art scene
464
00:28:54,780 --> 00:28:57,467
and at the same time is
completely removed from it.
465
00:28:57,477 --> 00:28:59,773
And that's a typical Still paradox.
466
00:29:03,500 --> 00:29:05,490
I think his exit was honorable
467
00:29:05,500 --> 00:29:07,850
and it was not manipulative,
468
00:29:07,860 --> 00:29:09,310
although he was manipulative.
469
00:29:12,190 --> 00:29:14,347
Well I think there's absolutely
470
00:29:14,357 --> 00:29:15,400
no question about that and it's just it
471
00:29:15,410 --> 00:29:18,280
doesn't matter how you paint or what you do,
472
00:29:18,290 --> 00:29:20,000
you are the only artist in the world,
473
00:29:20,010 --> 00:29:21,493
that's what the ego dictates.
474
00:29:23,450 --> 00:29:24,790
Just off Fifth Avenue
475
00:29:24,800 --> 00:29:27,820
on a site long occupied by
the old-fashioned town dwellings
476
00:29:27,830 --> 00:29:29,520
of the Rockefeller family,
477
00:29:29,530 --> 00:29:30,860
stands the spanking new home
478
00:29:30,870 --> 00:29:33,380
of a nationally important institution,
479
00:29:33,390 --> 00:29:35,610
the New York Museum of Modern Art.
480
00:29:35,620 --> 00:29:37,460
Clyfford Still had a very
481
00:29:37,470 --> 00:29:40,360
tricky relationship with MoMA.
482
00:29:40,370 --> 00:29:45,370
I think he saw MoMA
as the institutionalization
483
00:29:45,660 --> 00:29:49,610
of modernism itself, and
that's what he really hated.
484
00:29:49,620 --> 00:29:51,660
He famously referred to it as
485
00:29:51,670 --> 00:29:55,923
that gas chamber of culture on 53rd Street.
486
00:29:57,273 --> 00:29:59,540
The Museum of Modern Art wanted to buy
487
00:30:00,530 --> 00:30:03,720
one of Still's paintings but one of, to him,
488
00:30:03,730 --> 00:30:07,520
a lesser painting, not a
groundbreaking painting.
489
00:30:07,530 --> 00:30:11,580
He wanted them to take
the big black with the red line.
490
00:30:14,150 --> 00:30:16,617
I'm quoting my father now, "They did not have
491
00:30:16,627 --> 00:30:18,027
"the courage to buy it."
492
00:30:22,840 --> 00:30:27,790
So what he did, is he went
home and made a reproduction
493
00:30:28,750 --> 00:30:32,760
and though he did not literally
paint it with his left hand,
494
00:30:32,770 --> 00:30:34,931
he said "Emotionally I painted it
495
00:30:34,941 --> 00:30:37,247
with my left hand, indifferently."
496
00:30:50,450 --> 00:30:51,710
Well I remember a show that MoMA did
497
00:30:51,720 --> 00:30:55,590
a couple of years ago in which they exhibited
498
00:30:55,600 --> 00:30:58,690
well over a hundred works from their holdings
499
00:30:58,700 --> 00:31:00,890
of abstract expressionism,
500
00:31:00,900 --> 00:31:03,520
and Mark Rothko got an entire room
501
00:31:03,530 --> 00:31:05,460
devoted to his work,
502
00:31:05,470 --> 00:31:08,760
but Clyfford Still had
merely, had two canvases
503
00:31:08,770 --> 00:31:12,000
with a David Smith sculpture
stuck in front of them.
504
00:31:14,360 --> 00:31:17,650
That kind of presentation showed how,
505
00:31:17,660 --> 00:31:20,110
in a way, MoMA has belittled Still
506
00:31:20,120 --> 00:31:22,323
compared to the other artists.
507
00:31:24,920 --> 00:31:26,280
I don't think there's any question
508
00:31:26,290 --> 00:31:28,050
there were two sides of Clyfford Still.
509
00:31:28,060 --> 00:31:31,150
Family members and his
children described him in one way
510
00:31:31,160 --> 00:31:34,510
as being warm and
passionate and a great father.
511
00:31:34,520 --> 00:31:36,520
Well clearly, by other documentation,
512
00:31:36,530 --> 00:31:37,890
there was a different Clyfford Still
513
00:31:37,900 --> 00:31:41,430
who would fight to the end
when it came to matters of art.
514
00:31:44,890 --> 00:31:46,310
He turned down the Biennale
515
00:31:46,320 --> 00:31:48,320
at least three times, possibly a fourth.
516
00:31:48,330 --> 00:31:50,500
One or twice, one man exhibits
517
00:31:50,510 --> 00:31:52,420
to represent the United States
518
00:31:52,430 --> 00:31:55,250
because he felt it was a carnival,
519
00:31:55,260 --> 00:31:57,800
he didn't consider it a meaningful
520
00:31:57,810 --> 00:31:59,520
commitment to art of any kind,
521
00:31:59,530 --> 00:32:01,730
it was sort of a road show kind of attitude.
522
00:32:04,940 --> 00:32:07,740
Still was an outsider.
523
00:32:07,750 --> 00:32:11,120
He was irascible, it's said
he could be cantankerous,
524
00:32:11,130 --> 00:32:13,730
he didn't have his reputation for nothing.
525
00:32:13,740 --> 00:32:18,160
Still was someone who
didn't go along with the herd.
526
00:32:18,170 --> 00:32:21,653
Clyfford Still held critics
in the highest contempt,
527
00:32:24,370 --> 00:32:27,830
because they felt they were
more important than the artists.
528
00:32:27,840 --> 00:32:29,440
They made the artists.
529
00:32:29,450 --> 00:32:31,930
The critics and the dealers made the artists.
530
00:32:31,940 --> 00:32:35,440
If they get on your bandwagon
they will take you to the top.
531
00:32:35,450 --> 00:32:38,923
Greenberg, Pollock,
all of them had their boy,
532
00:32:40,650 --> 00:32:44,020
and it was their job to write
about them and sell them.
533
00:32:44,030 --> 00:32:46,483
They were part of the product package.
534
00:32:47,980 --> 00:32:50,140
He didn't have any respect for them.
535
00:32:50,150 --> 00:32:52,270
He tried, he talked with them,
536
00:32:52,280 --> 00:32:53,563
he tried to educate them.
537
00:33:01,179 --> 00:33:02,429
Tell me when.
538
00:33:04,157 --> 00:33:07,997
"I consider the fawner," oh great,
539
00:33:08,007 --> 00:33:11,787
"called art critic, the least desirable
540
00:33:11,797 --> 00:33:14,975
"of those who've gained access to the work."
541
00:33:15,950 --> 00:33:18,350
I am an art critic.
542
00:33:18,360 --> 00:33:21,840
I could really care less
what the artist thinks.
543
00:33:21,850 --> 00:33:24,007
I'm not writing for the artist.
544
00:33:24,017 --> 00:33:27,067
"I have steadfastly
tried to withhold the work
545
00:33:27,077 --> 00:33:30,957
"from these characters, for
many and obvious reasons,
546
00:33:30,967 --> 00:33:35,960
"not the least being their
arrogance and stupidity."
547
00:33:35,970 --> 00:33:37,630
I'm writing for the audience.
548
00:33:37,640 --> 00:33:39,190
I'm writing for the reader.
549
00:33:39,200 --> 00:33:42,110
I'm trying to deliver up a full volume
550
00:33:42,120 --> 00:33:45,510
of my opinion of what I think of the work,
551
00:33:45,520 --> 00:33:48,280
where it fits in, what makes it original,
552
00:33:48,290 --> 00:33:50,070
what makes it unoriginal,
553
00:33:50,080 --> 00:33:54,850
what might or may not be
inventive about it, et cetera.
554
00:33:54,860 --> 00:33:57,317
And if the artist doesn't
like it I would say,
555
00:33:57,327 --> 00:33:58,667
"Good for you.
556
00:33:58,677 --> 00:34:01,817
"You don't own the meaning of your work."
557
00:34:01,827 --> 00:34:06,420
"Clement Greenberg is really
a small and lecherous man,"
558
00:34:06,430 --> 00:34:07,997
I'm told that's true,
559
00:34:08,007 --> 00:34:10,327
"who, if given his own way,
560
00:34:10,337 --> 00:34:15,337
"would prefer to study nudes
and sentimental landscapes."
561
00:34:16,070 --> 00:34:19,540
What makes Clyfford Still pretty great art,
562
00:34:19,550 --> 00:34:22,580
is you, and I, and Clyfford,
563
00:34:22,590 --> 00:34:25,100
are looking at different
paintings when we look at them.
564
00:34:25,110 --> 00:34:28,037
And better yet, they change every time.
565
00:34:28,047 --> 00:34:31,097
"So, occasionally I relax by writing a letter
566
00:34:31,107 --> 00:34:33,957
"to the likes of the art press.
567
00:34:33,967 --> 00:34:36,206
"Pimps is a much better word."
568
00:34:42,340 --> 00:34:43,611
Take it from the top.
569
00:34:43,621 --> 00:34:44,581
Tell me a little bit about that day."
570
00:34:44,591 --> 00:34:46,129
The day with the Ossorio,
571
00:34:46,139 --> 00:34:49,810
the day of confrontation so to speak.
572
00:34:49,820 --> 00:34:51,820
Well there's a little backstory to that.
573
00:34:51,830 --> 00:34:53,660
Interesting man.
574
00:34:53,670 --> 00:34:57,850
He would hold musicals in his home.
575
00:34:57,860 --> 00:35:02,050
Which is, specific painting
was on loan to Ossorio.
576
00:35:02,060 --> 00:35:03,820
He would loan paintings,
he wouldn't buy them.
577
00:35:03,830 --> 00:35:06,543
It didn't matter that he had money galore.
578
00:35:07,398 --> 00:35:11,920
Alfonso Ossorio inherited
Domino sugar fortune.
579
00:35:13,060 --> 00:35:16,295
Clyfford was in on the West Coast.
580
00:35:17,128 --> 00:35:19,870
Ossorio announces I don't
know that was through Patricia
581
00:35:19,880 --> 00:35:22,550
or to Patricia or by a letter to Still,
582
00:35:22,560 --> 00:35:25,060
that he's loaning the
painting overseas somewhere.
583
00:35:26,579 --> 00:35:30,367
Still gets on the phone to Patricia and says
584
00:35:30,377 --> 00:35:32,437
"You call Ossorio now and you tell him
585
00:35:32,447 --> 00:35:34,107
"order that painting home."
586
00:35:37,480 --> 00:35:40,320
Ossorio wasn't gonna honor Patricia's word,
587
00:35:40,330 --> 00:35:42,370
he felt he had a right to that painting now
588
00:35:42,380 --> 00:35:44,510
and to do it that what he wanted.
589
00:35:44,520 --> 00:35:48,490
Dad came back to New York and on a very gray,
590
00:35:48,500 --> 00:35:50,790
miserable, I think it was in October,
591
00:35:50,800 --> 00:35:53,700
I'm not sure but it was not a pleasant month,
592
00:35:53,710 --> 00:35:57,623
they take a taxi to Ossorio's
mansion on the bay.
593
00:35:58,660 --> 00:36:02,463
Knocked on the door and his,
594
00:36:05,567 --> 00:36:07,860
his housekeeper, this fellow opened the door
595
00:36:09,075 --> 00:36:10,330
and dad wanted to see Ossorio.
596
00:36:10,340 --> 00:36:12,167
Well he wasn't there.
597
00:36:12,177 --> 00:36:14,380
He wasn't around, supposedly,
598
00:36:14,390 --> 00:36:16,710
because he could tell dad was angry.
599
00:36:16,720 --> 00:36:18,143
He was on a mission.
600
00:36:23,490 --> 00:36:25,500
Diane, Patricia, and Still
601
00:36:25,510 --> 00:36:26,750
were going through the ground-floor
602
00:36:26,760 --> 00:36:28,150
looking for the painting,
603
00:36:28,160 --> 00:36:31,283
and according to what I
remember written, Diane found it.
604
00:36:33,350 --> 00:36:37,260
He sends them to the
vestibule, shuts the door,
605
00:36:37,270 --> 00:36:38,763
pulls out a knife,
606
00:36:39,670 --> 00:36:41,202
And then we heard
607
00:36:41,212 --> 00:36:43,212
this most awful sound of ripping canvas.
608
00:36:44,130 --> 00:36:46,420
He cut the center out and left a border
609
00:36:46,430 --> 00:36:48,730
of a couple of feet, folds it up,
610
00:36:48,740 --> 00:36:51,333
puts it under his arm and they leave.
611
00:37:03,760 --> 00:37:06,910
So I've got chills right now that I'm seeing
612
00:37:06,920 --> 00:37:09,050
part of that event.
613
00:37:09,060 --> 00:37:12,923
I didn't know it was preserved, oh my.
614
00:37:25,410 --> 00:37:29,670
Now the story changed a
little bit as the years went on
615
00:37:29,680 --> 00:37:32,310
where Ossorio comes down the steps
616
00:37:32,320 --> 00:37:34,350
because the house boy went up to get him,
617
00:37:34,360 --> 00:37:37,840
and dad said, "I forgot I
had the knife in my hand,"
618
00:37:37,850 --> 00:37:40,467
and shook it under his face and said,
619
00:37:40,477 --> 00:37:43,137
"When I give you an order
about my work you obey me."
620
00:37:44,250 --> 00:37:47,140
And I think Ossorio was terrified.
621
00:37:47,150 --> 00:37:50,353
He thought he was gonna cut his throat.
622
00:37:54,187 --> 00:37:55,747
And he did refer to it as
623
00:37:55,757 --> 00:37:59,100
"I cut the heart of the
painting out of the canvas."
624
00:38:09,090 --> 00:38:14,090
This is my mother when
she was early thirties.
625
00:38:15,660 --> 00:38:18,880
Yeah, and he said he
deliberately cocked her head back
626
00:38:18,890 --> 00:38:20,110
where she looked stubborn,
627
00:38:20,120 --> 00:38:21,760
because she could be very stubborn,
628
00:38:21,770 --> 00:38:24,275
which would drive him crazy.
629
00:38:25,108 --> 00:38:28,170
My mother was four and dad was six,
630
00:38:28,180 --> 00:38:30,123
would go hand in hand to church.
631
00:38:31,220 --> 00:38:33,500
I think they knew they were meant to be
632
00:38:33,510 --> 00:38:34,803
at least for a while.
633
00:38:36,160 --> 00:38:39,530
I think my mom Lillian had
634
00:38:39,540 --> 00:38:41,920
different kinds of expectations.
635
00:38:41,930 --> 00:38:45,240
Dad was supposed to
be a professor or minister,
636
00:38:45,250 --> 00:38:47,580
and that was her expectation,
637
00:38:47,590 --> 00:38:50,870
to be the wife of a professor or a teacher.
638
00:38:50,880 --> 00:38:51,861
She was not happy.
639
00:38:51,871 --> 00:38:53,990
She had to wait for him to come home.
640
00:38:54,000 --> 00:38:56,270
Honestly, all of Stills
teaching appointments
641
00:38:56,280 --> 00:38:58,920
ended poorly, usually with disagreements
642
00:38:58,930 --> 00:39:02,370
over schedules or deans and so forth.
643
00:39:02,380 --> 00:39:05,050
In Richmond in particular Still was incensed
644
00:39:05,060 --> 00:39:08,050
that the Dean said in passing
645
00:39:08,060 --> 00:39:09,800
that Still could paint whatever he wants,
646
00:39:09,810 --> 00:39:11,250
but he should be careful about having
647
00:39:11,260 --> 00:39:14,110
students over to his studio and home.
648
00:39:14,120 --> 00:39:16,820
And the thought of a
Dean suggesting that Still
649
00:39:16,830 --> 00:39:20,080
needed to seek approval
for painting in any which way
650
00:39:20,090 --> 00:39:22,203
led to his departure from Virginia.
651
00:39:24,180 --> 00:39:27,500
The concept, or almost inevitability,
652
00:39:27,510 --> 00:39:31,266
of a Patricia coming into dad's life,
653
00:39:31,276 --> 00:39:34,880
was there and potential for that.
654
00:39:34,890 --> 00:39:38,060
She was an artist, she was an art student,
655
00:39:38,070 --> 00:39:40,040
and Lilian was no competition,
656
00:39:40,050 --> 00:39:43,120
not that she wasn't beautiful
but she was unhappy.
657
00:39:43,130 --> 00:39:44,740
By the time Patricia came,
658
00:39:44,750 --> 00:39:47,680
she was one of the students
who came to the apartment
659
00:39:47,690 --> 00:39:49,750
and, you know, waited on bated breath
660
00:39:49,760 --> 00:39:50,910
for everything he said.
661
00:39:50,920 --> 00:39:52,580
Lilian had to produce the cookies
662
00:39:52,590 --> 00:39:54,900
and she felt nothing but a waitress by then.
663
00:39:56,690 --> 00:39:59,623
Alberta, Canada, he
built a house there for us.
664
00:40:00,614 --> 00:40:01,864
It wasn't quite finished.
665
00:40:02,699 --> 00:40:04,749
There was no insulation and we were cold,
666
00:40:05,930 --> 00:40:07,083
and then he left.
667
00:40:08,207 --> 00:40:09,507
I thought, "Oh, that's odd."
668
00:40:11,620 --> 00:40:14,210
Occasionally he'd take us on a drive
669
00:40:14,220 --> 00:40:16,630
and a picnic and it would
be Patricia with us, not mom.
670
00:40:16,640 --> 00:40:17,803
Mom was at work.
671
00:40:20,290 --> 00:40:23,000
Patricia was the one
person that believed in him
672
00:40:23,010 --> 00:40:24,250
and stuck with him.
673
00:40:24,260 --> 00:40:25,887
Worked eight hours a day and then stayed up
674
00:40:25,897 --> 00:40:28,210
till 1:00 or 2:00 at night when the
675
00:40:28,220 --> 00:40:30,773
artists in those days were getting together.
676
00:40:32,958 --> 00:40:35,640
She was also very devoted to him obviously.
677
00:40:35,650 --> 00:40:37,520
She never referred to him as Clyfford,
678
00:40:37,530 --> 00:40:39,990
and I shouldn't even be calling him Clyfford.
679
00:40:40,000 --> 00:40:41,060
If she were here in this room
680
00:40:41,070 --> 00:40:43,937
she would remind me,
"You please call him Mr. Still."
681
00:40:49,623 --> 00:40:51,740
Patricia was a very good record keeper.
682
00:40:51,750 --> 00:40:54,700
She was very methodical and frugal.
683
00:40:54,710 --> 00:40:58,253
She never gave up helping him survive.
684
00:41:01,200 --> 00:41:03,270
Paris designer Jacques Estrel
685
00:41:03,280 --> 00:41:05,150
unveils his fashions for next summer,
686
00:41:05,160 --> 00:41:08,440
and believe you me, he's way out there.
687
00:41:08,450 --> 00:41:11,610
Yes, he's a great believer in pop art, pop.
688
00:41:11,620 --> 00:41:14,500
And he believes in getting
madam out of the kitchen,
689
00:41:14,510 --> 00:41:16,067
utensils and all.
690
00:41:20,000 --> 00:41:22,560
Pop art is just not on his,
691
00:41:22,570 --> 00:41:24,017
on his horizon at all.
692
00:41:26,620 --> 00:41:28,790
To him it was an inevitability,
693
00:41:28,800 --> 00:41:31,840
Andy Warhol a cartoonist, a graphic artist.
694
00:41:31,850 --> 00:41:33,390
I think Andy Warhol must have been
695
00:41:33,400 --> 00:41:35,793
the most cynical so-called artist out there.
696
00:41:36,710 --> 00:41:38,183
He played the game!
697
00:41:39,870 --> 00:41:42,170
Today the same kind of craftsman,
698
00:41:45,373 --> 00:41:46,873
with probably the same purpose,
699
00:41:48,000 --> 00:41:49,653
and with the same eye on the market,
700
00:41:51,210 --> 00:41:56,050
glorifies the popular taste by placing
701
00:41:56,060 --> 00:41:57,883
in the sanctum of the Art Gallery,
702
00:42:00,400 --> 00:42:03,843
the beer can, the ketchup bottle,
703
00:42:05,020 --> 00:42:08,783
the plaster pie, plastic toilet,
704
00:42:10,400 --> 00:42:12,533
and so as sacred as the term become,
705
00:42:13,419 --> 00:42:18,419
to the the observer or
purchaser, gladly accepts.
706
00:42:19,690 --> 00:42:21,730
By the late 1950s Still,
707
00:42:21,740 --> 00:42:24,300
and I think many of the
other Abstract Expressionists,
708
00:42:24,310 --> 00:42:25,900
sense a changing of the guard.
709
00:42:25,910 --> 00:42:27,540
A young generation of artists,
710
00:42:27,550 --> 00:42:29,600
and proto pop artists like Jasper Johns,
711
00:42:29,610 --> 00:42:32,590
Robert Rauschenberg, are
nipping at their reputations
712
00:42:32,600 --> 00:42:34,670
and making very different
work that in some ways
713
00:42:34,680 --> 00:42:38,820
is critiquing the innovations
of the abstract expressionist.
714
00:42:38,830 --> 00:42:42,140
Still pushes away, distances himself
715
00:42:42,150 --> 00:42:46,360
to the outer world after 1961 increasingly,
716
00:42:46,370 --> 00:42:50,390
and I think he sees that distancing
717
00:42:50,400 --> 00:42:53,900
as a kind of route to his own greatness.
718
00:42:53,910 --> 00:42:58,418
He has to create space
which he himself can fill
719
00:42:58,428 --> 00:43:00,609
with his later work.
720
00:43:05,510 --> 00:43:08,113
Stills' late work basically begins in '61.
721
00:43:21,370 --> 00:43:24,590
In the summer of 1961,
722
00:43:24,600 --> 00:43:26,720
on my birthday, by the way, we got,
723
00:43:26,730 --> 00:43:30,140
dad, Patty, and I got in the
car and started heading south
724
00:43:30,150 --> 00:43:31,800
because he remembered the lushness
725
00:43:31,810 --> 00:43:33,533
of the land in Virginia.
726
00:43:48,041 --> 00:43:50,590
The lushness that that land was just, ah.
727
00:43:50,600 --> 00:43:53,313
You can breathe, you can
throw seeds and they'd grow.
728
00:43:59,330 --> 00:44:01,390
They looked at a couple of places
729
00:44:01,400 --> 00:44:05,010
and then found an
overgrown 22 to 24 acre farm
730
00:44:05,020 --> 00:44:08,603
that a man had raised a
family on and sent to college.
731
00:44:09,910 --> 00:44:14,530
They bought it for about
$24,000, about $1,000 an acre,
732
00:44:14,540 --> 00:44:16,883
and that was a lot of money in those days.
733
00:44:20,170 --> 00:44:23,380
I think he was searching for a quiet place
734
00:44:23,390 --> 00:44:28,300
where he didn't have these
extraneous noises bothering him
735
00:44:28,310 --> 00:44:30,743
and where he could concentrate and work.
736
00:44:37,410 --> 00:44:40,070
Still makes about 375 paintings
737
00:44:40,080 --> 00:44:41,830
during the last 20 years of his life,
738
00:44:41,840 --> 00:44:44,470
more than he had made
in the previous 40 years,
739
00:44:44,480 --> 00:44:47,143
with a certain kind of emptying out of forms.
740
00:44:56,020 --> 00:44:58,560
The issue is, whatever way a serious,
741
00:44:58,570 --> 00:45:00,530
good artist, like Still was,
742
00:45:00,540 --> 00:45:02,240
you clear the noise.
743
00:45:02,250 --> 00:45:05,200
So find the way. Are you going to choose
744
00:45:05,210 --> 00:45:06,111
Clyfford Stills' way,
745
00:45:06,121 --> 00:45:09,100
are you gonna choose Agnes
Martin's way of withdrawal?
746
00:45:09,110 --> 00:45:13,080
I mean whatever it is that's the discipline
747
00:45:13,090 --> 00:45:14,240
to be good at anything.
748
00:45:22,950 --> 00:45:26,940
He was just our dad but
he wasn't there all that much.
749
00:45:26,950 --> 00:45:29,933
He made it very clear, very clear,
750
00:45:30,900 --> 00:45:32,970
and he bragged about it once when he said
751
00:45:32,980 --> 00:45:34,427
he leaned over my crib and said,
752
00:45:34,437 --> 00:45:36,987
"I love you babe, but you don't come first."
753
00:45:42,680 --> 00:45:46,450
I was five years old, we
were in Richmond, Virginia,
754
00:45:46,460 --> 00:45:49,043
and I remember sitting
in a big leather chair.
755
00:45:49,990 --> 00:45:52,940
I have white knuckles I think
you'll notice in the picture.
756
00:45:55,180 --> 00:45:56,630
And he would give me breaks,
757
00:45:56,640 --> 00:45:58,253
but I was scared to death,
758
00:45:59,230 --> 00:46:01,893
sitting there and watching him, watching me.
759
00:46:02,930 --> 00:46:06,493
To suddenly be center of
his attention was humongous.
760
00:46:18,100 --> 00:46:19,680
And when he reentered our life,
761
00:46:19,690 --> 00:46:23,740
always as a surprise, you know, dad's here!
762
00:46:23,750 --> 00:46:27,260
Life has returned, not to survival,
763
00:46:27,270 --> 00:46:28,750
but something extraordinary.
764
00:46:28,760 --> 00:46:31,790
He had energy, he showed
us how to play baseball
765
00:46:31,800 --> 00:46:33,663
which was his favorite sport.
766
00:46:38,720 --> 00:46:42,163
He taught me to throw a ball like a man,
767
00:46:44,800 --> 00:46:46,650
and I just, I loved doing that.
768
00:46:48,580 --> 00:46:52,630
Still felt that the painter, the artist,
769
00:46:52,640 --> 00:46:55,010
was like a baseball pitcher.
770
00:46:55,020 --> 00:46:57,640
That everything on the field was quiet,
771
00:46:57,650 --> 00:47:00,840
everything was still as, not a play on words,
772
00:47:00,850 --> 00:47:05,089
everything was calm and
then when the the pitcher
773
00:47:05,099 --> 00:47:09,623
let the ball loose, everything
began moving around.
774
00:47:11,020 --> 00:47:12,993
Here's Joe Black in the 6th.
775
00:47:15,150 --> 00:47:19,000
Boom, Neville belts it
over the fence in right field.
776
00:47:19,010 --> 00:47:23,200
Another artist once told me that baseball
777
00:47:23,210 --> 00:47:24,260
is an intellectual game.
778
00:47:24,270 --> 00:47:27,854
It's just not a bunch of
guys running out on the field
779
00:47:27,864 --> 00:47:31,500
and hitting baseballs
and throwing a ball around.
780
00:47:31,510 --> 00:47:34,670
There are endless possibilities of things
781
00:47:34,680 --> 00:47:36,450
that can happen during a game.
782
00:47:36,460 --> 00:47:38,100
Again the bases are loaded.
783
00:47:38,110 --> 00:47:42,113
Maybe this time, maybe
Jackie Robinson can be the hero.
784
00:47:44,600 --> 00:47:46,770
Clyfford and I talked
about that all the time,
785
00:47:46,780 --> 00:47:48,740
and he knew everything.
786
00:47:48,750 --> 00:47:51,730
He knew the statistics, he knew the players,
787
00:47:51,740 --> 00:47:54,480
he asked all the right questions,
788
00:47:54,490 --> 00:47:57,943
and I was overwhelmed that
the knowledge that he had.
789
00:47:58,991 --> 00:48:00,747
Their 4th World Series in a row...
790
00:48:00,757 --> 00:48:03,060
So loved baseball,
791
00:48:03,070 --> 00:48:04,690
and he saw baseball I think
792
00:48:04,700 --> 00:48:07,180
as a kind of human geometry,
793
00:48:07,190 --> 00:48:09,377
and there's that famous time he says,
794
00:48:09,387 --> 00:48:12,400
"Well look at the spaces
between the players."
795
00:48:12,410 --> 00:48:15,470
And that's, that's fascination with how
796
00:48:15,480 --> 00:48:18,670
the human presence interacts
with the space around it.
797
00:48:18,680 --> 00:48:21,530
That's very central to
Stills' art too, from day one.
798
00:48:23,250 --> 00:48:25,460
I never talked to Clyfford about one day
799
00:48:25,470 --> 00:48:27,379
owning a baseball team.
800
00:48:34,450 --> 00:48:35,274
The St. Louis crowd
801
00:48:35,284 --> 00:48:37,160
has visions of force faith,
as Yankee Joe Pepitone
802
00:48:37,170 --> 00:48:39,363
flies out for the final hour.
803
00:48:42,195 --> 00:48:43,450
The first memory that comes to mind
804
00:48:43,460 --> 00:48:45,940
about people coming
in trying to buy paintings
805
00:48:45,950 --> 00:48:49,210
directly from Clyfford Still,
since he had no dealer,
806
00:48:49,220 --> 00:48:52,623
was a man that Frederick
Wiseman introduced to Clyfford.
807
00:48:53,750 --> 00:48:55,407
The dealing and wheeling went on,
808
00:48:55,417 --> 00:48:57,600
"Oh, come down $10,000."
809
00:48:57,610 --> 00:48:59,430
You know, these are wealthy people
810
00:49:00,300 --> 00:49:02,597
and this particular person decided,
811
00:49:02,607 --> 00:49:05,507
"Well if I send him four pineapples,
812
00:49:05,517 --> 00:49:07,357
"from like a Harry and David's thing,
813
00:49:07,367 --> 00:49:09,287
"he'll come down in price."
814
00:49:13,840 --> 00:49:15,930
Well Patty tested one of the pineapples
815
00:49:15,940 --> 00:49:17,303
and she got sick from it.
816
00:49:20,520 --> 00:49:22,850
Dad took the other three
and had target practice
817
00:49:22,860 --> 00:49:24,253
with the .22 rifle.
818
00:49:26,110 --> 00:49:28,060
Clearly the man did not get a painting.
819
00:49:32,100 --> 00:49:35,280
I probably thought about it for a while
820
00:49:35,290 --> 00:49:37,660
and probably wrote
several drafts of that letter
821
00:49:37,670 --> 00:49:40,210
because I didn't want him to say no.
822
00:49:40,220 --> 00:49:42,087
And I got a response.
823
00:49:42,097 --> 00:49:45,577
"Mr. Still has asked me
to thank you for your letter,
824
00:49:45,587 --> 00:49:47,377
"but to inform you that he has no pictures
825
00:49:47,387 --> 00:49:51,927
"for sale, lease, or loan
to anyone at this time.
826
00:49:51,937 --> 00:49:53,547
"Sincerely, Mrs. Still."
827
00:49:57,700 --> 00:50:00,100
One of the things that I
was probably taught early on
828
00:50:00,110 --> 00:50:03,790
is that "No is a temporary
impediment on the way to yes,"
829
00:50:03,800 --> 00:50:05,773
so I proceeded.
830
00:50:09,100 --> 00:50:11,453
I think we met in Baltimore for lunch.
831
00:50:12,980 --> 00:50:15,780
I remember talking about my interests,
832
00:50:15,790 --> 00:50:16,920
and him talking about his interests.
833
00:50:16,930 --> 00:50:20,490
His interest was talking
about his colleagues,
834
00:50:20,500 --> 00:50:23,463
painters that he wasn't so fond of.
835
00:50:28,100 --> 00:50:29,990
In the end he had the right to speak that way
836
00:50:30,000 --> 00:50:32,513
because he was a giant.
837
00:50:33,350 --> 00:50:35,060
I wrote another note to him and asked
838
00:50:35,070 --> 00:50:36,630
if he was ready to see me and talk
839
00:50:36,640 --> 00:50:39,420
about maybe parting with some pictures
840
00:50:39,430 --> 00:50:41,023
and he said yes.
841
00:50:41,960 --> 00:50:44,440
Well he didn't trust very many people.
842
00:50:44,450 --> 00:50:46,890
He also didn't love a lot of people.
843
00:50:46,900 --> 00:50:50,650
He was he was very
closely knit with his family,
844
00:50:50,660 --> 00:50:54,437
and a few friends, and I guess
845
00:50:56,530 --> 00:50:58,543
I was one of them fortunately.
846
00:51:06,670 --> 00:51:10,970
In 1964 Clyfford Still decided it was
847
00:51:10,980 --> 00:51:14,190
time to find a home for the paintings.
848
00:51:14,200 --> 00:51:16,580
One of the capstones for Still in the 1950s
849
00:51:16,590 --> 00:51:18,830
was a one-person
exhibition at the Albright-Knox
850
00:51:18,840 --> 00:51:21,603
Art Gallery in Buffalo in 1959.
851
00:51:37,010 --> 00:51:39,350
He approached Seymour Knox,
852
00:51:39,360 --> 00:51:41,860
head of the board of the
Albright-Knox Art Gallery
853
00:51:42,930 --> 00:51:45,800
about whether they would
accept a group of paintings
854
00:51:45,810 --> 00:51:49,683
to be kept in perpetuity at their museum.
855
00:51:50,780 --> 00:51:53,920
It was a kind of grand scheme.
856
00:51:53,930 --> 00:51:56,170
One important consideration of that gift
857
00:51:56,180 --> 00:51:58,170
was that the paintings could never travel
858
00:51:58,180 --> 00:52:00,320
and that they must be seen in their own room
859
00:52:00,330 --> 00:52:02,350
and not mixed with other artists.
860
00:52:02,360 --> 00:52:06,810
As a museum director I
find that to be a bit unfortunate.
861
00:52:06,820 --> 00:52:11,360
I understand it, but in
terms of educating the public
862
00:52:11,370 --> 00:52:12,610
and I'm sure he didn't give a damn
863
00:52:12,620 --> 00:52:14,840
about educating the public,
864
00:52:14,850 --> 00:52:17,020
but in in terms of that
865
00:52:17,030 --> 00:52:19,120
that's one of the things museums feel that
866
00:52:19,130 --> 00:52:20,630
they are there to do,
867
00:52:20,640 --> 00:52:23,550
because people have a
lot of difficulty, let's face it,
868
00:52:23,560 --> 00:52:27,820
with even something as old as abstraction is.
869
00:52:27,830 --> 00:52:32,240
When an artist wants their
work to be seen en masse,
870
00:52:32,250 --> 00:52:36,270
in its own space, altogether, I get that.
871
00:52:36,280 --> 00:52:39,240
It isn't a grandiose wish at all.
872
00:52:39,250 --> 00:52:41,200
Artists are control freaks,
873
00:52:41,210 --> 00:52:45,800
they get an idea, moves
from one work to another,
874
00:52:45,810 --> 00:52:49,020
I have nothing against them wanting
875
00:52:49,030 --> 00:52:52,350
the work to remain together.
876
00:52:52,360 --> 00:52:55,830
Time however treats art different
877
00:52:55,840 --> 00:53:00,373
than the artists wishes, and I trust time.
878
00:53:01,310 --> 00:53:03,350
When I think about Still
I think about my first show
879
00:53:03,360 --> 00:53:05,260
at the Albright-Knox Museum and seeing
880
00:53:05,270 --> 00:53:07,000
the paintings that they have installed there,
881
00:53:07,010 --> 00:53:09,623
and then really rethinking
who Clyfford Still was.
882
00:53:11,629 --> 00:53:12,810
What Clyfford Still was interested in
883
00:53:12,820 --> 00:53:16,420
was this slow time-based
experience with painting.
884
00:53:16,430 --> 00:53:19,593
That slowed down kind of
experience that goes past life.
885
00:53:21,600 --> 00:53:24,990
To make sense of that,
it was like, incredible,
886
00:53:25,000 --> 00:53:27,590
and that was at the Albright-Knox.
887
00:53:27,600 --> 00:53:29,560
You have those moments,
888
00:53:29,570 --> 00:53:33,653
where you remember how art hit you.
889
00:53:35,130 --> 00:53:39,460
It was second week of December in 1979.
890
00:53:43,420 --> 00:53:46,450
I was home from my freshman year of college,
891
00:53:46,460 --> 00:53:47,623
my mom had moved to Buffalo.
892
00:53:50,000 --> 00:53:52,706
They had just had sixty inches of snow,
893
00:53:52,716 --> 00:53:54,420
which turns out it's not unusual,
894
00:53:54,430 --> 00:53:57,140
dumps from the lake and there it is,
895
00:53:57,150 --> 00:53:59,460
and I was wandering
around 'cause I couldn't stay
896
00:53:59,470 --> 00:54:01,653
in her new little house and got out,
897
00:54:03,750 --> 00:54:07,033
and I show up at the Albright-Knox Museum.
898
00:54:10,950 --> 00:54:13,520
I didn't even know the history of how
899
00:54:13,530 --> 00:54:15,780
those cities like Buffalo
and Cleveland and things
900
00:54:15,790 --> 00:54:17,720
have gotten quite wealthy and
901
00:54:17,730 --> 00:54:19,803
there have been all these expositions.
902
00:54:24,240 --> 00:54:29,240
So I walk in, and it's this
extraordinary collection of
903
00:54:30,450 --> 00:54:32,220
American abstraction and
904
00:54:32,230 --> 00:54:35,973
American muscular spiritual modernism.
905
00:54:40,090 --> 00:54:42,920
So here's the weird thing that happened.
906
00:54:42,930 --> 00:54:44,113
The power went off.
907
00:54:51,134 --> 00:54:54,240
But I remembered this
thing that I'd read about Still,
908
00:54:54,250 --> 00:54:56,493
where he says exactly that.
909
00:54:57,420 --> 00:55:01,720
Turn off the lights, the
paintings have their own fire.
910
00:55:01,730 --> 00:55:04,260
You think, "Oh, come on" but,
911
00:55:04,270 --> 00:55:06,720
it's there and I felt that as a kid that day,
912
00:55:06,730 --> 00:55:08,530
and I'll never never forget the day.
913
00:55:17,620 --> 00:55:20,720
I don't know how many other times I've been
914
00:55:20,730 --> 00:55:22,863
with paintings in that way.
915
00:55:30,543 --> 00:55:33,150
It had been my hope
that I would end up with
916
00:55:33,160 --> 00:55:36,293
in the four corners of the old San Francisco
917
00:55:36,303 --> 00:55:41,303
Museum of Art building, a
room devoted to Mark Rothko,
918
00:55:42,180 --> 00:55:44,930
a room that devoted to Clyfford Still,
919
00:55:44,940 --> 00:55:46,920
a room for Robert Motherwell,
920
00:55:46,930 --> 00:55:49,260
and a room for Richard Diebenkorn.
921
00:55:49,270 --> 00:55:53,560
The four corners would
have made it a wonderful
922
00:55:53,570 --> 00:55:56,140
and I think exciting balance.
923
00:55:56,150 --> 00:55:58,520
That didn't, didn't work out for me,
924
00:55:58,530 --> 00:56:01,050
but it did work out for Henry Hopkins.
925
00:56:01,060 --> 00:56:03,060
The museum already
had a couple of his paintings,
926
00:56:03,070 --> 00:56:05,733
a big, big abstract painting from,
927
00:56:06,885 --> 00:56:10,870
that was a gift of the
Anderson family in in Palo Alto,
928
00:56:10,880 --> 00:56:13,420
and then this marvelous
painting that Peggy Guggenheim
929
00:56:13,430 --> 00:56:14,740
had given to the museum.
930
00:56:14,750 --> 00:56:16,630
A 1944 picture which was the picture
931
00:56:16,640 --> 00:56:19,220
that inspired my background,
932
00:56:19,230 --> 00:56:21,920
my initiation into Modern Art,
933
00:56:21,930 --> 00:56:24,670
and I think when on a visit to San Francisco
934
00:56:24,680 --> 00:56:26,670
in the 70, early 70s,
935
00:56:26,680 --> 00:56:29,080
he really respected and admired
936
00:56:29,090 --> 00:56:30,960
the way his work was being shown,
937
00:56:30,970 --> 00:56:32,800
and I think that inspired him to develop
938
00:56:32,810 --> 00:56:36,220
a closer relationship with
the museum and with Hopkins,
939
00:56:36,230 --> 00:56:37,610
and that eventually
940
00:56:37,620 --> 00:56:40,220
resulted in the gift that we did receive.
941
00:56:40,230 --> 00:56:42,006
So he talked to me about giving
942
00:56:42,016 --> 00:56:46,120
three paintings to the museum
which of course excited me,
943
00:56:46,130 --> 00:56:48,350
and over the next year
and a half as we talked,
944
00:56:48,360 --> 00:56:50,410
and we talked every time we would talk.
945
00:56:50,420 --> 00:56:52,490
he would add three more, like well,
946
00:56:52,500 --> 00:56:53,800
maybe six would be better,
947
00:56:53,810 --> 00:56:55,900
well maybe we could
tell the story with eight,
948
00:56:55,910 --> 00:56:57,997
well we can't really
tell the story with eight
949
00:56:58,007 --> 00:56:59,500
it probably would take nine or ten
950
00:56:59,510 --> 00:57:01,410
to really tell the whole spectrum,
951
00:57:01,420 --> 00:57:04,560
and of course, but we
ended up with an outright gift
952
00:57:04,570 --> 00:57:07,250
of twenty-eight Clyfford Still paintings,
953
00:57:07,260 --> 00:57:11,160
of which this big red one is
one of the prime examples,
954
00:57:11,170 --> 00:57:13,900
though there are actually
many in the collection.
955
00:57:13,910 --> 00:57:16,460
He gave a group to the Albright-Knox Museum.
956
00:57:16,470 --> 00:57:17,800
He gave this group to us,
957
00:57:17,810 --> 00:57:20,160
he gave a group to the Metropolitan Museum.
958
00:57:20,170 --> 00:57:24,060
I think that's juncture
where Still starts to
959
00:57:24,070 --> 00:57:28,430
look back on his career and turn it into
960
00:57:28,440 --> 00:57:31,650
one great Odyssey, one great venture.
961
00:57:31,660 --> 00:57:35,290
It was about the right people will come.
962
00:57:36,420 --> 00:57:39,400
They will come, as he did,
963
00:57:39,410 --> 00:57:41,660
all the way from Canada to New York.
964
00:57:41,670 --> 00:57:44,950
On his 21st birthday he was at the front door
965
00:57:44,960 --> 00:57:46,730
of the Metropolitan Museum of Art
966
00:57:46,740 --> 00:57:48,750
waiting for the doors to open because
967
00:57:48,760 --> 00:57:51,803
he was finally going to see
the originals not reproductions.
968
00:57:52,710 --> 00:57:55,310
Nothing was finally decided.
969
00:57:55,320 --> 00:57:58,680
However, they saw, and
I don't think I've ever had
970
00:57:58,690 --> 00:58:00,393
two more receptive guys.
971
00:58:01,602 --> 00:58:05,230
The problem is do I want the
entire gallery or just a floor?
972
00:58:05,240 --> 00:58:08,450
That's better, oh! - So we'll settle
973
00:58:08,460 --> 00:58:10,130
for one floor when the time comes up,
974
00:58:10,140 --> 00:58:12,000
now you'll try to keep it as quiet as you can
975
00:58:12,010 --> 00:58:13,010
for a little while.
976
00:58:13,850 --> 00:58:15,085
Yeah, I'll just yell about
977
00:58:15,095 --> 00:58:16,600
in the apartment. - All right.
978
00:58:16,610 --> 00:58:19,430
He's not having a grand
retrospective of MoMA
979
00:58:19,440 --> 00:58:22,072
or the Whitney, it's the Met,
980
00:58:22,082 --> 00:58:24,050
and that is the Met's about the old masters
981
00:58:24,060 --> 00:58:26,200
and Still is very consciously
982
00:58:26,210 --> 00:58:29,360
positioning himself in that perspective.
983
00:58:29,370 --> 00:58:31,160
The Metropolitan Museum of Art
984
00:58:31,170 --> 00:58:32,460
perhaps the greatest center
985
00:58:32,470 --> 00:58:34,640
of classical art and learning in America,
986
00:58:34,650 --> 00:58:37,815
exerts an influence that is worldwide.
987
00:58:41,440 --> 00:58:44,060
For better or worse Still chose all the works
988
00:58:44,070 --> 00:58:46,940
from his own collection
and he weighted heavily
989
00:58:46,950 --> 00:58:48,823
his work of his last 20 years.
990
00:59:00,443 --> 00:59:03,216
I went there December of 1977
991
00:59:03,226 --> 00:59:06,117
and oddly enough suddenly
there was Clyfford Still
992
00:59:06,127 --> 00:59:11,127
and his wife and well I was scared to death.
993
00:59:13,967 --> 00:59:17,237
I went up to him and I said I thought
994
00:59:17,247 --> 00:59:20,960
he was a great, great artist
and I was overwhelmed
995
00:59:20,970 --> 00:59:25,970
by the work and I think he was okay,
996
00:59:27,090 --> 00:59:27,914
if you know what I mean?
997
00:59:27,924 --> 00:59:28,973
He didn't say a lot.
998
00:59:31,690 --> 00:59:34,147
I think he appreciated
someone appreciating him.
999
00:59:36,824 --> 00:59:38,418
I had some excellent response
1000
00:59:38,428 --> 00:59:42,290
from this exhibition, but some in fact,
1001
00:59:42,300 --> 00:59:45,950
almost surprising, Lee
Krasner, Pollock's wife,
1002
00:59:47,270 --> 00:59:48,870
told Mr. Montebello and insisted
1003
00:59:49,935 --> 00:59:51,700
he'd be sure to tell me that
1004
00:59:51,710 --> 00:59:53,600
this is the greatest experience in art
1005
00:59:53,610 --> 00:59:55,860
she'd ever had in her life. - Wow.
1006
00:59:55,870 --> 00:59:58,885
It's quite, it's quite a tribute to me.
- I understand.
1007
01:00:00,600 --> 01:00:02,200
Of course I remember that day.
1008
01:00:03,640 --> 01:00:05,340
Yes, that's Molly Brewer,
1009
01:00:05,350 --> 01:00:07,150
I haven't talked to her in 40 years.
1010
01:00:08,490 --> 01:00:10,470
Anyway, yeah, she was a student
1011
01:00:10,480 --> 01:00:12,503
of Clyfford Stills in San Francisco,
1012
01:00:13,380 --> 01:00:15,180
and I rented the front of my studio
1013
01:00:15,190 --> 01:00:18,253
to her on 20th Street.
1014
01:00:20,160 --> 01:00:23,240
She said "Clyfford
Still's coming over today."
1015
01:00:23,250 --> 01:00:25,230
I said "Really?"
1016
01:00:25,240 --> 01:00:28,057
Said "Okay, yeah, and
I, I'll go get some pizza."
1017
01:00:29,360 --> 01:00:30,360
Which I did.
1018
01:00:33,440 --> 01:00:36,213
I remember what paintings
of mine were in my studio also.
1019
01:00:37,398 --> 01:00:38,907
There was a painting called
1020
01:00:38,917 --> 01:00:40,857
"Giacomo Expelled from the Temple."
1021
01:00:43,990 --> 01:00:45,600
I thought he'd like that painting
1022
01:00:45,610 --> 01:00:48,210
because it had a, I made
it with joint compound
1023
01:00:48,220 --> 01:00:51,300
and rope flex which was sort of a plaster,
1024
01:00:51,310 --> 01:00:53,190
and I used a palette knife on it quite a bit,
1025
01:00:53,200 --> 01:00:56,083
so I definitely related to his paintings.
1026
01:01:00,515 --> 01:01:02,657
Oh, that's a pretty unusual little bit.
1027
01:01:02,667 --> 01:01:05,540
Obviously he read the
catalog pretty thoroughly.
1028
01:01:05,550 --> 01:01:06,780
Oh, that's great. - Yes.
1029
01:01:07,654 --> 01:01:08,884
Good. - I'd say the kid
1030
01:01:08,894 --> 01:01:12,805
was 25 to 30 years of age, he was maybe 25.
1031
01:01:12,815 --> 01:01:17,398
Nice, young, Polish, name
of Schnabel, Julian Schnabel.
1032
01:01:19,793 --> 01:01:22,469
Looked more Italian,
round face, smooth voice,
1033
01:01:22,479 --> 01:01:24,401
full of enthusiasm.
1034
01:01:24,411 --> 01:01:26,544
Very rugged pictures, images, pictures.
1035
01:01:26,554 --> 01:01:27,995
Taking the work seriously.
1036
01:01:28,005 --> 01:01:29,178
I had to admit, the guy has roots that
1037
01:01:29,188 --> 01:01:30,606
might develop into something.
1038
01:01:30,616 --> 01:01:32,886
Originality for himself.
1039
01:01:32,896 --> 01:01:36,590
Brings much of my whole attitude about it.
1040
01:01:36,600 --> 01:01:39,120
By 1977, it's pretty obvious
1041
01:01:39,130 --> 01:01:40,930
that Still's getting sick.
1042
01:01:40,940 --> 01:01:43,610
He doesn't do much about
it, doesn't see a doctor,
1043
01:01:43,620 --> 01:01:47,640
and by the time the exhibition
at the Met opens in 1979,
1044
01:01:47,650 --> 01:01:50,433
he's essentially dying of colon cancer.
1045
01:01:58,380 --> 01:02:00,490
There's a series of about 40 pastels
1046
01:02:00,500 --> 01:02:02,660
on construction paper about six months
1047
01:02:02,670 --> 01:02:03,973
before he passed away.
1048
01:02:11,630 --> 01:02:13,590
He could feel something coming
1049
01:02:13,600 --> 01:02:16,123
but he really wanted to
get some last ideas down.
1050
01:02:34,140 --> 01:02:36,163
The last pastel in this series,
1051
01:02:38,100 --> 01:02:40,390
you can really just see that life force
1052
01:02:40,400 --> 01:02:42,540
that's so prominent in his work
1053
01:02:42,550 --> 01:02:45,303
just trail off the edge of the page.
1054
01:03:05,250 --> 01:03:08,373
Last will and testament, paragraph fourth.
1055
01:03:09,320 --> 01:03:13,010
I give and bequeath all
the remaining works of art
1056
01:03:13,020 --> 01:03:17,250
executed by me and my
collection to an American city
1057
01:03:17,260 --> 01:03:21,290
that will agree to build
or assign and maintain
1058
01:03:21,300 --> 01:03:25,660
permanent quarters
exclusively for these works of art.
1059
01:03:25,670 --> 01:03:28,490
For their exhibition study and survival,
1060
01:03:28,500 --> 01:03:31,710
and it was really a 20-year quest
1061
01:03:31,720 --> 01:03:35,130
to identify an American city
who would agree to those terms.
1062
01:03:35,140 --> 01:03:37,090
If you note, it said permanent quarters,
1063
01:03:37,100 --> 01:03:39,410
that did not say I want
a free-standing building
1064
01:03:39,420 --> 01:03:41,680
all my own, that came from Patricia.
1065
01:03:41,690 --> 01:03:45,020
Still understood that many of them
1066
01:03:45,030 --> 01:03:47,170
might end up in a basement in storage
1067
01:03:47,180 --> 01:03:50,280
and they might be shown
once every five or ten years.
1068
01:03:50,290 --> 01:03:51,743
He understood that.
1069
01:03:53,350 --> 01:03:57,150
He did not want it distributed
one here, one there.
1070
01:03:57,160 --> 01:04:01,263
This is a symphony, or an opera,
1071
01:04:02,750 --> 01:04:05,650
with some masterpieces
called arias if you will,
1072
01:04:05,660 --> 01:04:07,380
or movements.
1073
01:04:07,390 --> 01:04:08,930
He saw it as a totality,
1074
01:04:08,940 --> 01:04:11,730
that is why there's so many reproductions.
1075
01:04:11,740 --> 01:04:13,190
He would sell or give a painting
1076
01:04:13,200 --> 01:04:14,800
and say "I wish I hadn't done that."
1077
01:04:14,810 --> 01:04:16,800
It was a huge estate,
1078
01:04:16,810 --> 01:04:19,310
nobody had seen it, nobody really knew
1079
01:04:19,320 --> 01:04:20,838
exactly what was in it
1080
01:04:20,848 --> 01:04:22,410
apart from when it was appraised.
1081
01:04:22,420 --> 01:04:27,340
And so, you know, Still
in John Goulding's words
1082
01:04:27,350 --> 01:04:29,777
as lately as 2000 he wrote that
1083
01:04:29,787 --> 01:04:32,393
"Still remains a great unknown,"
1084
01:04:32,403 --> 01:04:34,189
and it's absolutely true.
1085
01:04:36,413 --> 01:04:41,413
♪ Vissi d'arte, ♪
1086
01:04:43,576 --> 01:04:48,576
♪ vissi d'amore, ♪
1087
01:04:53,571 --> 01:04:58,571
♪ non feci mai male ♪
1088
01:05:00,196 --> 01:05:05,196
♪ ad anima viva ♪
1089
01:05:09,352 --> 01:05:14,352
♪ Con man furtiva ♪
1090
01:05:18,056 --> 01:05:20,806
♪ Quante miserie ♪
1091
01:05:23,682 --> 01:05:26,918
♪ conobbi aiutai. ♪ -
After 1980 it became clear
1092
01:05:26,928 --> 01:05:30,910
that my aunt Pat's fundamental mission
1093
01:05:30,920 --> 01:05:34,150
was to find a city that would accept
1094
01:05:34,160 --> 01:05:37,333
the Clyfford Still paintings
in the terms of his will.
1095
01:05:39,380 --> 01:05:42,390
Now there was I think some tension in that,
1096
01:05:42,400 --> 01:05:47,400
because she very much
liked controlling all of this art.
1097
01:05:47,630 --> 01:05:49,580
As devoted as Patricia Still was
1098
01:05:49,590 --> 01:05:50,960
to her husband's art and life,
1099
01:05:50,970 --> 01:05:53,920
she actually did considerable
damage to his legacy.
1100
01:05:53,930 --> 01:05:55,450
After his death in 1980
1101
01:05:55,460 --> 01:05:58,450
she refused reproduction
rights to almost everybody.
1102
01:05:58,460 --> 01:06:00,730
She wouldn't let anybody see the art
1103
01:06:00,740 --> 01:06:03,880
and I think that was a terrible injustice to
1104
01:06:03,890 --> 01:06:05,290
people of my generation,
1105
01:06:05,300 --> 01:06:07,269
who were trying to understand Clyfford Still
1106
01:06:07,279 --> 01:06:09,583
through 5% of the work in the world.
1107
01:06:10,560 --> 01:06:13,600
After talking to my
aunt for quite some time,
1108
01:06:13,610 --> 01:06:15,750
I managed to persuade her
1109
01:06:15,760 --> 01:06:19,440
that Denver could be a
good place for the museum,
1110
01:06:19,450 --> 01:06:20,960
and she sent me a letter
1111
01:06:20,970 --> 01:06:24,366
giving me permission to go to Denver.
1112
01:06:26,320 --> 01:06:30,440
And it says, "I was just
thinking, what about Denver?"
1113
01:06:30,450 --> 01:06:33,110
Well it was hard getting
those words out of her
1114
01:06:33,120 --> 01:06:36,350
but I got that letter and then
1115
01:06:36,360 --> 01:06:38,683
called the Denver Art Museum.
1116
01:06:39,710 --> 01:06:41,570
I'd been in office maybe, I don't know,
1117
01:06:41,580 --> 01:06:43,960
a hundred days, and Lewis
Sharp from the art museum
1118
01:06:43,970 --> 01:06:46,717
called me and said you
know, "There's this woman
1119
01:06:46,727 --> 01:06:50,867
"who is the sole controller
of one of the most incredible
1120
01:06:50,877 --> 01:06:53,287
"collections of art in
the history of the world,
1121
01:06:53,297 --> 01:06:55,197
"and no one's really gone
1122
01:06:55,207 --> 01:06:57,707
"and even pitched her in several years."
1123
01:07:00,529 --> 01:07:01,680
I was gonna be in DC anyway,
1124
01:07:01,690 --> 01:07:02,810
it was gonna be you know,
1125
01:07:02,820 --> 01:07:04,820
about an hour and a half drive each way.
1126
01:07:07,350 --> 01:07:09,590
You know, it was gonna
take five hours out of my day,
1127
01:07:09,600 --> 01:07:11,630
that's not a lot of risk
for something that could
1128
01:07:11,640 --> 01:07:14,550
really create another star
1129
01:07:14,560 --> 01:07:16,740
in the cultural firmament of Colorado,
1130
01:07:16,750 --> 01:07:18,670
and another reason for people that love art
1131
01:07:18,680 --> 01:07:20,233
to come visit Colorado.
1132
01:07:22,160 --> 01:07:24,860
Of course, when Lewis
Sharp first presented the idea,
1133
01:07:24,870 --> 01:07:29,870
I had no idea that 25,
26 other communities had
1134
01:07:30,090 --> 01:07:32,690
attempted and failed at persuading Mrs Still
1135
01:07:32,700 --> 01:07:35,763
that that their city was the place.
1136
01:07:36,860 --> 01:07:38,890
We walked into the farmhouse,
1137
01:07:38,900 --> 01:07:41,463
and it was almost devoid of furniture.
1138
01:07:44,200 --> 01:07:45,990
One easy-chair in the living room,
1139
01:07:46,000 --> 01:07:48,800
but basically pretty barren
1140
01:07:48,810 --> 01:07:50,843
in terms of any kind of furnishings.
1141
01:07:56,570 --> 01:07:59,120
Except for, in every room, there were
1142
01:07:59,130 --> 01:08:00,300
painting after painting, they are
1143
01:08:00,310 --> 01:08:01,960
rolled in these long rolls.
1144
01:08:01,970 --> 01:08:05,000
Some of them were in tubes,
many of them were not in tubes,
1145
01:08:05,010 --> 01:08:06,853
just kind of piled into the corner.
1146
01:08:10,770 --> 01:08:14,067
I couldn't help but having
my mind run away with
1147
01:08:14,077 --> 01:08:17,797
"God, what's in all those
rolled up canvases?"
1148
01:08:20,560 --> 01:08:25,320
And Clyfford Stills'
widow was intensely loyal
1149
01:08:25,330 --> 01:08:26,321
to her late husband.
1150
01:08:26,331 --> 01:08:29,290
I mean she had foam-core models
1151
01:08:29,300 --> 01:08:30,950
of what a museum might look like.
1152
01:08:53,696 --> 01:08:56,630
And I grew up in a family
with a lot of great aunts
1153
01:08:56,640 --> 01:08:59,360
and you know, elderly men and women,
1154
01:08:59,370 --> 01:09:00,344
and I've always been very good,
1155
01:09:00,354 --> 01:09:01,920
I was trained to be very respectful
1156
01:09:01,930 --> 01:09:03,889
and to listen very carefully
1157
01:09:03,899 --> 01:09:06,540
when when one of your elders speaks to you,
1158
01:09:06,550 --> 01:09:08,952
and I think that Mrs Still responded to that.
1159
01:09:10,100 --> 01:09:12,780
2,000 works by Clyfford Still
1160
01:09:12,790 --> 01:09:14,849
have been in storage since he died.
1161
01:09:14,859 --> 01:09:17,460
His will was specific
about where they would go.
1162
01:09:17,470 --> 01:09:19,750
To an American city that would both
1163
01:09:19,760 --> 01:09:21,750
create and maintain a museum
1164
01:09:21,760 --> 01:09:24,130
devoted exclusively to his artworks.
1165
01:09:24,140 --> 01:09:25,420
Now Denver is that city.
1166
01:09:25,430 --> 01:09:28,110
After long negotiations with Stills' widow,
1167
01:09:28,120 --> 01:09:29,620
the collection will come here.
1168
01:09:33,229 --> 01:09:35,040
It's very interesting
when we got the letter,
1169
01:09:35,050 --> 01:09:38,389
I think it was a letter,
asking if we were interested.
1170
01:09:38,399 --> 01:09:40,519
I mean I almost had to laugh,
1171
01:09:40,529 --> 01:09:43,712
because I had known his
work since my Columbia days.
1172
01:09:44,690 --> 01:09:47,993
It's almost like we were
just waiting to be asked.
1173
01:09:50,890 --> 01:09:54,299
There's something terrifying
about this landscape,
1174
01:09:54,309 --> 01:09:57,100
when you take away the kind
of mythos of the mountains
1175
01:09:57,110 --> 01:10:00,270
and look east, the scalelessness of it,
1176
01:10:00,280 --> 01:10:02,380
the vastness of it, right, you know.
1177
01:10:02,390 --> 01:10:05,610
A way of kind of holding
yourself in that world,
1178
01:10:05,620 --> 01:10:07,560
you know holding, the building in this case,
1179
01:10:07,570 --> 01:10:11,380
in that world, holding
those paintings in this world,
1180
01:10:11,390 --> 01:10:12,549
and in some way, his paintings
1181
01:10:12,559 --> 01:10:14,420
were trying to do the same thing.
1182
01:10:14,430 --> 01:10:16,393
Hold us all in the world in some way.
1183
01:10:45,374 --> 01:10:47,602
We had just arrived in New York
1184
01:10:47,612 --> 01:10:48,812
when I was a little kid.
1185
01:10:51,143 --> 01:10:52,243
We've taken the train.
1186
01:10:55,290 --> 01:10:57,903
And I had developed a very bad ear ache.
1187
01:10:58,760 --> 01:11:01,333
So I was asleep in the living room.
1188
01:11:03,290 --> 01:11:05,030
In the middle of the night I woke up
1189
01:11:05,040 --> 01:11:08,452
and there's my dad, in the kitchen, painting.
1190
01:11:11,382 --> 01:11:13,467
And that stuck with me so strongly that,
1191
01:11:13,477 --> 01:11:15,167
"He's doing something important."
1192
01:11:18,547 --> 01:11:19,747
And I was six years old.
1193
01:11:28,280 --> 01:11:29,840
One of my worst moments
1194
01:11:29,850 --> 01:11:32,980
was about 18 months before he passed.
1195
01:11:32,990 --> 01:11:34,590
I woke up in the middle of the night
1196
01:11:34,600 --> 01:11:37,663
and he was just restless and unhappy.
1197
01:11:38,660 --> 01:11:40,896
I finally went over and sat beside him,
1198
01:11:40,906 --> 01:11:42,150
he was sitting on the edge of the bed,
1199
01:11:42,160 --> 01:11:46,853
and he's just, "Why am I doing this?
1200
01:11:47,807 --> 01:11:49,757
"No-one's understanding this.
1201
01:11:49,767 --> 01:11:51,867
"I should just go home and burn them all."
1202
01:11:54,300 --> 01:11:57,297
He needed to know that
someone believed in him.
1203
01:12:31,550 --> 01:12:35,233
I learned not to have
expectations any kind from him.
1204
01:12:39,921 --> 01:12:40,911
Yeah, I thought it was a mistake
1205
01:12:40,921 --> 01:12:44,483
when he left us each two
paintings, two abstracts.
1206
01:12:46,330 --> 01:12:48,280
I didn't think he'd trust us with them.
1207
01:12:53,420 --> 01:12:54,673
Totally changed my life.
1208
01:12:56,309 --> 01:12:57,783
It freed me, yeah.
1209
01:13:00,070 --> 01:13:04,100
Freed me, it's gonna
free my children someday,
1210
01:13:04,110 --> 01:13:05,890
so thank you Dad.
1211
01:13:45,915 --> 01:13:46,739
Although several large
1212
01:13:46,749 --> 01:13:49,960
and significant areas of
the work cannot be exhibited,
1213
01:13:49,970 --> 01:13:51,710
I believe what will be shown
1214
01:13:51,720 --> 01:13:53,790
will justify the interest and effort
1215
01:13:53,800 --> 01:13:55,710
you have so courageously given.
1216
01:13:55,720 --> 01:13:57,783
Sincerely, Clyfford Still.
1217
01:14:54,147 --> 01:14:58,303
♪ I long to be ♪
1218
01:14:58,313 --> 01:15:03,143
♪ In London now ♪
1219
01:15:03,153 --> 01:15:06,317
♪ In London now ♪
1220
01:15:06,327 --> 01:15:11,327
♪ The autumn's hanging in the breeze ♪
1221
01:15:13,564 --> 01:15:17,840
♪ I long to hear ♪
1222
01:15:17,850 --> 01:15:22,850
♪ On every bough ♪
1223
01:15:22,936 --> 01:15:25,903
♪ Starlings and sparrows ♪
1224
01:15:25,913 --> 01:15:30,913
♪ Sharing gossip and the trees ♪
1225
01:15:32,100 --> 01:15:34,647
♪ The riverside ♪
1226
01:15:34,657 --> 01:15:37,047
♪ At eventide ♪
1227
01:15:37,057 --> 01:15:41,733
♪ Will glow when day's done ♪
1228
01:15:41,743 --> 01:15:44,259
♪ The stars appear ♪
1229
01:15:44,269 --> 01:15:46,748
♪ The air is clear ♪
1230
01:15:46,758 --> 01:15:48,627
♪ Believe it ♪
1231
01:15:48,637 --> 01:15:53,523
♪ That fog's long gone from London ♪
1232
01:15:53,533 --> 01:15:58,533
♪ So I wish somehow ♪
1233
01:16:00,872 --> 01:16:04,039
♪ To be in London now ♪
95995
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