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(paper rustling)
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(gentle music)
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- And with that, the cover lot,
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Clyfford Still 1949, A number 1.
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And started here at 18, 19, 20 million dollars.
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Let's bid at 20 million, 21, 22, 23, 24,
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25 is already bid at 25.
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At 45 million, 47,500,000.
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50 million.
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Selling then for $55,000,000.
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Sold! Thank you Lisa.
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(applause)
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(violin music)
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- [Man] You have the Iberian blacks of Robert Motherwell's
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"Elegy to the Spanish Republic" number 126.
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- [Woman] And here we have Barnett Newman on one side
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on the right hand side of the gallery,
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and Ad Rheinhardt on the other.
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- [Guide] Here, in the penultimate gallery,
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gallery 11, you have 10 monumental canvases
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by Clyfford Still.
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(mysterious music)
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- [Man] Well, Clyfford Still, one of the most enigmatic,
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mysterious, toughest, most emotional,
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of all the great American abstract impressionists.
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- Jackson Pollock said that Clyfford Still
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makes the rest of us look academic.
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- He was just a very clearly strange individual.
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I never know of anybody who was quite so off the wall as he.
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- It's a quote from Pollock and I think it's 1947,
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when he says, "Clyff Still, Rothko and I,
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"we change the face of painting."
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- Who's Clyfford Still?
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Well, we're still finding out.
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We weren't even allowed to know, for decades and decades,
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he famously sort of absented himself at the height,
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or at the end of abstract expressionism.
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- I don't think he removed himself from the world of art,
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from the world of ideas. He definitely removed himself
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from the art world.
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- He had to get away from what he called
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the corruption of the art world.
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- He was more interested and more firmly convinced
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about an artist doing what Still felt
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that artists should do.
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Paint.
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- He kept himself apart, he was a very secretive man.
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And if you make yourself an outsider,
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then people who look at the movement
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are going to put you outside the movement,
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as simple as that.
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- You know, it's not a popularity contest,
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and art and life are incongruous to each other.
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I mean, you make a decision that you wanna do that,
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it doesn't mean that you're gonna be in favor all the time.
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It doesn't mean that you're gonna have,
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there are gonna people who don't understand
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what you're doing.
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Painting is about time.
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Painting is about death,
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and you're making a physical fact.
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And paintings bring you into their present
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whenever you get in contact with them.
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(guitar music)
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- For years and years and years, my parents would take me
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to the San Francisco Museum of Modern Art
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to see whatever the exhibition of the time was.
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And I have a vivid memory of seeing Still's work
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at the museum there, I was probably 10 years old.
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And what I remember about it was a particular painting
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that I focused on, kind of human sized,
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maybe six foot high, largely black painting.
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(absrtract music)
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And what captivated me was that the title of the painting
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listed on the label was "Self Portrait."
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There was nothing about this that a 10 year old
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could in any way, shape, or form, think of
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as a self portrait.
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And I was hooked.
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I didn't understand this at all,
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but I was completely captivated
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and that was my introduction to modern art.
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(abstract music)
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- I was very much impressed not only by
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his own person and persona but in terms of his intellect
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and his integrity about his own work,
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how it was to be displayed,
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all those things of course that would drive
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museum directors a little crazy perhaps,
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but, but that's the way it was with him.
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- I loved him but I was terrified of him you know,
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because he did look like God as some,
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one of the painters so kindly said. (laughs)
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- He turned out to be an extraordinary artist,
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and I'm proud and lucky that of all his contemporaries
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that I got to be his daughter.
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- It's a complicated journey that the guy went on.
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It's also a real story of America.
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- [Man] It was as a journey that one must make
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walking straight and alone.
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No respite or shortcuts were permitted
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and one's will had to hold
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against every challenge of triumph,
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or failure, or the praise of vanity fair.
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- - [Woman] That's the recorder,
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tape recorder. (mans voice on tape)
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I remember when he bought that,
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he came home with it.
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- Audio tape? - Audio tape, yes.
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- Jesus Christ.
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Why didn't you tell me about-- - 30, how many hours
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did you come up with Jess?
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30? - 34.
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- [Man] 34 hours of audiotape.
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- Do I know this?
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- [Man] Well okay, I want you to hear this.
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- [Jess] Which one is this?
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- [Woman On Tape] This is our new machine,
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we just got it today.
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And it's all ours.
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- Well on the one hand I'm amazed
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at an archival discovery of this kind,
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and on the other hand it doesn't surprise me that much
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because Still was really very, very,
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intent on recording everything he did,
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and this is an expression of that kind of mindset.
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(dramatic music)
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- [Voice Over] Creatively reflecting
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the anxious temper of the times is modern art
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and impatience with old-fashioned forms and limitations
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had launched the 20th century artist
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on a restless search for new ways of expression,
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and for new techniques.
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- If they are to find a place
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in the civilization of the next half century,
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the visual arts must in effect compromise with the machine.
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This can be done, only within the terms
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of what we call abstract art.
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- Abstract Expressionism was an American art movement
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that developed during and after the Second World War,
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that fused the relatively recent idea of an abstract art,
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with the age-old tradition of Expressionism.
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- Before that virtually all the artists
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had lived through the Great Depression
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and they were marked by that for decades to come.
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There's a strong argument to be said for the idea that
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Abstract Expressionism really mirrors the age of anxiety
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(discordant music)
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- Abex if you call it was such a huge movement
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in the United States, it went all over the world.
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One of probably the largest exports that this country
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still has exported.
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- It's sometimes called the School of New York
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and that's a complete geographical misnomer.
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It spans both coasts of the United States
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West Coast and the East Coast,
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and significantly, Still was actually moving
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between those coasts in the 1940s with his Jaguar
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- Still, moved around a heck of a lot.
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He was peripatetic.
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Location, with the exception of Alberta prairies,
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didn't mean a lot to Still.
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- [Man] Clyfford Still has a very important
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one-person exhibition in the Bay Area in 1947 at the
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California Palace of the Legion of Honor,
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that includes almost exclusively
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works that we would now call Abstract Expressionist.
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This is the exhibition that Rothko said left not only him
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but everyone else who had seen it breathless.
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(piano music)
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- [David] Still and Rothko talk together at the
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California School of Fine Arts in 1946,
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and it's no coincidence that 1946 was the very year
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when Rothko began to make his breakthrough into abstraction
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with his so-called multiform canvases.
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- Yes, I was first aware of Mark Rothko
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who taught at the California School of Fine Arts
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at the same time my dad did,
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and we would have dinner with him occasionally,
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but I remember he was a presence in the school.
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- I think dad thought he found a kindred spirit.
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(violin music)
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Dad analyzed him, they were good friends,
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dad said were kind of different species.
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Still was from this Wild West so to speak of Canada,
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Rothko was more European, a more sentient person.
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- [Man] Interestingly the criticism
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that surrounds his exhibitions in San Francisco
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starts Still off on this relationship,
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bad that he will have with art criticisms.
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In 1943 they spell his name wrong twice,
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in 1947 I think, the critics are only met with
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baffling images that they don't even know how to read
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let alone interpret.
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Mark Rothko introduces Still to Peggy Guggenheim
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who had opened a gallery called Art of the Century
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in New York during the Second World War.
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- [Sandra] She knew what Clyfford had was extraordinary
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and even admitted "I'm really more into surrealism
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"but I will show you." (jazz music)
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- [Man] Rothko helps stretch the paintings,
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wrote on Stills work, he installed his first one-man show.
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- And Rothko told him,
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"Please come to New York, this is Mecca."
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So Clyfford went to Mecca, we all followed.
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He liberated their work, their work
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changed almost overnight because of him.
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They were fumbling, "Where do we go from here?"
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And Clyfford provided them with the answer,
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get rid of the frame, go inward,
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what is that that you have to say and so on,
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and their work blossomed.
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(futuristic music)
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- There exists a fantastic photograph
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that appeared in Life magazine in 1950,
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that we call the Irascibles Group,
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that includes all the seminal figures
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of the Abstract Expressionist movement,
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and particularly Jackson Pollock, Clyfford Still,
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Mark Rothko and Barnett Newman.
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Those four who were famously called by Betty Parsons
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the Four Horsemen of the Apocalypse.
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- I think of what Diebenkorn said about Clyfford Still
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when he was invited to go to the studio
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in the bottom of the California School of Fine Arts,
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he said, "Well, his stuff was very austere.
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"it didn't have anything to do with,
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with European painting, it was it was fiercely independent."
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(discordant piano)
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"It was not seductive, it was very American,
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"it was rejecting influence."
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Well, that's a lot to say
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and it's a lot to undertake,
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and I think that Clyff stood for that.
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- Of the group he was the roughest one.
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The edge is a little more jagged,
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you can see the paintbrush strokes,
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you really saw his hand and you saw the struggle.
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You're not sure if he's referencing nature,
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you're not sure if he's referencing.
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You don't know where those points come from.
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- They look like oscilloscopes in a way
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and at the same time they're like mountain ranges.
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You kind of travel over all the marks
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that are painted in the paintings,
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so there's a real voyage that you take
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when you look at those things.
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- [Clyfford] When I hang a painting I would have it say,
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"Here am I.
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"This is my presence, my feeling, myself.
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"Here I stand implacable, proud, alive,
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"naked, unafraid.
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"If one does not like it, he should turn away,
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"because I am looking at him."
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- It went well for a time,
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but then who did what, when, where, became an issue.
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Who painted something first?
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Dad would start to back off and back off.
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(futuristic music)
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- [David] When Dorothy Miller did the "15 Americans" in 1952
261
00:15:44,717 --> 00:15:46,513
she really had a tough time.
262
00:15:49,860 --> 00:15:51,880
Because Still was given his own room,
263
00:15:51,880 --> 00:15:53,590
Rothko was given his own room,
264
00:15:53,590 --> 00:15:56,063
and are almost in rivalry with each other.
265
00:15:57,420 --> 00:15:59,270
Rothko wanted blazing lights
266
00:15:59,270 --> 00:16:01,483
to bring out the intensity of the colors,
267
00:16:02,410 --> 00:16:03,570
and on the other hand,
268
00:16:03,570 --> 00:16:06,270
Still showed a very famous painting,
269
00:16:06,270 --> 00:16:07,767
a big, black painting that's now
270
00:16:07,767 --> 00:16:10,010
in the Art Institute of Chicago,
271
00:16:10,010 --> 00:16:12,083
and he called it a "big black monster".
272
00:16:14,436 --> 00:16:15,660
And it's as if you've got these two artists
273
00:16:15,660 --> 00:16:17,540
really, kind of you know,
274
00:16:17,540 --> 00:16:19,440
fighting against each other almost,
275
00:16:19,440 --> 00:16:21,400
to outdo each other.
276
00:16:21,400 --> 00:16:23,280
- The fact that these two artists fought
277
00:16:23,280 --> 00:16:26,410
for their own rooms at a point in their career
278
00:16:26,410 --> 00:16:27,530
where they were still very young
279
00:16:27,530 --> 00:16:29,420
and not well-known to anyone,
280
00:16:29,420 --> 00:16:31,330
shows a certain audacity, and I think,
281
00:16:31,330 --> 00:16:33,463
belief they had in what they were doing.
282
00:16:35,210 --> 00:16:37,830
- [David] I think after "15 Americans" in '52
283
00:16:37,830 --> 00:16:40,840
the tension between them starts to grow and grow,
284
00:16:40,840 --> 00:16:43,493
until they completely break from each other.
285
00:16:45,230 --> 00:16:48,070
- [Man] Clyfford Still is particularly watching
286
00:16:48,070 --> 00:16:50,433
the path that Mark Rothko takes.
287
00:16:52,350 --> 00:16:55,580
Very actively involved with art museums and galleries,
288
00:16:55,580 --> 00:16:58,730
commercial galleries and various public commissions,
289
00:16:58,730 --> 00:17:01,503
like the Seagram's murals later in the 1950s.
290
00:17:07,127 --> 00:17:09,660
I think this all says to Clyfford Still
291
00:17:09,660 --> 00:17:12,153
that Rothko has gone to the other side.
292
00:17:14,579 --> 00:17:17,530
And I think Still turns out to be right
293
00:17:17,530 --> 00:17:20,450
given the deep depression that Rothko starts to face
294
00:17:20,450 --> 00:17:23,160
in the 1960s that eventually ends with his suicide
295
00:17:23,160 --> 00:17:24,490
in his studio in 1970.
296
00:17:27,180 --> 00:17:28,512
- He didn't begrudge that.
297
00:17:30,370 --> 00:17:32,890
He didn't begrudge that at all.
298
00:17:32,890 --> 00:17:34,810
He understood it, he also understood
299
00:17:34,810 --> 00:17:38,603
that Rothko stopped being creative, growing.
300
00:17:40,150 --> 00:17:41,600
They all stopped growing
301
00:17:41,600 --> 00:17:44,483
as soon as that particular work became important.
302
00:17:45,790 --> 00:17:48,083
Pollock got killed, killed himself.
303
00:17:49,000 --> 00:17:50,023
Rothko did too.
304
00:17:51,860 --> 00:17:56,193
- And dad felt like Rothko had sold out,
305
00:17:58,960 --> 00:18:01,783
and I guess Rothko was pretty upset about that,
306
00:18:02,780 --> 00:18:05,853
because I remember walking down the street in New York,
307
00:18:06,820 --> 00:18:10,870
in the early 60s, and there was Mark Rothko
308
00:18:10,870 --> 00:18:15,483
coming toward us, and he looked so angry.
309
00:18:16,714 --> 00:18:20,900
He looked at dad, and it was just sad,
310
00:18:20,900 --> 00:18:23,980
because he understood what dad was doing,
311
00:18:23,980 --> 00:18:25,140
but he couldn't commit to it.
312
00:18:25,140 --> 00:18:28,910
His excuse was, "I have a family to raise."
313
00:18:28,910 --> 00:18:29,960
- Still, in some ways,
314
00:18:29,960 --> 00:18:33,040
almost predicted this outcome for Rothko.
315
00:18:33,040 --> 00:18:35,160
They hadn't spoken in many, many years.
316
00:18:35,160 --> 00:18:37,660
When Still was in Buffalo visiting his paintings
317
00:18:37,660 --> 00:18:40,320
at the Albright-Knox, the news was delivered to him
318
00:18:40,320 --> 00:18:42,527
and Still was known to have said.
319
00:18:42,527 --> 00:18:45,687
"Evil falls to those who live evil lives."
320
00:18:47,470 --> 00:18:48,590
- He might have said something,
321
00:18:48,590 --> 00:18:51,650
but I just don't ever, never remember him,
322
00:18:51,650 --> 00:18:53,833
talking about Rothko as evil.
323
00:18:55,510 --> 00:18:59,900
Kind of failing his art maybe,
324
00:18:59,900 --> 00:19:03,450
but I never heard him use the word evil once
325
00:19:03,450 --> 00:19:04,913
about any of them.
326
00:19:07,610 --> 00:19:10,366
- Well that kind of quote you know, it's pure Still.
327
00:19:10,366 --> 00:19:14,070
Very aphoristic, very moralistic.
328
00:19:14,070 --> 00:19:16,060
He said what he wanted to say at the end of the day.
329
00:19:16,060 --> 00:19:18,927
He was cutting out because he wanted to be cutting.
330
00:19:20,440 --> 00:19:23,840
- [Clyfford] I told Rothko on several occasions
331
00:19:24,750 --> 00:19:27,690
that he should abandon such nonsense,
332
00:19:27,690 --> 00:19:30,350
forget this myth thing which he was tying up
333
00:19:30,350 --> 00:19:31,273
to the Greeks.
334
00:19:32,350 --> 00:19:34,873
Rothko moved on, back where he belonged,
335
00:19:36,850 --> 00:19:41,850
into his fuzzy Bauhaus, cultural associations,
336
00:19:44,270 --> 00:19:47,043
and was very happy to leave the rigor I set,
337
00:19:48,459 --> 00:19:52,128
for the creative act for his steady manufacture of
338
00:19:52,128 --> 00:19:53,923
varieties of rectangles.
339
00:20:04,630 --> 00:20:06,410
- [David] Well you've got to remember that Still
340
00:20:06,410 --> 00:20:08,510
had a very difficult upbringing,
341
00:20:08,510 --> 00:20:11,840
and unlike most of the other, much more urbane,
342
00:20:11,840 --> 00:20:14,390
New York-based Abstract Expressionists,
343
00:20:14,390 --> 00:20:17,463
Still had a tough life on the Canadian prairies.
344
00:20:23,794 --> 00:20:26,294
(piano music)
345
00:20:34,697 --> 00:20:36,717
The art historian Dore Ashton,
346
00:20:36,717 --> 00:20:39,980
recounted that Still used to talk to her
347
00:20:39,980 --> 00:20:44,173
about shucking wheat until his hands were bloody.
348
00:20:49,750 --> 00:20:52,350
- [Sandra] He was a free laborer to his father
349
00:20:52,350 --> 00:20:54,183
and he was treated that way.
350
00:20:55,370 --> 00:20:57,970
It was nothing romantic about
351
00:20:57,970 --> 00:21:02,070
that kind of farming and survival.
352
00:21:02,070 --> 00:21:04,693
This is struggle, this is hard.
353
00:21:06,810 --> 00:21:09,643
(dramatic music)
354
00:21:15,780 --> 00:21:18,010
When I look at the earlier works,
355
00:21:18,010 --> 00:21:20,370
the romantic trains that he did,
356
00:21:20,370 --> 00:21:23,460
and if you look at the photographs that he took,
357
00:21:23,460 --> 00:21:26,450
and I think it was around 1929,
358
00:21:26,450 --> 00:21:28,773
pretty barren land.
359
00:21:31,540 --> 00:21:33,430
Trains were freedom.
360
00:21:33,430 --> 00:21:36,573
The smoke going across, that's to civilization.
361
00:21:41,490 --> 00:21:43,343
- The vertical is crucial to Still.
362
00:21:47,220 --> 00:21:51,820
Sometimes it might be smoke rising from a train,
363
00:21:51,820 --> 00:21:54,397
it might be a figure, but he said,
364
00:21:54,397 --> 00:21:57,307
"Where I come from, you either stood up and lived
365
00:21:57,307 --> 00:21:59,107
"or lay down and died."
366
00:22:01,080 --> 00:22:04,210
The vertical amounts to a life force,
367
00:22:04,210 --> 00:22:06,293
as he put it, lifelines.
368
00:22:07,320 --> 00:22:09,780
The space is what in the later paintings
369
00:22:09,780 --> 00:22:12,470
will become the extraordinary chromatic fields
370
00:22:12,470 --> 00:22:14,810
and gulfs of the abstractions,
371
00:22:14,810 --> 00:22:18,110
and this struggle between the vertical
372
00:22:18,110 --> 00:22:20,430
and between an empty field-like space
373
00:22:20,430 --> 00:22:23,473
is absolutely central to Still's entire art.
374
00:22:25,100 --> 00:22:26,548
- I asked him one time, I said,
375
00:22:26,548 --> 00:22:28,680
"What is this thing about the lifeline?"
376
00:22:28,680 --> 00:22:30,887
And he said, "Well when I was a little kid
377
00:22:30,887 --> 00:22:33,747
"up in Canada when my father was farming
378
00:22:33,747 --> 00:22:35,057
"on very, very bad land,
379
00:22:35,057 --> 00:22:36,483
"they were digging a well,
380
00:22:37,917 --> 00:22:39,957
"and they dug this well down, you know,
381
00:22:39,957 --> 00:22:42,143
"20, 30 feet something like that,
382
00:22:43,323 --> 00:22:45,047
"and they needed to get somebody down there
383
00:22:45,047 --> 00:22:47,617
"to see if they've gotten as far as the water.
384
00:22:47,617 --> 00:22:49,887
"So they tied a rope around my ankle
385
00:22:49,887 --> 00:22:51,970
"and dropped me down the well slot,
386
00:22:51,970 --> 00:22:53,137
you know, headfirst."
387
00:23:00,362 --> 00:23:01,933
And he said, "It was such a traumatic experience
388
00:23:01,933 --> 00:23:03,983
that it remained with me all of my life."
389
00:23:09,942 --> 00:23:10,940
Whenever I see that lifeline
390
00:23:10,940 --> 00:23:14,780
I think of Clyfford hanging by his ankles (chuckles)
391
00:23:14,780 --> 00:23:15,613
down the well.
392
00:23:19,531 --> 00:23:22,864
(electric guitar music)
393
00:23:33,070 --> 00:23:35,120
- [Clyfford] There always been much imitation,
394
00:23:35,120 --> 00:23:36,650
but the record is still a history
395
00:23:36,650 --> 00:23:38,083
of a very few individuals.
396
00:23:39,010 --> 00:23:40,810
I see Barney for all his energy,
397
00:23:40,810 --> 00:23:42,933
a man of almost pathetic impotence.
398
00:23:44,543 --> 00:23:45,960
With a good mind he is incapable
399
00:23:45,960 --> 00:23:48,260
of transcending ambition.
400
00:23:48,260 --> 00:23:52,200
Only in the total destruction of this drive
401
00:23:52,200 --> 00:23:55,830
or in escape therefrom, will he ever be in a position
402
00:23:55,830 --> 00:23:58,117
to create more than a pathetic act.
403
00:23:59,520 --> 00:24:03,380
- Clyfford Still did not admire Barnett Newman, period.
404
00:24:03,380 --> 00:24:06,130
He reduced Still to a nothing.
405
00:24:06,130 --> 00:24:09,400
Barnett Newman took Clyfford Stills lifeline
406
00:24:09,400 --> 00:24:12,993
and made a zipper out of it on a wall of color.
407
00:24:14,540 --> 00:24:16,950
- We know art is not a race,
408
00:24:16,950 --> 00:24:19,810
but artists themselves, they're,
409
00:24:19,810 --> 00:24:21,660
they're very conscious of how they stand
410
00:24:21,660 --> 00:24:23,170
with regard to other artists,
411
00:24:23,170 --> 00:24:26,166
and no one wants to be left behind.
412
00:24:26,166 --> 00:24:28,090
(guitar music)
413
00:24:28,090 --> 00:24:31,420
Barnett Newman really first discovered his upright
414
00:24:31,420 --> 00:24:34,773
vertical zip no sooner than 1948.
415
00:24:36,760 --> 00:24:38,323
A painting called "Onement, 1"
416
00:24:41,615 --> 00:24:43,500
the point about Still is that he had been
417
00:24:43,500 --> 00:24:47,053
investigating the vertical since the 1920s.
418
00:24:53,182 --> 00:24:54,015
And there was a painting
419
00:24:54,015 --> 00:24:56,260
which was once known as "Quicksilver"
420
00:24:56,260 --> 00:24:59,270
and then "July 1945-R",
421
00:24:59,270 --> 00:25:02,490
which basically consists of a single, snaking,
422
00:25:02,490 --> 00:25:07,390
upright white line, surrounded by a dark brown
423
00:25:07,390 --> 00:25:09,033
abyss of darkness.
424
00:25:15,480 --> 00:25:16,710
That painting we know,
425
00:25:16,710 --> 00:25:21,487
was shown at Peggy Guggenheim's Art of the Century in 1946.
426
00:25:21,487 --> 00:25:22,320
(piano music)
427
00:25:22,320 --> 00:25:24,933
That's two years before Barnett Newman's Onement, 1.
428
00:25:28,605 --> 00:25:30,100
- [Clyfford] Some of these men
429
00:25:30,100 --> 00:25:34,370
are deeply concerned in destroying the priorities
430
00:25:34,370 --> 00:25:35,683
which they know exist.
431
00:25:36,800 --> 00:25:41,530
I am ready to defend everything about those pictures
432
00:25:41,530 --> 00:25:44,270
with everything I have, and I have plenty.
433
00:25:44,270 --> 00:25:47,140
I have ample documentation for every picture
434
00:25:47,140 --> 00:25:50,594
as to date and place, and Newman knows this
435
00:25:50,594 --> 00:25:52,344
and so does Tom Hess.
436
00:26:03,647 --> 00:26:05,670
- [Man] Interestingly, Still forms a close relationship
437
00:26:05,670 --> 00:26:08,660
with Pollock who is living in Long Island
438
00:26:08,660 --> 00:26:11,993
for most of the late 1940s and early 1950s.
439
00:26:14,740 --> 00:26:17,980
- [David] People forget that Jackson Pollock
440
00:26:17,980 --> 00:26:20,770
was one of the very few artists
441
00:26:20,770 --> 00:26:24,920
with whom Clyfford Still never fell out.
442
00:26:24,920 --> 00:26:29,870
In 1956, Still planned to take Pollock
443
00:26:29,870 --> 00:26:32,720
on a road trip west.
444
00:26:32,720 --> 00:26:35,433
- Pollock looked up to Clyfford Still
445
00:26:35,433 --> 00:26:37,933
(piano music)
446
00:26:43,410 --> 00:26:46,083
- [David] Pollock was failing, he was alcoholic.
447
00:26:48,600 --> 00:26:50,930
- [Sandra] Pollock knew that Clyfford was getting ready
448
00:26:50,930 --> 00:26:52,880
to go cross country.
449
00:26:52,880 --> 00:26:55,553
He knew about these trips that happened often,
450
00:26:56,540 --> 00:26:58,357
and he wanted to go with dad,
451
00:26:58,357 --> 00:27:00,470
and he said, "Oh, I'll drive the Jag,"
452
00:27:00,470 --> 00:27:03,810
and dad was "no, no", Pollock was not a good driver.
453
00:27:03,810 --> 00:27:05,900
He was a very dangerous driver
454
00:27:05,900 --> 00:27:09,427
and he said, "No, but join me, let's caravan."
455
00:27:11,430 --> 00:27:13,940
The car that Pollock wanted to drive
456
00:27:13,940 --> 00:27:18,215
is the one that was exchanged for a painting
457
00:27:18,215 --> 00:27:20,453
and a case of booze.
458
00:27:21,790 --> 00:27:24,357
So dad told Pollock, "We'll caravan.
459
00:27:24,357 --> 00:27:25,480
"I'm leaving Trenton,"
460
00:27:25,480 --> 00:27:27,227
where he stored the Jaguar,
461
00:27:27,227 --> 00:27:28,987
"at such and such a time,
462
00:27:28,987 --> 00:27:30,490
"on such and such a day."
463
00:27:30,490 --> 00:27:34,130
And he waited for Pollock, he waited.
464
00:27:34,130 --> 00:27:34,963
No show.
465
00:27:37,450 --> 00:27:39,300
They open up Time or Newsweek,
466
00:27:39,300 --> 00:27:40,950
I don't know which one,
467
00:27:40,950 --> 00:27:42,563
and dad was just heartbroken.
468
00:27:44,990 --> 00:27:46,497
- [David] Pollock had taken
469
00:27:46,497 --> 00:27:49,074
a very different kind of road trip.
470
00:27:49,074 --> 00:27:51,657
(somber music)
471
00:27:54,790 --> 00:27:57,293
The terrible fatal accident he had.
472
00:27:59,300 --> 00:28:00,310
- [Sandra] And it disturbed dad,
473
00:28:00,310 --> 00:28:02,313
he told me the story many times.
474
00:28:05,450 --> 00:28:07,500
- [David] Still recognized Pollock's greatness
475
00:28:07,500 --> 00:28:10,710
and vice versa, I have not the slightest doubt about that.
476
00:28:18,680 --> 00:28:21,793
- [Man] He made things impossible for Betty Parsons.
477
00:28:23,760 --> 00:28:26,470
She was allowed to sell the paintings
478
00:28:26,470 --> 00:28:28,770
but she wasn't allowed to show them virtually.
479
00:28:33,870 --> 00:28:36,120
- After three very successful exhibitions
480
00:28:36,120 --> 00:28:37,490
at Betty Parson's gallery,
481
00:28:37,490 --> 00:28:40,737
he writes Betty with the following information,
482
00:28:40,737 --> 00:28:42,987
"I tell you now that I am withdrawing my work
483
00:28:42,987 --> 00:28:44,687
"from public exhibition."
484
00:28:49,480 --> 00:28:51,740
- [David] Those latter years in New York,
485
00:28:51,740 --> 00:28:54,780
he's in the very epicenter of the art scene
486
00:28:54,780 --> 00:28:57,477
and at the same time is completely removed from it.
487
00:28:57,477 --> 00:28:59,773
And that's a typical Still paradox.
488
00:29:03,500 --> 00:29:05,500
- I think his exit was honorable
489
00:29:05,500 --> 00:29:07,860
and it was not manipulative,
490
00:29:07,860 --> 00:29:09,310
although he was manipulative.
491
00:29:12,190 --> 00:29:14,357
- Well I think there's absolutely
492
00:29:14,357 --> 00:29:15,410
no question about that and it's just it
493
00:29:15,410 --> 00:29:18,290
doesn't matter how you paint or what you do,
494
00:29:18,290 --> 00:29:20,010
you are the only artist in the world,
495
00:29:20,010 --> 00:29:21,493
that's what the ego dictates.
496
00:29:23,450 --> 00:29:24,800
- [Announcer] Just off Fifth Avenue
497
00:29:24,800 --> 00:29:27,830
on a site long occupied by the old-fashioned town dwellings
498
00:29:27,830 --> 00:29:29,530
of the Rockefeller family,
499
00:29:29,530 --> 00:29:30,870
stands the spanking new home
500
00:29:30,870 --> 00:29:33,390
of a nationally important institution,
501
00:29:33,390 --> 00:29:35,620
the New York Museum of Modern Art.
502
00:29:35,620 --> 00:29:37,470
- Clyfford Still had a very
503
00:29:37,470 --> 00:29:40,370
tricky relationship with MoMA.
504
00:29:40,370 --> 00:29:45,370
I think he saw MoMA as the institutionalization
505
00:29:45,660 --> 00:29:49,620
of modernism itself, and that's what he really hated.
506
00:29:49,620 --> 00:29:51,670
He famously referred to it as
507
00:29:51,670 --> 00:29:55,923
that gas chamber of culture on 53rd Street.
508
00:29:57,273 --> 00:29:59,540
- The Museum of Modern Art wanted to buy
509
00:30:00,530 --> 00:30:03,730
one of Still's paintings but one of, to him,
510
00:30:03,730 --> 00:30:07,530
a lesser painting, not a groundbreaking painting.
511
00:30:07,530 --> 00:30:11,580
He wanted them to take the big black with the red line.
512
00:30:11,580 --> 00:30:14,150
(violin music)
513
00:30:14,150 --> 00:30:16,627
I'm quoting my father now, "They did not have
514
00:30:16,627 --> 00:30:18,027
"the courage to buy it."
515
00:30:22,840 --> 00:30:27,790
So what he did, is he went home and made a reproduction
516
00:30:28,750 --> 00:30:32,770
and though he did not literally paint it with his left hand,
517
00:30:32,770 --> 00:30:34,941
he said "Emotionally I painted it
518
00:30:34,941 --> 00:30:37,247
with my left hand, indifferently."
519
00:30:50,450 --> 00:30:51,720
- Well I remember a show that MoMA did
520
00:30:51,720 --> 00:30:55,600
a couple of years ago in which they exhibited
521
00:30:55,600 --> 00:30:58,700
well over a hundred works from their holdings
522
00:30:58,700 --> 00:31:00,900
of abstract expressionism,
523
00:31:00,900 --> 00:31:03,530
and Mark Rothko got an entire room
524
00:31:03,530 --> 00:31:05,470
devoted to his work,
525
00:31:05,470 --> 00:31:08,770
but Clyfford Still had merely, had two canvases
526
00:31:08,770 --> 00:31:12,000
with a David Smith sculpture stuck in front of them.
527
00:31:14,360 --> 00:31:17,660
That kind of presentation showed how,
528
00:31:17,660 --> 00:31:20,120
in a way, MoMA has belittled Still
529
00:31:20,120 --> 00:31:22,323
compared to the other artists.
530
00:31:24,920 --> 00:31:26,290
- I don't think there's any question
531
00:31:26,290 --> 00:31:28,060
there were two sides of Clyfford Still.
532
00:31:28,060 --> 00:31:31,160
Family members and his children described him in one way
533
00:31:31,160 --> 00:31:34,520
as being warm and passionate and a great father.
534
00:31:34,520 --> 00:31:36,530
Well clearly, by other documentation,
535
00:31:36,530 --> 00:31:37,900
there was a different Clyfford Still
536
00:31:37,900 --> 00:31:41,430
who would fight to the end when it came to matters of art.
537
00:31:41,430 --> 00:31:44,890
(upbeat music)
538
00:31:44,890 --> 00:31:46,320
- [Sandra] He turned down the Biennale
539
00:31:46,320 --> 00:31:48,330
at least three times, possibly a fourth.
540
00:31:48,330 --> 00:31:50,510
One or twice, one man exhibits
541
00:31:50,510 --> 00:31:52,430
to represent the United States
542
00:31:52,430 --> 00:31:55,260
because he felt it was a carnival,
543
00:31:55,260 --> 00:31:57,810
he didn't consider it a meaningful
544
00:31:57,810 --> 00:31:59,530
commitment to art of any kind,
545
00:31:59,530 --> 00:32:01,730
it was sort of a road show kind of attitude.
546
00:32:04,940 --> 00:32:07,750
- Still was an outsider.
547
00:32:07,750 --> 00:32:11,130
He was irascible, it's said he could be cantankerous,
548
00:32:11,130 --> 00:32:13,740
he didn't have his reputation for nothing.
549
00:32:13,740 --> 00:32:18,170
Still was someone who didn't go along with the herd.
550
00:32:18,170 --> 00:32:21,653
- Clyfford Still held critics in the highest contempt,
551
00:32:24,370 --> 00:32:27,840
because they felt they were more important than the artists.
552
00:32:27,840 --> 00:32:29,450
They made the artists.
553
00:32:29,450 --> 00:32:31,940
The critics and the dealers made the artists.
554
00:32:31,940 --> 00:32:35,450
If they get on your bandwagon they will take you to the top.
555
00:32:35,450 --> 00:32:38,923
Greenberg, Pollock, all of them had their boy,
556
00:32:40,650 --> 00:32:44,030
and it was their job to write about them and sell them.
557
00:32:44,030 --> 00:32:46,483
They were part of the product package.
558
00:32:47,980 --> 00:32:50,150
He didn't have any respect for them.
559
00:32:50,150 --> 00:32:52,280
He tried, he talked with them,
560
00:32:52,280 --> 00:32:53,563
he tried to educate them.
561
00:32:55,366 --> 00:32:58,033
(upbeat music)
562
00:33:01,179 --> 00:33:02,429
- Tell me when.
563
00:33:04,157 --> 00:33:08,007
"I consider the fawner," oh great,
564
00:33:08,007 --> 00:33:11,797
"called art critic, the least desirable
565
00:33:11,797 --> 00:33:14,975
"of those who've gained access to the work."
566
00:33:14,975 --> 00:33:15,950
(blows raspberry)
567
00:33:15,950 --> 00:33:18,360
I am an art critic.
568
00:33:18,360 --> 00:33:21,850
I could really care less what the artist thinks.
569
00:33:21,850 --> 00:33:24,017
I'm not writing for the artist.
570
00:33:24,017 --> 00:33:27,077
"I have steadfastly tried to withhold the work
571
00:33:27,077 --> 00:33:30,967
"from these characters, for many and obvious reasons,
572
00:33:30,967 --> 00:33:35,967
"not the least being their arrogance and stupidity."
573
00:33:35,970 --> 00:33:37,640
I'm writing for the audience.
574
00:33:37,640 --> 00:33:39,200
I'm writing for the reader.
575
00:33:39,200 --> 00:33:42,120
I'm trying to deliver up a full volume
576
00:33:42,120 --> 00:33:45,520
of my opinion of what I think of the work,
577
00:33:45,520 --> 00:33:48,290
where it fits in, what makes it original,
578
00:33:48,290 --> 00:33:50,080
what makes it unoriginal,
579
00:33:50,080 --> 00:33:54,860
what might or may not be inventive about it, et cetera.
580
00:33:54,860 --> 00:33:57,327
And if the artist doesn't like it I would say,
581
00:33:57,327 --> 00:33:58,677
"Good for you.
582
00:33:58,677 --> 00:34:01,827
"You don't own the meaning of your work."
583
00:34:01,827 --> 00:34:06,430
"Clement Greenberg is really a small and lecherous man,"
584
00:34:06,430 --> 00:34:08,007
I'm told that's true,
585
00:34:08,007 --> 00:34:10,337
"who, if given his own way,
586
00:34:10,337 --> 00:34:15,337
"would prefer to study nudes and sentimental landscapes."
587
00:34:16,070 --> 00:34:19,550
What makes Clyfford Still pretty great art,
588
00:34:19,550 --> 00:34:22,590
is you, and I, and Clyfford,
589
00:34:22,590 --> 00:34:25,110
are looking at different paintings when we look at them.
590
00:34:25,110 --> 00:34:28,047
And better yet, they change every time.
591
00:34:28,047 --> 00:34:31,107
"So, occasionally I relax by writing a letter
592
00:34:31,107 --> 00:34:33,967
"to the likes of the art press.
593
00:34:33,967 --> 00:34:36,206
"Pimps is a much better word."
594
00:34:42,340 --> 00:34:43,621
- [Interviewer] Take it from the top.
595
00:34:43,621 --> 00:34:44,590
Tell me a little bit about that day."
596
00:34:44,590 --> 00:34:46,139
- The day with the Ossorio,
597
00:34:46,139 --> 00:34:49,820
the day of confrontation so to speak.
598
00:34:49,820 --> 00:34:51,830
Well there's a little backstory to that.
599
00:34:51,830 --> 00:34:53,670
- Interesting man.
600
00:34:53,670 --> 00:34:57,860
He would hold musicals in his home.
601
00:34:57,860 --> 00:35:02,060
- Which is, specific painting was on loan to Ossorio.
602
00:35:02,060 --> 00:35:03,830
He would loan paintings, he wouldn't buy them.
603
00:35:03,830 --> 00:35:06,543
It didn't matter that he had money galore.
604
00:35:07,398 --> 00:35:11,920
- [Diane] Alfonso Ossorio inherited Domino sugar fortune.
605
00:35:13,060 --> 00:35:16,295
- [Sandra] Clyfford was in on the West Coast.
606
00:35:16,295 --> 00:35:17,128
(dramatic music)
607
00:35:17,128 --> 00:35:19,880
Ossorio announces I don't know that was through Patricia
608
00:35:19,880 --> 00:35:22,560
or to Patricia or by a letter to Still,
609
00:35:22,560 --> 00:35:25,060
that he's loaning the painting overseas somewhere.
610
00:35:26,579 --> 00:35:30,377
Still gets on the phone to Patricia and says
611
00:35:30,377 --> 00:35:32,447
"You call Ossorio now and you tell him
612
00:35:32,447 --> 00:35:34,107
"order that painting home."
613
00:35:37,480 --> 00:35:40,330
Ossorio wasn't gonna honor Patricia's word,
614
00:35:40,330 --> 00:35:42,380
he felt he had a right to that painting now
615
00:35:42,380 --> 00:35:44,520
and to do it that what he wanted.
616
00:35:44,520 --> 00:35:48,500
Dad came back to New York and on a very gray,
617
00:35:48,500 --> 00:35:50,800
miserable, I think it was in October,
618
00:35:50,800 --> 00:35:53,710
I'm not sure but it was not a pleasant month,
619
00:35:53,710 --> 00:35:57,623
they take a taxi to Ossorio's mansion on the bay.
620
00:35:58,660 --> 00:36:02,463
- Knocked on the door and his,
621
00:36:05,567 --> 00:36:07,860
his housekeeper, this fellow opened the door
622
00:36:09,075 --> 00:36:10,340
and dad wanted to see Ossorio.
623
00:36:10,340 --> 00:36:12,177
Well he wasn't there.
624
00:36:12,177 --> 00:36:14,390
He wasn't around, supposedly,
625
00:36:14,390 --> 00:36:16,720
because he could tell dad was angry.
626
00:36:16,720 --> 00:36:18,143
He was on a mission.
627
00:36:23,490 --> 00:36:25,510
- [Sandra] Diane, Patricia, and Still
628
00:36:25,510 --> 00:36:26,760
were going through the ground-floor
629
00:36:26,760 --> 00:36:28,160
looking for the painting,
630
00:36:28,160 --> 00:36:31,283
and according to what I remember written, Diane found it.
631
00:36:33,350 --> 00:36:37,270
He sends them to the vestibule, shuts the door,
632
00:36:37,270 --> 00:36:38,763
pulls out a knife,
633
00:36:39,670 --> 00:36:41,212
- [Diane] And then we heard
634
00:36:41,212 --> 00:36:43,212
this most awful sound of ripping canvas.
635
00:36:44,130 --> 00:36:46,430
- He cut the center out and left a border
636
00:36:46,430 --> 00:36:48,740
of a couple of feet, folds it up,
637
00:36:48,740 --> 00:36:51,333
puts it under his arm and they leave.
638
00:37:03,760 --> 00:37:06,920
So I've got chills right now that I'm seeing
639
00:37:06,920 --> 00:37:09,060
part of that event.
640
00:37:09,060 --> 00:37:12,923
I didn't know it was preserved, oh my.
641
00:37:25,410 --> 00:37:29,680
Now the story changed a little bit as the years went on
642
00:37:29,680 --> 00:37:32,320
where Ossorio comes down the steps
643
00:37:32,320 --> 00:37:34,360
because the house boy went up to get him,
644
00:37:34,360 --> 00:37:37,850
and dad said, "I forgot I had the knife in my hand,"
645
00:37:37,850 --> 00:37:40,477
and shook it under his face and said,
646
00:37:40,477 --> 00:37:43,137
"When I give you an order about my work you obey me."
647
00:37:44,250 --> 00:37:47,150
- And I think Ossorio was terrified.
648
00:37:47,150 --> 00:37:50,353
He thought he was gonna cut his throat.
649
00:37:54,187 --> 00:37:55,757
And he did refer to it as
650
00:37:55,757 --> 00:37:59,100
"I cut the heart of the painting out of the canvas."
651
00:38:09,090 --> 00:38:14,090
This is my mother when she was early thirties.
652
00:38:15,660 --> 00:38:18,890
Yeah, and he said he deliberately cocked her head back
653
00:38:18,890 --> 00:38:20,120
where she looked stubborn,
654
00:38:20,120 --> 00:38:21,770
because she could be very stubborn,
655
00:38:21,770 --> 00:38:24,275
which would drive him crazy.
656
00:38:24,275 --> 00:38:25,108
(gentle music)
657
00:38:25,108 --> 00:38:28,180
My mother was four and dad was six,
658
00:38:28,180 --> 00:38:30,123
would go hand in hand to church.
659
00:38:31,220 --> 00:38:33,510
I think they knew they were meant to be
660
00:38:33,510 --> 00:38:34,803
at least for a while.
661
00:38:36,160 --> 00:38:39,540
- I think my mom Lillian had
662
00:38:39,540 --> 00:38:41,930
different kinds of expectations.
663
00:38:41,930 --> 00:38:45,250
Dad was supposed to be a professor or minister,
664
00:38:45,250 --> 00:38:47,590
and that was her expectation,
665
00:38:47,590 --> 00:38:50,880
to be the wife of a professor or a teacher.
666
00:38:50,880 --> 00:38:51,870
She was not happy.
667
00:38:51,870 --> 00:38:54,000
She had to wait for him to come home.
668
00:38:54,000 --> 00:38:56,280
- Honestly, all of Stills teaching appointments
669
00:38:56,280 --> 00:38:58,930
ended poorly, usually with disagreements
670
00:38:58,930 --> 00:39:02,380
over schedules or deans and so forth.
671
00:39:02,380 --> 00:39:05,060
In Richmond in particular Still was incensed
672
00:39:05,060 --> 00:39:08,060
that the Dean said in passing
673
00:39:08,060 --> 00:39:09,810
that Still could paint whatever he wants,
674
00:39:09,810 --> 00:39:11,260
but he should be careful about having
675
00:39:11,260 --> 00:39:14,120
students over to his studio and home.
676
00:39:14,120 --> 00:39:16,830
And the thought of a Dean suggesting that Still
677
00:39:16,830 --> 00:39:20,090
needed to seek approval for painting in any which way
678
00:39:20,090 --> 00:39:22,203
led to his departure from Virginia.
679
00:39:24,180 --> 00:39:27,510
- The concept, or almost inevitability,
680
00:39:27,510 --> 00:39:31,276
of a Patricia coming into dad's life,
681
00:39:31,276 --> 00:39:34,890
was there and potential for that.
682
00:39:34,890 --> 00:39:38,070
She was an artist, she was an art student,
683
00:39:38,070 --> 00:39:40,050
and Lilian was no competition,
684
00:39:40,050 --> 00:39:43,130
not that she wasn't beautiful but she was unhappy.
685
00:39:43,130 --> 00:39:44,750
By the time Patricia came,
686
00:39:44,750 --> 00:39:47,690
she was one of the students who came to the apartment
687
00:39:47,690 --> 00:39:49,760
and, you know, waited on bated breath
688
00:39:49,760 --> 00:39:50,920
for everything he said.
689
00:39:50,920 --> 00:39:52,590
Lilian had to produce the cookies
690
00:39:52,590 --> 00:39:54,900
and she felt nothing but a waitress by then.
691
00:39:56,690 --> 00:39:59,623
- [Diane] Alberta, Canada, he built a house there for us.
692
00:40:00,614 --> 00:40:01,864
It wasn't quite finished.
693
00:40:02,699 --> 00:40:04,749
There was no insulation and we were cold,
694
00:40:05,930 --> 00:40:07,083
and then he left.
695
00:40:08,207 --> 00:40:09,507
I thought, "Oh, that's odd."
696
00:40:11,620 --> 00:40:14,220
- [Sandra] Occasionally he'd take us on a drive
697
00:40:14,220 --> 00:40:16,640
and a picnic and it would be Patricia with us, not mom.
698
00:40:16,640 --> 00:40:17,803
Mom was at work.
699
00:40:20,290 --> 00:40:23,010
Patricia was the one person that believed in him
700
00:40:23,010 --> 00:40:24,260
and stuck with him.
701
00:40:24,260 --> 00:40:25,897
Worked eight hours a day and then stayed up
702
00:40:25,897 --> 00:40:28,220
till 1:00 or 2:00 at night when the
703
00:40:28,220 --> 00:40:30,773
artists in those days were getting together.
704
00:40:32,958 --> 00:40:35,650
- [Man] She was also very devoted to him obviously.
705
00:40:35,650 --> 00:40:37,530
She never referred to him as Clyfford,
706
00:40:37,530 --> 00:40:40,000
and I shouldn't even be calling him Clyfford.
707
00:40:40,000 --> 00:40:41,070
If she were here in this room
708
00:40:41,070 --> 00:40:43,937
she would remind me, "You please call him Mr. Still."
709
00:40:49,623 --> 00:40:51,750
- [Sandra] Patricia was a very good record keeper.
710
00:40:51,750 --> 00:40:54,710
She was very methodical and frugal.
711
00:40:54,710 --> 00:40:58,253
She never gave up helping him survive.
712
00:41:01,200 --> 00:41:03,280
- [Announcer] Paris designer Jacques Estrel
713
00:41:03,280 --> 00:41:05,160
unveils his fashions for next summer,
714
00:41:05,160 --> 00:41:08,450
and believe you me, he's way out there.
715
00:41:08,450 --> 00:41:11,620
Yes, he's a great believer in pop art, pop.
716
00:41:11,620 --> 00:41:14,510
And he believes in getting madam out of the kitchen,
717
00:41:14,510 --> 00:41:16,067
utensils and all.
718
00:41:20,000 --> 00:41:22,570
- [David] Pop art is just not on his,
719
00:41:22,570 --> 00:41:24,017
on his horizon at all.
720
00:41:26,620 --> 00:41:28,800
- To him it was an inevitability,
721
00:41:28,800 --> 00:41:31,850
Andy Warhol a cartoonist, a graphic artist.
722
00:41:31,850 --> 00:41:33,400
I think Andy Warhol must have been
723
00:41:33,400 --> 00:41:35,793
the most cynical so-called artist out there.
724
00:41:36,710 --> 00:41:38,183
He played the game!
725
00:41:39,870 --> 00:41:42,170
- [Clyfford] Today the same kind of craftsman,
726
00:41:45,373 --> 00:41:46,873
with probably the same purpose,
727
00:41:48,000 --> 00:41:49,653
and with the same eye on the market,
728
00:41:51,210 --> 00:41:56,060
glorifies the popular taste by placing
729
00:41:56,060 --> 00:41:57,883
in the sanctum of the Art Gallery,
730
00:42:00,400 --> 00:42:03,843
the beer can, the ketchup bottle,
731
00:42:05,020 --> 00:42:08,783
the plaster pie, plastic toilet,
732
00:42:10,400 --> 00:42:12,533
and so as sacred as the term become,
733
00:42:13,419 --> 00:42:18,419
to the the observer or purchaser, gladly accepts.
734
00:42:19,690 --> 00:42:21,740
- By the late 1950s Still,
735
00:42:21,740 --> 00:42:24,310
and I think many of the other Abstract Expressionists,
736
00:42:24,310 --> 00:42:25,910
sense a changing of the guard.
737
00:42:25,910 --> 00:42:27,550
A young generation of artists,
738
00:42:27,550 --> 00:42:29,610
and proto pop artists like Jasper Johns,
739
00:42:29,610 --> 00:42:32,600
Robert Rauschenberg, are nipping at their reputations
740
00:42:32,600 --> 00:42:34,680
and making very different work that in some ways
741
00:42:34,680 --> 00:42:38,830
is critiquing the innovations of the abstract expressionist.
742
00:42:38,830 --> 00:42:42,150
- Still pushes away, distances himself
743
00:42:42,150 --> 00:42:46,370
to the outer world after 1961 increasingly,
744
00:42:46,370 --> 00:42:50,400
and I think he sees that distancing
745
00:42:50,400 --> 00:42:53,910
as a kind of route to his own greatness.
746
00:42:53,910 --> 00:42:58,428
He has to create space which he himself can fill
747
00:42:58,428 --> 00:43:00,609
with his later work.
748
00:43:00,609 --> 00:43:03,526
(electronic music)
749
00:43:05,510 --> 00:43:08,113
Stills' late work basically begins in '61.
750
00:43:21,370 --> 00:43:24,600
- [Diane] In the summer of 1961,
751
00:43:24,600 --> 00:43:26,730
on my birthday, by the way, we got,
752
00:43:26,730 --> 00:43:30,150
dad, Patty, and I got in the car and started heading south
753
00:43:30,150 --> 00:43:31,810
because he remembered the lushness
754
00:43:31,810 --> 00:43:33,533
of the land in Virginia.
755
00:43:48,041 --> 00:43:50,600
The lushness that that land was just, ah.
756
00:43:50,600 --> 00:43:53,313
You can breathe, you can throw seeds and they'd grow.
757
00:43:56,222 --> 00:43:59,330
(gentle music)
758
00:43:59,330 --> 00:44:01,400
They looked at a couple of places
759
00:44:01,400 --> 00:44:05,020
and then found an overgrown 22 to 24 acre farm
760
00:44:05,020 --> 00:44:08,603
that a man had raised a family on and sent to college.
761
00:44:09,910 --> 00:44:14,540
They bought it for about $24,000, about $1,000 an acre,
762
00:44:14,540 --> 00:44:16,883
and that was a lot of money in those days.
763
00:44:20,170 --> 00:44:23,390
- [Man] I think he was searching for a quiet place
764
00:44:23,390 --> 00:44:28,310
where he didn't have these extraneous noises bothering him
765
00:44:28,310 --> 00:44:30,743
and where he could concentrate and work.
766
00:44:37,410 --> 00:44:40,080
Still makes about 375 paintings
767
00:44:40,080 --> 00:44:41,840
during the last 20 years of his life,
768
00:44:41,840 --> 00:44:44,480
more than he had made in the previous 40 years,
769
00:44:44,480 --> 00:44:47,143
with a certain kind of emptying out of forms.
770
00:44:56,020 --> 00:44:58,570
- The issue is, whatever way a serious,
771
00:44:58,570 --> 00:45:00,540
good artist, like Still was,
772
00:45:00,540 --> 00:45:02,250
you clear the noise.
773
00:45:02,250 --> 00:45:05,210
So find the way. Are you going to choose
774
00:45:05,210 --> 00:45:06,120
Clyfford Stills' way,
775
00:45:06,120 --> 00:45:09,110
are you gonna choose Agnes Martin's way of withdrawal?
776
00:45:09,110 --> 00:45:13,090
I mean whatever it is that's the discipline
777
00:45:13,090 --> 00:45:14,240
to be good at anything.
778
00:45:22,950 --> 00:45:26,950
- He was just our dad but he wasn't there all that much.
779
00:45:26,950 --> 00:45:29,933
He made it very clear, very clear,
780
00:45:30,900 --> 00:45:32,980
and he bragged about it once when he said
781
00:45:32,980 --> 00:45:34,437
he leaned over my crib and said,
782
00:45:34,437 --> 00:45:36,987
"I love you babe, but you don't come first."
783
00:45:42,680 --> 00:45:46,460
- I was five years old, we were in Richmond, Virginia,
784
00:45:46,460 --> 00:45:49,043
and I remember sitting in a big leather chair.
785
00:45:49,990 --> 00:45:52,940
I have white knuckles I think you'll notice in the picture.
786
00:45:55,180 --> 00:45:56,640
And he would give me breaks,
787
00:45:56,640 --> 00:45:58,253
but I was scared to death,
788
00:45:59,230 --> 00:46:01,893
sitting there and watching him, watching me.
789
00:46:02,930 --> 00:46:06,493
To suddenly be center of his attention was humongous.
790
00:46:08,121 --> 00:46:10,538
(jazz music)
791
00:46:18,100 --> 00:46:19,690
- [Sandra] And when he reentered our life,
792
00:46:19,690 --> 00:46:23,750
always as a surprise, you know, dad's here!
793
00:46:23,750 --> 00:46:27,270
Life has returned, not to survival,
794
00:46:27,270 --> 00:46:28,760
but something extraordinary.
795
00:46:28,760 --> 00:46:31,800
He had energy, he showed us how to play baseball
796
00:46:31,800 --> 00:46:33,663
which was his favorite sport.
797
00:46:38,720 --> 00:46:42,163
- [Diane] He taught me to throw a ball like a man,
798
00:46:44,800 --> 00:46:46,650
and I just, I loved doing that.
799
00:46:48,580 --> 00:46:52,640
- Still felt that the painter, the artist,
800
00:46:52,640 --> 00:46:55,020
was like a baseball pitcher.
801
00:46:55,020 --> 00:46:57,650
That everything on the field was quiet,
802
00:46:57,650 --> 00:47:00,850
everything was still as, not a play on words,
803
00:47:00,850 --> 00:47:05,099
everything was calm and then when the the pitcher
804
00:47:05,099 --> 00:47:09,623
let the ball loose, everything began moving around.
805
00:47:11,020 --> 00:47:12,993
- [Announcer] Here's Joe Black in the 6th.
806
00:47:15,150 --> 00:47:19,010
Boom, Neville belts it over the fence in right field.
807
00:47:19,010 --> 00:47:23,210
- Another artist once told me that baseball
808
00:47:23,210 --> 00:47:24,270
is an intellectual game.
809
00:47:24,270 --> 00:47:27,864
It's just not a bunch of guys running out on the field
810
00:47:27,864 --> 00:47:31,510
and hitting baseballs and throwing a ball around.
811
00:47:31,510 --> 00:47:34,680
There are endless possibilities of things
812
00:47:34,680 --> 00:47:36,460
that can happen during a game.
813
00:47:36,460 --> 00:47:38,110
- [Announcer] Again the bases are loaded.
814
00:47:38,110 --> 00:47:42,113
Maybe this time, maybe Jackie Robinson can be the hero.
815
00:47:44,600 --> 00:47:46,780
- Clyfford and I talked about that all the time,
816
00:47:46,780 --> 00:47:48,750
and he knew everything.
817
00:47:48,750 --> 00:47:51,740
He knew the statistics, he knew the players,
818
00:47:51,740 --> 00:47:54,490
he asked all the right questions,
819
00:47:54,490 --> 00:47:57,943
and I was overwhelmed that the knowledge that he had.
820
00:47:58,991 --> 00:48:00,757
- [Announcer] Their 4th World Series in a row--
821
00:48:00,757 --> 00:48:03,070
- [David] So loved baseball,
822
00:48:03,070 --> 00:48:04,700
and he saw baseball I think
823
00:48:04,700 --> 00:48:07,190
as a kind of human geometry,
824
00:48:07,190 --> 00:48:09,387
and there's that famous time he says,
825
00:48:09,387 --> 00:48:12,410
"Well look at the spaces between the players."
826
00:48:12,410 --> 00:48:15,480
And that's, that's fascination with how
827
00:48:15,480 --> 00:48:18,680
the human presence interacts with the space around it.
828
00:48:18,680 --> 00:48:21,530
That's very central to Stills' art too, from day one.
829
00:48:23,250 --> 00:48:25,470
- I never talked to Clyfford about one day
830
00:48:25,470 --> 00:48:27,379
owning a baseball team.
831
00:48:27,379 --> 00:48:29,262
(radio commentary)
832
00:48:29,262 --> 00:48:31,845
(crowd cheers)
833
00:48:34,450 --> 00:48:35,283
- [Commentator] The St. Louis crowd
834
00:48:35,283 --> 00:48:37,170
has visions of force faith, as Yankee Joe Pepitone
835
00:48:37,170 --> 00:48:39,363
flies out for the final hour.
836
00:48:42,195 --> 00:48:43,460
- The first memory that comes to mind
837
00:48:43,460 --> 00:48:45,950
about people coming in trying to buy paintings
838
00:48:45,950 --> 00:48:49,220
directly from Clyfford Still, since he had no dealer,
839
00:48:49,220 --> 00:48:52,623
was a man that Frederick Wiseman introduced to Clyfford.
840
00:48:53,750 --> 00:48:55,417
The dealing and wheeling went on,
841
00:48:55,417 --> 00:48:57,610
"Oh, come down $10,000."
842
00:48:57,610 --> 00:48:59,430
You know, these are wealthy people
843
00:49:00,300 --> 00:49:02,607
and this particular person decided,
844
00:49:02,607 --> 00:49:05,517
"Well if I send him four pineapples,
845
00:49:05,517 --> 00:49:07,367
"from like a Harry and David's thing,
846
00:49:07,367 --> 00:49:09,287
"he'll come down in price."
847
00:49:10,982 --> 00:49:13,840
(Hawaiian guitar music)
848
00:49:13,840 --> 00:49:15,940
Well Patty tested one of the pineapples
849
00:49:15,940 --> 00:49:17,303
and she got sick from it.
850
00:49:20,520 --> 00:49:22,860
Dad took the other three and had target practice
851
00:49:22,860 --> 00:49:24,253
with the .22 rifle.
852
00:49:26,110 --> 00:49:28,060
Clearly the man did not get a painting.
853
00:49:32,100 --> 00:49:35,290
- I probably thought about it for a while
854
00:49:35,290 --> 00:49:37,670
and probably wrote several drafts of that letter
855
00:49:37,670 --> 00:49:40,220
because I didn't want him to say no.
856
00:49:40,220 --> 00:49:42,097
And I got a response.
857
00:49:42,097 --> 00:49:45,587
"Mr. Still has asked me to thank you for your letter,
858
00:49:45,587 --> 00:49:47,387
"but to inform you that he has no pictures
859
00:49:47,387 --> 00:49:51,937
"for sale, lease, or loan to anyone at this time.
860
00:49:51,937 --> 00:49:53,547
"Sincerely, Mrs. Still."
861
00:49:57,700 --> 00:50:00,110
One of the things that I was probably taught early on
862
00:50:00,110 --> 00:50:03,800
is that "No is a temporary impediment on the way to yes,"
863
00:50:03,800 --> 00:50:05,773
so I proceeded.
864
00:50:07,024 --> 00:50:09,100
(orchestral music)
865
00:50:09,100 --> 00:50:11,453
I think we met in Baltimore for lunch.
866
00:50:12,980 --> 00:50:15,790
I remember talking about my interests,
867
00:50:15,790 --> 00:50:16,930
and him talking about his interests.
868
00:50:16,930 --> 00:50:20,500
His interest was talking about his colleagues,
869
00:50:20,500 --> 00:50:23,463
painters that he wasn't so fond of.
870
00:50:28,100 --> 00:50:30,000
In the end he had the right to speak that way
871
00:50:30,000 --> 00:50:32,513
because he was a giant.
872
00:50:33,350 --> 00:50:35,070
I wrote another note to him and asked
873
00:50:35,070 --> 00:50:36,640
if he was ready to see me and talk
874
00:50:36,640 --> 00:50:39,430
about maybe parting with some pictures
875
00:50:39,430 --> 00:50:41,023
and he said yes.
876
00:50:41,960 --> 00:50:44,450
Well he didn't trust very many people.
877
00:50:44,450 --> 00:50:46,900
He also didn't love a lot of people.
878
00:50:46,900 --> 00:50:50,660
He was he was very closely knit with his family,
879
00:50:50,660 --> 00:50:54,437
and a few friends, and I guess
880
00:50:56,530 --> 00:50:58,543
I was one of them fortunately.
881
00:51:06,670 --> 00:51:10,980
- In 1964 Clyfford Still decided it was
882
00:51:10,980 --> 00:51:14,200
time to find a home for the paintings.
883
00:51:14,200 --> 00:51:16,590
- One of the capstones for Still in the 1950s
884
00:51:16,590 --> 00:51:18,840
was a one-person exhibition at the Albright-Knox
885
00:51:18,840 --> 00:51:21,603
Art Gallery in Buffalo in 1959.
886
00:51:22,650 --> 00:51:25,400
(staccato music)
887
00:51:37,010 --> 00:51:39,360
- He approached Seymour Knox,
888
00:51:39,360 --> 00:51:41,860
head of the board of the Albright-Knox Art Gallery
889
00:51:42,930 --> 00:51:45,810
about whether they would accept a group of paintings
890
00:51:45,810 --> 00:51:49,683
to be kept in perpetuity at their museum.
891
00:51:50,780 --> 00:51:53,930
It was a kind of grand scheme.
892
00:51:53,930 --> 00:51:56,180
- One important consideration of that gift
893
00:51:56,180 --> 00:51:58,180
was that the paintings could never travel
894
00:51:58,180 --> 00:52:00,330
and that they must be seen in their own room
895
00:52:00,330 --> 00:52:02,360
and not mixed with other artists.
896
00:52:02,360 --> 00:52:06,820
- As a museum director I find that to be a bit unfortunate.
897
00:52:06,820 --> 00:52:11,370
I understand it, but in terms of educating the public
898
00:52:11,370 --> 00:52:12,620
and I'm sure he didn't give a damn
899
00:52:12,620 --> 00:52:14,850
about educating the public,
900
00:52:14,850 --> 00:52:17,030
but in in terms of that
901
00:52:17,030 --> 00:52:19,130
that's one of the things museums feel that
902
00:52:19,130 --> 00:52:20,640
they are there to do,
903
00:52:20,640 --> 00:52:23,560
because people have a lot of difficulty, let's face it,
904
00:52:23,560 --> 00:52:27,830
with even something as old as abstraction is.
905
00:52:27,830 --> 00:52:32,250
- When an artist wants their work to be seen en masse,
906
00:52:32,250 --> 00:52:36,280
in its own space, altogether, I get that.
907
00:52:36,280 --> 00:52:39,250
It isn't a grandiose wish at all.
908
00:52:39,250 --> 00:52:41,210
Artists are control freaks,
909
00:52:41,210 --> 00:52:45,810
they get an idea, moves from one work to another,
910
00:52:45,810 --> 00:52:49,030
I have nothing against them wanting
911
00:52:49,030 --> 00:52:52,360
the work to remain together.
912
00:52:52,360 --> 00:52:55,840
Time however treats art different
913
00:52:55,840 --> 00:53:00,373
than the artists wishes, and I trust time.
914
00:53:01,310 --> 00:53:03,360
- When I think about Still I think about my first show
915
00:53:03,360 --> 00:53:05,270
at the Albright-Knox Museum and seeing
916
00:53:05,270 --> 00:53:07,010
the paintings that they have installed there,
917
00:53:07,010 --> 00:53:09,623
and then really rethinking who Clyfford Still was.
918
00:53:11,629 --> 00:53:12,820
What Clyfford Still was interested in
919
00:53:12,820 --> 00:53:16,430
was this slow time-based experience with painting.
920
00:53:16,430 --> 00:53:19,593
That slowed down kind of experience that goes past life.
921
00:53:21,600 --> 00:53:25,000
To make sense of that, it was like, incredible,
922
00:53:25,000 --> 00:53:27,600
and that was at the Albright-Knox.
923
00:53:27,600 --> 00:53:29,570
- You have those moments,
924
00:53:29,570 --> 00:53:33,653
where you remember how art hit you.
925
00:53:35,130 --> 00:53:39,460
It was second week of December in 1979.
926
00:53:43,420 --> 00:53:46,460
I was home from my freshman year of college,
927
00:53:46,460 --> 00:53:47,623
my mom had moved to Buffalo.
928
00:53:47,623 --> 00:53:48,456
(gentle music)
929
00:53:50,000 --> 00:53:52,716
They had just had sixty inches of snow,
930
00:53:52,716 --> 00:53:54,430
which turns out it's not unusual,
931
00:53:54,430 --> 00:53:57,150
dumps from the lake and there it is,
932
00:53:57,150 --> 00:53:59,470
and I was wandering around 'cause I couldn't stay
933
00:53:59,470 --> 00:54:01,653
in her new little house and got out,
934
00:54:03,750 --> 00:54:07,033
and I show up at the Albright-Knox Museum.
935
00:54:10,950 --> 00:54:13,530
I didn't even know the history of how
936
00:54:13,530 --> 00:54:15,790
those cities like Buffalo and Cleveland and things
937
00:54:15,790 --> 00:54:17,730
have gotten quite wealthy and
938
00:54:17,730 --> 00:54:19,803
there have been all these expositions.
939
00:54:24,240 --> 00:54:29,240
So I walk in, and it's this extraordinary collection of
940
00:54:30,450 --> 00:54:32,230
American abstraction and
941
00:54:32,230 --> 00:54:35,973
American muscular spiritual modernism.
942
00:54:40,090 --> 00:54:42,930
So here's the weird thing that happened.
943
00:54:42,930 --> 00:54:44,113
The power went off.
944
00:54:48,539 --> 00:54:51,134
(piano music)
945
00:54:51,134 --> 00:54:54,250
But I remembered this thing that I'd read about Still,
946
00:54:54,250 --> 00:54:56,493
where he says exactly that.
947
00:54:57,420 --> 00:55:01,730
Turn off the lights, the paintings have their own fire.
948
00:55:01,730 --> 00:55:04,270
You think, "Oh, come on" but,
949
00:55:04,270 --> 00:55:06,730
it's there and I felt that as a kid that day,
950
00:55:06,730 --> 00:55:08,530
and I'll never never forget the day.
951
00:55:17,620 --> 00:55:20,730
I don't know how many other times I've been
952
00:55:20,730 --> 00:55:22,863
with paintings in that way.
953
00:55:30,543 --> 00:55:33,160
- It had been my hope that I would end up with
954
00:55:33,160 --> 00:55:36,303
in the four corners of the old San Francisco
955
00:55:36,303 --> 00:55:41,303
Museum of Art building, a room devoted to Mark Rothko,
956
00:55:42,180 --> 00:55:44,940
a room that devoted to Clyfford Still,
957
00:55:44,940 --> 00:55:46,930
a room for Robert Motherwell,
958
00:55:46,930 --> 00:55:49,270
and a room for Richard Diebenkorn.
959
00:55:49,270 --> 00:55:53,570
The four corners would have made it a wonderful
960
00:55:53,570 --> 00:55:56,150
and I think exciting balance.
961
00:55:56,150 --> 00:55:58,530
That didn't, didn't work out for me,
962
00:55:58,530 --> 00:56:01,060
but it did work out for Henry Hopkins.
963
00:56:01,060 --> 00:56:03,070
- The museum already had a couple of his paintings,
964
00:56:03,070 --> 00:56:05,733
a big, big abstract painting from,
965
00:56:06,885 --> 00:56:10,880
that was a gift of the Anderson family in in Palo Alto,
966
00:56:10,880 --> 00:56:13,430
and then this marvelous painting that Peggy Guggenheim
967
00:56:13,430 --> 00:56:14,750
had given to the museum.
968
00:56:14,750 --> 00:56:16,640
A 1944 picture which was the picture
969
00:56:16,640 --> 00:56:19,230
that inspired my background,
970
00:56:19,230 --> 00:56:21,930
my initiation into Modern Art,
971
00:56:21,930 --> 00:56:24,680
and I think when on a visit to San Francisco
972
00:56:24,680 --> 00:56:26,680
in the 70, early 70s,
973
00:56:26,680 --> 00:56:29,090
he really respected and admired
974
00:56:29,090 --> 00:56:30,970
the way his work was being shown,
975
00:56:30,970 --> 00:56:32,810
and I think that inspired him to develop
976
00:56:32,810 --> 00:56:36,230
a closer relationship with the museum and with Hopkins,
977
00:56:36,230 --> 00:56:37,620
and that eventually
978
00:56:37,620 --> 00:56:40,230
resulted in the gift that we did receive.
979
00:56:40,230 --> 00:56:42,016
- So he talked to me about giving
980
00:56:42,016 --> 00:56:46,130
three paintings to the museum which of course excited me,
981
00:56:46,130 --> 00:56:48,360
and over the next year and a half as we talked,
982
00:56:48,360 --> 00:56:50,420
and we talked every time we would talk.
983
00:56:50,420 --> 00:56:52,500
he would add three more, like well,
984
00:56:52,500 --> 00:56:53,810
maybe six would be better,
985
00:56:53,810 --> 00:56:55,910
well maybe we could tell the story with eight,
986
00:56:55,910 --> 00:56:58,007
well we can't really tell the story with eight
987
00:56:58,007 --> 00:56:59,510
it probably would take nine or ten
988
00:56:59,510 --> 00:57:01,420
to really tell the whole spectrum,
989
00:57:01,420 --> 00:57:04,570
and of course, but we ended up with an outright gift
990
00:57:04,570 --> 00:57:07,260
of twenty-eight Clyfford Still paintings,
991
00:57:07,260 --> 00:57:11,170
of which this big red one is one of the prime examples,
992
00:57:11,170 --> 00:57:13,910
though there are actually many in the collection.
993
00:57:13,910 --> 00:57:16,470
He gave a group to the Albright-Knox Museum.
994
00:57:16,470 --> 00:57:17,810
He gave this group to us,
995
00:57:17,810 --> 00:57:20,170
he gave a group to the Metropolitan Museum.
996
00:57:20,170 --> 00:57:24,070
- I think that's juncture where Still starts to
997
00:57:24,070 --> 00:57:28,440
look back on his career and turn it into
998
00:57:28,440 --> 00:57:31,660
one great Odyssey, one great venture.
999
00:57:31,660 --> 00:57:35,290
- It was about the right people will come.
1000
00:57:35,290 --> 00:57:36,420
(orchestral music)
1001
00:57:36,420 --> 00:57:39,410
They will come, as he did,
1002
00:57:39,410 --> 00:57:41,670
all the way from Canada to New York.
1003
00:57:41,670 --> 00:57:44,960
On his 21st birthday he was at the front door
1004
00:57:44,960 --> 00:57:46,740
of the Metropolitan Museum of Art
1005
00:57:46,740 --> 00:57:48,760
waiting for the doors to open because
1006
00:57:48,760 --> 00:57:51,803
he was finally going to see the originals not reproductions.
1007
00:57:52,710 --> 00:57:55,320
- [Clyfford] Nothing was finally decided.
1008
00:57:55,320 --> 00:57:58,690
However, they saw, and I don't think I've ever had
1009
00:57:58,690 --> 00:58:00,393
two more receptive guys.
1010
00:58:01,602 --> 00:58:05,240
The problem is do I want the entire gallery or just a floor?
1011
00:58:05,240 --> 00:58:08,460
- That's better, oh! - So we'll settle
1012
00:58:08,460 --> 00:58:10,140
for one floor when the time comes up,
1013
00:58:10,140 --> 00:58:12,010
now you'll try to keep it as quiet as you can
1014
00:58:12,010 --> 00:58:12,960
for a little while.
1015
00:58:13,850 --> 00:58:15,095
- [Woman] Yeah, I'll just yell about
1016
00:58:15,095 --> 00:58:16,610
in the apartment. (laughs) - All right.
1017
00:58:16,610 --> 00:58:19,440
- He's not having a grand retrospective of MoMA
1018
00:58:19,440 --> 00:58:22,082
or the Whitney, it's the Met,
1019
00:58:22,082 --> 00:58:24,060
and that is the Met's about the old masters
1020
00:58:24,060 --> 00:58:26,210
and Still is very consciously
1021
00:58:26,210 --> 00:58:29,370
positioning himself in that perspective.
1022
00:58:29,370 --> 00:58:31,170
- [Announcer] The Metropolitan Museum of Art
1023
00:58:31,170 --> 00:58:32,470
perhaps the greatest center
1024
00:58:32,470 --> 00:58:34,650
of classical art and learning in America,
1025
00:58:34,650 --> 00:58:37,815
exerts an influence that is worldwide.
1026
00:58:37,815 --> 00:58:40,315
(cello music)
1027
00:58:41,440 --> 00:58:44,070
- [Man] For better or worse Still chose all the works
1028
00:58:44,070 --> 00:58:46,950
from his own collection and he weighted heavily
1029
00:58:46,950 --> 00:58:48,823
his work of his last 20 years.
1030
00:59:00,443 --> 00:59:03,226
- [David] I went there December of 1977
1031
00:59:03,226 --> 00:59:06,127
and oddly enough suddenly there was Clyfford Still
1032
00:59:06,127 --> 00:59:11,127
and his wife and well I was scared to death.
1033
00:59:12,330 --> 00:59:13,967
(piano music)
1034
00:59:13,967 --> 00:59:17,247
I went up to him and I said I thought
1035
00:59:17,247 --> 00:59:20,970
he was a great, great artist and I was overwhelmed
1036
00:59:20,970 --> 00:59:25,970
by the work and I think he was okay,
1037
00:59:27,090 --> 00:59:27,923
if you know what I mean?
1038
00:59:27,923 --> 00:59:28,973
He didn't say a lot.
1039
00:59:31,690 --> 00:59:34,147
I think he appreciated someone appreciating him.
1040
00:59:36,824 --> 00:59:38,428
- [Clyfford] I had some excellent response
1041
00:59:38,428 --> 00:59:42,300
from this exhibition, but some in fact,
1042
00:59:42,300 --> 00:59:45,950
almost surprising, Lee Krasner, Pollock's wife,
1043
00:59:47,270 --> 00:59:48,870
told Mr. Montebello and insisted
1044
00:59:49,935 --> 00:59:51,710
he'd be sure to tell me that
1045
00:59:51,710 --> 00:59:53,610
this is the greatest experience in art
1046
00:59:53,610 --> 00:59:55,870
she'd ever had in her life. - Wow.
1047
00:59:55,870 --> 00:59:58,885
It's quite, it's quite a tribute to me. - I understand.
1048
00:59:58,885 --> 01:00:00,600
(futuristic music)
1049
01:00:00,600 --> 01:00:02,200
- Of course I remember that day.
1050
01:00:03,640 --> 01:00:05,350
Yes, that's Molly Brewer,
1051
01:00:05,350 --> 01:00:07,150
I haven't talked to her in 40 years.
1052
01:00:08,490 --> 01:00:10,480
Anyway, yeah, she was a student
1053
01:00:10,480 --> 01:00:12,503
of Clyfford Stills in San Francisco,
1054
01:00:13,380 --> 01:00:15,190
and I rented the front of my studio
1055
01:00:15,190 --> 01:00:18,253
to her on 20th Street.
1056
01:00:20,160 --> 01:00:23,250
She said "Clyfford Still's coming over today."
1057
01:00:23,250 --> 01:00:25,240
I said "Really?"
1058
01:00:25,240 --> 01:00:28,057
Said "Okay, yeah, and I, I'll go get some pizza."
1059
01:00:29,360 --> 01:00:30,193
Which I did.
1060
01:00:33,440 --> 01:00:36,213
I remember what paintings of mine were in my studio also.
1061
01:00:37,398 --> 01:00:38,917
There was a painting called
1062
01:00:38,917 --> 01:00:40,857
"Giacomo Expelled from the Temple."
1063
01:00:43,990 --> 01:00:45,610
I thought he'd like that painting
1064
01:00:45,610 --> 01:00:48,220
because it had a, I made it with joint compound
1065
01:00:48,220 --> 01:00:51,310
and rope flex which was sort of a plaster,
1066
01:00:51,310 --> 01:00:53,200
and I used a palette knife on it quite a bit,
1067
01:00:53,200 --> 01:00:56,083
so I definitely related to his paintings.
1068
01:01:00,515 --> 01:01:02,667
- [Clyfford] Oh, that's a pretty unusual little bit.
1069
01:01:02,667 --> 01:01:05,550
Obviously he read the catalog pretty thoroughly.
1070
01:01:05,550 --> 01:01:06,780
- Oh, that's great. - Yes.
1071
01:01:07,654 --> 01:01:08,894
- Good. - I'd say the kid
1072
01:01:08,894 --> 01:01:12,815
was 25 to 30 years of age, he was maybe 25.
1073
01:01:12,815 --> 01:01:17,398
Nice, young, Polish, name of Schnabel, Julian Schnabel.
1074
01:01:19,793 --> 01:01:22,479
Looked more Italian, round face, smooth voice,
1075
01:01:22,479 --> 01:01:24,411
full of enthusiasm.
1076
01:01:24,411 --> 01:01:26,554
Very rugged pictures, images, pictures.
1077
01:01:26,554 --> 01:01:28,005
Taking the work seriously.
1078
01:01:28,005 --> 01:01:29,188
I had to admit, the guy has roots that
1079
01:01:29,188 --> 01:01:30,616
might develop into something.
1080
01:01:30,616 --> 01:01:32,896
Originality for himself.
1081
01:01:32,896 --> 01:01:36,600
Brings much of my whole attitude about it.
1082
01:01:36,600 --> 01:01:39,130
- [Man] By 1977, it's pretty obvious
1083
01:01:39,130 --> 01:01:40,940
that Still's getting sick.
1084
01:01:40,940 --> 01:01:43,620
He doesn't do much about it, doesn't see a doctor,
1085
01:01:43,620 --> 01:01:47,650
and by the time the exhibition at the Met opens in 1979,
1086
01:01:47,650 --> 01:01:50,433
he's essentially dying of colon cancer.
1087
01:01:51,606 --> 01:01:54,523
(discordant piano)
1088
01:01:58,380 --> 01:02:00,500
- [Woman] There's a series of about 40 pastels
1089
01:02:00,500 --> 01:02:02,670
on construction paper about six months
1090
01:02:02,670 --> 01:02:03,973
before he passed away.
1091
01:02:11,630 --> 01:02:13,600
He could feel something coming
1092
01:02:13,600 --> 01:02:16,123
but he really wanted to get some last ideas down.
1093
01:02:34,140 --> 01:02:36,163
The last pastel in this series,
1094
01:02:38,100 --> 01:02:40,400
you can really just see that life force
1095
01:02:40,400 --> 01:02:42,550
that's so prominent in his work
1096
01:02:42,550 --> 01:02:45,303
just trail off the edge of the page.
1097
01:03:05,250 --> 01:03:08,373
- [Sandra] Last will and testament, paragraph fourth.
1098
01:03:09,320 --> 01:03:13,020
I give and bequeath all the remaining works of art
1099
01:03:13,020 --> 01:03:17,260
executed by me and my collection to an American city
1100
01:03:17,260 --> 01:03:21,300
that will agree to build or assign and maintain
1101
01:03:21,300 --> 01:03:25,670
permanent quarters exclusively for these works of art.
1102
01:03:25,670 --> 01:03:28,500
- For their exhibition study and survival,
1103
01:03:28,500 --> 01:03:31,720
and it was really a 20-year quest
1104
01:03:31,720 --> 01:03:35,140
to identify an American city who would agree to those terms.
1105
01:03:35,140 --> 01:03:37,100
- If you note, it said permanent quarters,
1106
01:03:37,100 --> 01:03:39,420
that did not say I want a free-standing building
1107
01:03:39,420 --> 01:03:41,690
all my own, that came from Patricia.
1108
01:03:41,690 --> 01:03:45,030
Still understood that many of them
1109
01:03:45,030 --> 01:03:47,180
might end up in a basement in storage
1110
01:03:47,180 --> 01:03:50,290
and they might be shown once every five or ten years.
1111
01:03:50,290 --> 01:03:51,743
He understood that.
1112
01:03:53,350 --> 01:03:57,160
He did not want it distributed one here, one there.
1113
01:03:57,160 --> 01:04:01,263
This is a symphony, or an opera,
1114
01:04:02,750 --> 01:04:05,660
with some masterpieces called arias if you will,
1115
01:04:05,660 --> 01:04:07,390
or movements.
1116
01:04:07,390 --> 01:04:08,940
He saw it as a totality,
1117
01:04:08,940 --> 01:04:11,740
that is why there's so many reproductions.
1118
01:04:11,740 --> 01:04:13,200
He would sell or give a painting
1119
01:04:13,200 --> 01:04:14,810
and say "I wish I hadn't done that."
1120
01:04:14,810 --> 01:04:16,810
- It was a huge estate,
1121
01:04:16,810 --> 01:04:19,320
nobody had seen it, nobody really knew
1122
01:04:19,320 --> 01:04:20,848
exactly what was in it
1123
01:04:20,848 --> 01:04:22,420
apart from when it was appraised.
1124
01:04:22,420 --> 01:04:27,350
And so, you know, Still in John Goulding's words
1125
01:04:27,350 --> 01:04:29,787
as lately as 2000 he wrote that
1126
01:04:29,787 --> 01:04:32,403
"Still remains a great unknown,"
1127
01:04:32,403 --> 01:04:34,189
and it's absolutely true.
1128
01:04:34,189 --> 01:04:36,413
("Vissi d'arte" from Tosca by Puccini)
1129
01:04:36,413 --> 01:04:41,413
♪ Vissi d'arte, ♪
1130
01:04:43,576 --> 01:04:48,576
♪ vissi d'amore, ♪
1131
01:04:53,571 --> 01:04:58,571
♪ non feci mai male ♪
1132
01:05:00,196 --> 01:05:05,196
♪ ad anima viva ♪
1133
01:05:09,352 --> 01:05:14,352
♪ Con man furtiva ♪
1134
01:05:18,056 --> 01:05:20,806
♪ Quante miserie ♪
1135
01:05:23,682 --> 01:05:26,928
♪ conobbi aiutai. ♪ - After 1980 it became clear
1136
01:05:26,928 --> 01:05:30,920
that my aunt Pat's fundamental mission
1137
01:05:30,920 --> 01:05:34,160
was to find a city that would accept
1138
01:05:34,160 --> 01:05:37,333
the Clyfford Still paintings in the terms of his will.
1139
01:05:39,380 --> 01:05:42,400
Now there was I think some tension in that,
1140
01:05:42,400 --> 01:05:47,400
because she very much liked controlling all of this art.
1141
01:05:47,630 --> 01:05:49,590
- As devoted as Patricia Still was
1142
01:05:49,590 --> 01:05:50,970
to her husband's art and life,
1143
01:05:50,970 --> 01:05:53,930
she actually did considerable damage to his legacy.
1144
01:05:53,930 --> 01:05:55,460
After his death in 1980
1145
01:05:55,460 --> 01:05:58,460
she refused reproduction rights to almost everybody.
1146
01:05:58,460 --> 01:06:00,740
She wouldn't let anybody see the art
1147
01:06:00,740 --> 01:06:03,890
and I think that was a terrible injustice to
1148
01:06:03,890 --> 01:06:05,300
people of my generation,
1149
01:06:05,300 --> 01:06:07,279
who were trying to understand Clyfford Still
1150
01:06:07,279 --> 01:06:09,583
through 5% of the work in the world.
1151
01:06:10,560 --> 01:06:13,610
- After talking to my aunt for quite some time,
1152
01:06:13,610 --> 01:06:15,760
I managed to persuade her
1153
01:06:15,760 --> 01:06:19,450
that Denver could be a good place for the museum,
1154
01:06:19,450 --> 01:06:20,970
and she sent me a letter
1155
01:06:20,970 --> 01:06:24,366
giving me permission to go to Denver.
1156
01:06:24,366 --> 01:06:26,320
(discordant piano)
1157
01:06:26,320 --> 01:06:30,450
And it says, "I was just thinking, what about Denver?"
1158
01:06:30,450 --> 01:06:33,120
Well it was hard getting those words out of her
1159
01:06:33,120 --> 01:06:36,360
but I got that letter and then
1160
01:06:36,360 --> 01:06:38,683
called the Denver Art Museum.
1161
01:06:39,710 --> 01:06:41,580
- I'd been in office maybe, I don't know,
1162
01:06:41,580 --> 01:06:43,970
a hundred days, and Lewis Sharp from the art museum
1163
01:06:43,970 --> 01:06:46,727
called me and said you know, "There's this woman
1164
01:06:46,727 --> 01:06:50,877
"who is the sole controller of one of the most incredible
1165
01:06:50,877 --> 01:06:53,297
"collections of art in the history of the world,
1166
01:06:53,297 --> 01:06:55,207
"and no one's really gone
1167
01:06:55,207 --> 01:06:57,707
"and even pitched her in several years."
1168
01:07:00,529 --> 01:07:01,690
I was gonna be in DC anyway,
1169
01:07:01,690 --> 01:07:02,820
it was gonna be you know,
1170
01:07:02,820 --> 01:07:04,820
about an hour and a half drive each way.
1171
01:07:07,350 --> 01:07:09,600
You know, it was gonna take five hours out of my day,
1172
01:07:09,600 --> 01:07:11,640
that's not a lot of risk for something that could
1173
01:07:11,640 --> 01:07:14,560
really create another star
1174
01:07:14,560 --> 01:07:16,750
in the cultural firmament of Colorado,
1175
01:07:16,750 --> 01:07:18,680
and another reason for people that love art
1176
01:07:18,680 --> 01:07:20,233
to come visit Colorado.
1177
01:07:22,160 --> 01:07:24,870
Of course, when Lewis Sharp first presented the idea,
1178
01:07:24,870 --> 01:07:29,870
I had no idea that 25, 26 other communities had
1179
01:07:30,090 --> 01:07:32,700
attempted and failed at persuading Mrs Still
1180
01:07:32,700 --> 01:07:35,763
that that their city was the place.
1181
01:07:36,860 --> 01:07:38,900
We walked into the farmhouse,
1182
01:07:38,900 --> 01:07:41,463
and it was almost devoid of furniture.
1183
01:07:44,200 --> 01:07:46,000
One easy-chair in the living room,
1184
01:07:46,000 --> 01:07:48,810
but basically pretty barren
1185
01:07:48,810 --> 01:07:50,843
in terms of any kind of furnishings.
1186
01:07:52,076 --> 01:07:54,993
(discordant music)
1187
01:07:56,570 --> 01:07:59,130
Except for, in every room, there were
1188
01:07:59,130 --> 01:08:00,310
painting after painting, they are
1189
01:08:00,310 --> 01:08:01,970
rolled in these long rolls.
1190
01:08:01,970 --> 01:08:05,010
Some of them were in tubes, many of them were not in tubes,
1191
01:08:05,010 --> 01:08:06,853
just kind of piled into the corner.
1192
01:08:10,770 --> 01:08:14,077
I couldn't help but having my mind run away with
1193
01:08:14,077 --> 01:08:17,797
"God, what's in all those rolled up canvases?"
1194
01:08:20,560 --> 01:08:25,330
And Clyfford Stills' widow was intensely loyal
1195
01:08:25,330 --> 01:08:26,330
to her late husband.
1196
01:08:26,330 --> 01:08:29,300
I mean she had foam-core models
1197
01:08:29,300 --> 01:08:30,950
of what a museum might look like.
1198
01:08:53,696 --> 01:08:56,640
And I grew up in a family with a lot of great aunts
1199
01:08:56,640 --> 01:08:59,370
and you know, elderly men and women,
1200
01:08:59,370 --> 01:09:00,353
and I've always been very good,
1201
01:09:00,353 --> 01:09:01,930
I was trained to be very respectful
1202
01:09:01,930 --> 01:09:03,899
and to listen very carefully
1203
01:09:03,899 --> 01:09:06,550
when when one of your elders speaks to you,
1204
01:09:06,550 --> 01:09:08,952
and I think that Mrs Still responded to that.
1205
01:09:10,100 --> 01:09:12,790
- [News Reader] 2,000 works by Clyfford Still
1206
01:09:12,790 --> 01:09:14,859
have been in storage since he died.
1207
01:09:14,859 --> 01:09:17,470
His will was specific about where they would go.
1208
01:09:17,470 --> 01:09:19,760
- To an American city that would both
1209
01:09:19,760 --> 01:09:21,760
create and maintain a museum
1210
01:09:21,760 --> 01:09:24,140
devoted exclusively to his artworks.
1211
01:09:24,140 --> 01:09:25,430
- [News Reader] Now Denver is that city.
1212
01:09:25,430 --> 01:09:28,120
After long negotiations with Stills' widow,
1213
01:09:28,120 --> 01:09:29,620
the collection will come here.
1214
01:09:33,229 --> 01:09:35,050
- It's very interesting when we got the letter,
1215
01:09:35,050 --> 01:09:38,399
I think it was a letter, asking if we were interested.
1216
01:09:38,399 --> 01:09:40,529
I mean I almost had to laugh,
1217
01:09:40,529 --> 01:09:43,712
because I had known his work since my Columbia days.
1218
01:09:44,690 --> 01:09:47,993
It's almost like we were just waiting to be asked.
1219
01:09:50,890 --> 01:09:54,309
There's something terrifying about this landscape,
1220
01:09:54,309 --> 01:09:57,110
when you take away the kind of mythos of the mountains
1221
01:09:57,110 --> 01:10:00,280
and look east, the scalelessness of it,
1222
01:10:00,280 --> 01:10:02,390
the vastness of it, right, you know.
1223
01:10:02,390 --> 01:10:05,620
A way of kind of holding yourself in that world,
1224
01:10:05,620 --> 01:10:07,570
you know holding, the building in this case,
1225
01:10:07,570 --> 01:10:11,390
in that world, holding those paintings in this world,
1226
01:10:11,390 --> 01:10:12,559
and in some way, his paintings
1227
01:10:12,559 --> 01:10:14,430
were trying to do the same thing.
1228
01:10:14,430 --> 01:10:16,393
Hold us all in the world in some way.
1229
01:10:17,471 --> 01:10:19,971
(cello music)
1230
01:10:45,374 --> 01:10:47,612
- [Diane] We had just arrived in New York
1231
01:10:47,612 --> 01:10:48,812
when I was a little kid.
1232
01:10:51,143 --> 01:10:52,243
We've taken the train.
1233
01:10:55,290 --> 01:10:57,903
And I had developed a very bad ear ache.
1234
01:10:58,760 --> 01:11:01,333
So I was asleep in the living room.
1235
01:11:03,290 --> 01:11:05,040
In the middle of the night I woke up
1236
01:11:05,040 --> 01:11:08,452
and there's my dad, in the kitchen, painting.
1237
01:11:11,382 --> 01:11:13,477
And that stuck with me so strongly that,
1238
01:11:13,477 --> 01:11:15,167
"He's doing something important."
1239
01:11:18,547 --> 01:11:19,747
And I was six years old.
1240
01:11:28,280 --> 01:11:29,850
- [Sandra] One of my worst moments
1241
01:11:29,850 --> 01:11:32,990
was about 18 months before he passed.
1242
01:11:32,990 --> 01:11:34,600
I woke up in the middle of the night
1243
01:11:34,600 --> 01:11:37,663
and he was just restless and unhappy.
1244
01:11:38,660 --> 01:11:40,906
I finally went over and sat beside him,
1245
01:11:40,906 --> 01:11:42,160
he was sitting on the edge of the bed,
1246
01:11:42,160 --> 01:11:46,853
and he's just, "Why am I doing this?
1247
01:11:47,807 --> 01:11:49,767
"No-one's understanding this.
1248
01:11:49,767 --> 01:11:51,867
"I should just go home and burn them all."
1249
01:11:54,300 --> 01:11:57,297
He needed to know that someone believed in him.
1250
01:11:58,443 --> 01:12:00,943
(cello music)
1251
01:12:31,550 --> 01:12:35,233
I learned not to have expectations any kind from him.
1252
01:12:39,921 --> 01:12:40,920
- [Diane] Yeah, I thought it was a mistake
1253
01:12:40,920 --> 01:12:44,483
when he left us each two paintings, two abstracts.
1254
01:12:46,330 --> 01:12:48,280
I didn't think he'd trust us with them.
1255
01:12:53,420 --> 01:12:54,673
Totally changed my life.
1256
01:12:56,309 --> 01:12:57,783
It freed me, yeah.
1257
01:13:00,070 --> 01:13:04,110
Freed me, it's gonna free my children someday,
1258
01:13:04,110 --> 01:13:05,890
so thank you Dad.
1259
01:13:11,124 --> 01:13:13,707
(gentle music)
1260
01:13:45,915 --> 01:13:46,748
- [Clyfford] Although several large
1261
01:13:46,748 --> 01:13:49,970
and significant areas of the work cannot be exhibited,
1262
01:13:49,970 --> 01:13:51,720
I believe what will be shown
1263
01:13:51,720 --> 01:13:53,800
will justify the interest and effort
1264
01:13:53,800 --> 01:13:55,720
you have so courageously given.
1265
01:13:55,720 --> 01:13:57,783
Sincerely, Clyfford Still.
1266
01:14:36,635 --> 01:14:40,302
("London Now" by Earl Okin)
1267
01:14:54,147 --> 01:14:58,313
♪ I long to be ♪
1268
01:14:58,313 --> 01:15:03,153
♪ In London now ♪
1269
01:15:03,153 --> 01:15:06,327
♪ In London now ♪
1270
01:15:06,327 --> 01:15:11,327
♪ The autumn's hanging in the breeze ♪
1271
01:15:13,564 --> 01:15:17,850
♪ I long to hear ♪
1272
01:15:17,850 --> 01:15:22,850
♪ On every bough ♪
1273
01:15:22,936 --> 01:15:25,913
♪ Starlings and sparrows ♪
1274
01:15:25,913 --> 01:15:30,913
♪ Sharing gossip and the trees ♪
1275
01:15:32,100 --> 01:15:34,657
♪ The riverside ♪
1276
01:15:34,657 --> 01:15:37,057
♪ At eventide ♪
1277
01:15:37,057 --> 01:15:41,743
♪ Will glow when day's done ♪
1278
01:15:41,743 --> 01:15:44,269
♪ The stars appear ♪
1279
01:15:44,269 --> 01:15:46,758
♪ The air is clear ♪
1280
01:15:46,758 --> 01:15:48,637
♪ Believe it ♪
1281
01:15:48,637 --> 01:15:53,533
♪ That fog's long gone from London ♪
1282
01:15:53,533 --> 01:15:58,533
♪ So I wish somehow ♪
1283
01:16:00,872 --> 01:16:04,039
♪ To be in London now ♪
1284
01:16:27,351 --> 01:16:29,851
(piano music)
94523
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