Table Of Contentrml~~lfiil
X006035366
•
JUNE 25, I94S
THE NEW REPUBLIC
to be ~imilar, and are not a very active part of early
100
paiutings like "l"hc She-\Vo lf." 'fhc: color doel>ll 't !lt'Cm
J·ackso11 Pollock
radiant, forceful or detp, though it always ~ems rich, fairly
~ubstantial and is 11:,eJ with great uriginality and Jaring.
T H F. J'/\JNTJNr. of J.,cl,<on P11llork, whith Ii:,< ht'cn But there is little i.li~htn<'S.S in his work; it is really paintrd;
r:ilk<l unt:1lrnte1l and likened to "baked mararoni" in it is thoroughly incautiou~, and in a peri1XI when it looks as if
we arc going to be drowned in charm, his painting gener
flir11· :11111 tn nn "rxrl,)~inn in a c;hinglc-mill" in the New
York ·r;,,,,.s, h.1~ hccn, in :it lea5t threr paintin~ I have ally backs up its charm.
~c·, 11 lu,th m.,strrful :111<1 miraculous. TI1e three painting,i Pollock's composing is consistently directed toward two
1
include a wild 11hstr:ietion twentr--si,c feet long-, c-nrnmis climenSK>nal abstract Jcsign, ancl I think this kind of de-sign
sionrd hy l\1i5' Pc·g-;!"_\' (.i11g~cnht>im for tht> h:illwar of her is as unworkcd and rich in new art forms, devices and
hnm('., :md two r,,,11ad1r drawings heing cxhibitecl at /\rt of problems 11s naturalistic de~ign is overworked to the pc;iint
'fhi~ Crntury. 1'hr mural is voluminously <lrtailed witlt where nothing in it srems rich. Implicit in the d,angc fron1
natur,1Jis1n to abstraction in painting is the change in atti
~wirling line am! fnrm, painted ~ntaneouslr :ind St't'mingly
witl1t)llt prl'limi11:iry c;ketch, and i~ I think, :u, :i]~c:.! ::.◄ tude ahout ,urface: 1'he surface is no longer con!liJered ~
credihle c;uccr~. It i, ,.-iolcnt in its cxpres.c.ion, endlcs.c;ly fasci aomerhing to be designed into an ttpproximation of a natu
ralistic, three..<fimern,ional worlJ, but, more realistic.illy, is
nating- in detail, witll()t1t superficiality, and so well ordere-d
cons.iderc-tl si1nply flat, opaque .ind bounJrJ. Pollock's
that it cnmpo<,('s the w:ill in a quiet, contained, huoyant way. a5
work explores the p~bilities anJ the character of hori
Pollock', aim in p:tintin~ !'-Cems to be to exprt'~ frding that
untal design. He .. how~ that each point of the surface in
r:ing-c~ from pleasant enthusiasm throu~h wildnc"4! to t'X
:r,
flat p;unting is capable of being m.iJe a major oue and
l'ln~ivrrir<<, p11rrly and as well a~ possmle. The mode it
11<1r:1ct or ne.1rlv one that strms from Miro nnd Pici1..w, played for m,1ximum <:fftct, and that when rhe conflicting
:i !-0
1
hut i< a ~trp farther in ah<traction. The strle i~ \'cry prri:nn:il element~ in three-dimensional painting arc removed, the
:in,!, unlike that of m:tny painters of thi'i ~riod, the indivi1l- two-dimen~nal relationships are liberated and made more
111!:ty i~ in the way the medium is usrd rather than in the powerful and clear. His manner of building form and sur
pcr11liaritie!: 0f suhject m:itter. face our rat.her than in has proJuced original, dramatic and
'J'he dominant effect~ in Pollock'!> work ariSt' fr0m the Jtte>rative effect:;, and the painting as a whole demonstrates
el>.'f'l'C',~innistic- painting- of emotion and from the unin11ihited, again that abstract art can be as voluptuoug a, Rcnar.;sance
tw,,-dimen,ion:il n1mposi11~ of the surface, in whic-h t~ painting. MANNY FAllllER
.1rti,t ~n·ms to have st.,rtetl at one point with a color :incl
rP11tin11rd over tht' painting without stopping, until it h;i~
hc,·n CPmposcJ with that color. In the process great sections
of the prrviou!\ drsi,;n may be painted out, or the de~gn
clJ:1nge1l completely. The painting is laced with relaxed,
The Bandwagon
!!r:\l'cf1rl, swirling lint"S or l'iolrnt ones, until the surface is
pattcrneci in ,,-hirling movement. In the hcc.t rompo~ition~
the -c rn11rr mrnt, collide an,I rrprat to project 11. cnntinuin~
dfr·,-1 of ,•irik, l1cctic action. 'fhe paint is j;thhrd on, splat•
FOOL! SUPPLY MORE NOW
tern!, paintt'd in lava-like thicknrsses and textures, ~ri,h
TIIAN IN 1-REWAll ERA
~•lcJ, 111,,dc to _look lik~ !-moke, hleccling, fire, and paintecl
But Oblt:rvrr &:e, Scarcity Until
gre.11 swerpin~ c-ont111um~s lines. The painting i!I grner•
111 lncomrs .1-'.ll
allr heavily dct:ul~J, and tnes a great number of emphatic - JJ ,.,t1/i11e. i" 1/,e IJ' ,n/1in&to11 Sur,iay Star.
r_1•ntr:1,t!- ;rnd horizontal movrml·nts in which a !-hllpe or ll
l111e w,11 he 11t11)rnv1scd on :ind repeated in level, rhythmic K.,nm·ni:n g [ H itlcr's bu:lt'r) wh,> in,istcd on bringing out
step, 11.nd generally in a circular movement. One of the ltis ac,ordiun and sin!!in~ Jnd pl~ying f•>r ua the tune, bc:11 loved
most chan1ctcri~ notes is thr way a shape is built out from t>y H itler, rcvc.,kJ, fur imtJnce, that one: of the f.ivoritc:1 of the
Fiihrcr in his liil,;u m,,0J1 w~s "Who', Afraid of the liig Bad
the surface in great det.,il. The style is a rich decorative
Woll~" - Mo11,~1,.-,1i1e llii;,;i11s ;,, tlie /';J1 is Edition of 1/,11 New
kind th:it u~ he;i_vy, opaque color, rxtreme te~ring and a
r~,.c
lluJIJ T ribune.
hr0:icl, '.uun<led l15t o_f rol,,rs. An extraordinary qu:ility of
PPll()ck s rompo,:111~ 1s the w.,y he c:in eontir111e a feeling r.,
11 v.,lh:-· in N, w l~ui,,c~J W,15 a 1• .-.d of ;i f.1:r <lq(rte of
with )lftlc dev1.1t1on or Jp,, of p11rit_1· from nne edge to the
rntl:.-.1i .. ,1, lx.:au><· 11,s 5<>,<,<HJ t(> 1uo,000 llJlivn livin8 tlinc
other of the m P~! dct:,ikd d,·,ign. haci k arnc,I 10 m.k( Jn,I Ji,·, ,I ,n towns prot·:rtcd by w.ills.
WJ1,
Pul10rl; '<. paint;ng: oftrn -;ecm, 11ndram:1ti.: 11.ncl too much - A /.l.iml.i disp,,tch by Ru,,c/1 ilril'les 10 llit'- S,m F,-,mcis,;o
on tnp of the surf.ice, 111rrt and nuinly decorative, rathr-r Chron,dc.
than p:iintin~ v.·h11,e s11rhrr :1c11u ll_1· seem< to have hcen
hrok~n an<I _w0rked int,) a cnnti1111:1llr li\·in~. drrply prr,.onal Hrave New \Vorld
art .. f he linC'ar p.1rt of the c:in,·:is is 11,u.,lly Vt'ry <lra Not )ince the 11.vn-livcd ~dministr,tiun of \\',.rrcn Harding
h.a there b<:tn the prosi,~ct of team-work th,t r..1i,ta t0<h y
matJc• ( 1h0u;rh some of thr l.1ter wnrk runs 11nintrrr,tinttlv t<'
( w.ih T~um,n .u Prc5iJe11tJ. With a peace treaty in the offing,
p;ittern), hut the <p.1crs cn,·J.,,uf an·, in latrr paintin-c:, ·
11111
' 1h•t .iugura well. - Frvm thd W .ill Street Journ•I.
I
r~
I
:, , tt
. ,·I' ,, ~1 r. '• i I
.. -
. ' . t '1 :~'
. t
'~
'
.• . ., rr i' J .. , /, \
..
l
' I -
, " 4'.
\ '
7.
I
,
»:- I
/t I
•
-
, _, I
I ~
. (/~,,.. • I )
-...... ( ·/-_. --:' 2
. I /' 1 •, ,I,
. •
. ' . Ii
I • ~ ,. • r
•
I/
I • \
, •
• I ;,.
"--
A
•
I
,
-
.
.
.
.
.
C'
'-..Y
Fot Fomame Fo" 1983
board 48 in d1ame1er
C0,1o uornle sy Ou ., nt Gallory. San D,ego
MANNY FARBER
The Museum of Contemporary Art Los Angeles November 12, 1985 - February 9, 1986
F:rtv
E
At e.T~
/OD
~37
,F3YS
A4
/~'g5
Get it finished 1985
This catalogue is published in conjunction
Oil on board, 52 x 45 In.
with an exhibition of the works of Manny
Farber at The Museum of Contemporary
Art, Los Angeles.
:, r
November 12, 1985 - February 9, 1986
Edited by Howard Singerman Inside cover, front: Reprinted from The
with Elizabeth A.T. Smith, New Republic, vol. 112, June 25, 1942.
Leslie Fellows, Susan Jenkins
Page 1: Birthplace: Douglas, Ariz. (detail) 1979
Designed by Anna O'Cain Oil on board, 44 ¼ x 57¾ in.
and Steve !Iott Collection Douglas Simay, San Diego
Photography/Becky Cohen
Typography by AnzoGraphics, Chicago
and Commerce Graphics, San Diego Title page: Domestic Movies 1985
Printing by Bordeaux Printers, Inc. Oil on board, 96 x 96 in. Collection Mark
El Cajon, California and Linda Quint, La Jolla, CA
Color by Knapp Color Graphics, San Diego Photography/Michael Arthur
Copyright © 1985 The Museum of Inside cover, back: Reprinted courtesy
Contemporary Art, Los Angeles Artforum International Magazine. This
Library of Congress Catalog Card article originally appeared in Artforum
Number: 85-61591 vol. 10, November 1971.
ISBN: 0-914357-12-3 © Artforum International Magazine.
ACKNOWLEDGEMENTS
The Museum of Contemporary Art is honored to present the
work of Manny Farber, an artist whose long commitment as a
painter, critic, and educator has had a lasting influence on the
communities of contemporary art and film not only in south
ern California, but internationally. The exhibition and its cat
alogue could not have been realized without Mr. Farber's
support and involvement. We thank him and his wife and
collaborator Patricia Patterson for their extensive contribu
tion to the development of both exhibition and catalogue.
This catalogue bears witness to Mr. Farber's influence as
artist and educator; he has worked closely as colleague or
teacher with each of its contributors and with its designers.
We gratefully acknowledge essayists Jonathan Crary, Kevin
Parker, Jean-Pierre Gorin and Patrick Amos for their in
sightful treatments of Mr. Farber's work. Catalogue designers
Anna O'Cain and Steve Ilott worked closely with the artist,
translating his aesthetic into design and seeing the book
through production. Both were extremely helpful, working
with our staff on all facets of the exhibition. The artist also
wishes to extend special thanks to David Wilson.
LENDERS TO
We wish to thank Richard Bellamy and Jeanie Blake of Oil
and Steel Gallery, New York, Mark Quint of the Quint Gal THE EXHIBITION
lery, San Diego, and Lowrie Maclean of Fuller Goldeen Gal
lery, San Francisco for their generous assistance with
photography and documentation. We are most grateful to all Eli and Edythe L. Broad, Los Angeles
the lenders; their generosity made the exhibition possible. Meredith Brody, Los Angeles
Members of the staff of The Museum of Conte,nporary Art Diane Brown Gallery, New York
played instrumental roles in realizing this exhibition. Julia Diana Fuller, San Francisco
Brown, Senior Curator, curated this exhibition; Howard Gelco Corporation, Eden Prarie, Minnesota
Singerman, Publications Coordinator, edited the catalogue. The Solo,non R. Guggenheiln Museum, New York
Elizabeth S,nith, Assistant Curator, worked with Julia Brown fv1r. and Mrs. Robert Kardon, Philadelphia
in the organization of this project, as did Kerry Brougher, Vance E. Kondon, San Diego
Assistant Curator, in its early stages. Diana Schwab, Connie Koplin Gallery, Los Angeles
Butler, Leslie Fellows, and Susan Jenkins, Curatorial Secre Jeanne and Larry Lawrence,
taries, provided crucial support with both the exhibition and La Jolla, California
catalogue. Working with Mr. Farber, John Bowsher, Opera Mark Elliot Lugo, San Diego
tions fv1anager, designed the installation, which he carried John Muir College,
out with his crew: Randall Brockett, Robert Gibson, Stewart University of California at San Diego
Gilbert, and Marc O'Carroll. Mo Shannon, Registrar, ar Private Collection, New York
ranged transportation of the work, assisted by Jill Quinn, Mark and Linda Quint, San Diego
Registrarial Assistant. Sherri Geldin, Associate Director, Ker Quint Gallery, San Diego
ry Buckley, Director of Development, and the entire Muse Dr. and Mrs. E. Shafranske, San Diego
um staff supported and assisted in the realization of this Sheila A. Sharpe, Del Mar, California
project. Douglas Simay, San Diego
We express our gratitude to the full Board of Trustees and Bennett Tramer and Sonya Sones,
its Program Co,nmittee for their ongoing support of the fvtu Santa fvtonica, California
seum's exhibition programs, and for their affinnation of the \Vim Wendcrs, New York
Museu,n·s conunitmcnt to the exhibition and d0<.·t11ncntation David \Vilson, Knoxville, Tennessee•
of the work of individual artists. David Wright, Austin, Texas
Richard Koshalek Unless oth<>nvisc noted,
Director works an• courtesy the artist.
Stan and Ollie 1981
011 on board, 68 in. diameter
TABLE OF CONTENTS
DECOYS A D DIGRESSIONS
Jonathan Crary
9
INTRODUCTION
EXH IBI'fIO S U~f MARY 1960-84
18
~1anny Farber's paintings are not about what their sub
jects look like, but what they mean. 'lney are nanatives of a
TI-IE FARBER ~tACIII E
kind, on the many different ways of seeing a subject simul
taneously. Farber's realism embodies 1nultiplc points of view Patrick A1nos
and references, like a conversation, like the process of writ Jean Pierre Corin
ing or like a film.
22
l11e paintings are a plane and a frame for intense and
complex activity and one moves slowly fro,n object to ohject
\Vithin each work. The careful depiction of objects endows
each with its o,vn presence and identity, yet in combination CIIRO OLOGY OF REPRESE TATIO AL
PAI TI CS 1973-85
and under Farber's shifting of scale, they acid up to more than
what each is individually. Things are taken out of context,
40
carrying their references with them, and reinserted in a new
context. Farber's paintings ask that the viewer repeat their
maker's critical distancing observation, placing, juxtaposing,
and therefore defining each element in the process. The THE TER:\llTE A DALL-OYER ~1EAJ l1 C
see1ning ranclo,nness, then, has a very clear logic but one
Kevin Parker
that is, nevertheless, contradictory. The painter canies on a
conversation with himself: and with the viewer as well. 56
through scribbled notes within the paintings.
There is a sense of continuity and suggestion in these
paintings as if what is presented is something that is set in
BIOCRAPIIY
motion. 111c paintings are not static but arc continuous and
changing, feel from many sources, and built, layer upon layer. 64
They are paintings to be seen and to he read.
Julia Brown BIBLIOGRAPI-IY
Se11ivr Curator
68
•
Amencan Ca
fldy Senes Sc
hoot Boy
Talty 1976
• 0,1 on
PaPe
'23¼
• )( 21''
"• ,n
8
