Im not a theoretician and Im not a historian and Ive never spoken about someone who was dead before.
The black painting that I own is made up of dark brown, green, and dark violet. Those paintings are very hard to see. You often hear collectors moan about their lighting, and how much it costs them to light the painting.
Why did Ad wear white to paint black paintings? What does it mean? These questions have been on the back burner for a long time, waiting for an answer.
Anyone who loves modern painting cannot get around Ad Reinhardt. You have to relate to him in some way or another.
All through history a man's idea of what was "real" depended mainly on how he felt and what he thought about "space."
Once space scared people. Space was a big, blooming, buzzing confusion. Even now, what space (or people) represent is still a big mystery but we know more about what they do, today.
I met Ad Reinhardt at Hunter College in 1961, where he taught Oriental Art in the Graduate Art Department.
The Ad Reinhardt show at David Zwirner is one of the most sublime exhibitions I have ever seen. It is remarkable to see this many of the paintings together.
Art history textbooks don’t typically mention that Ad Reinhardt was a charismatic weirdo, but that’s usually what I’m thinking when I’m standing in front of one of his paintings
The duty of the artist is something that may reflect ubiquity and may reflect nothing but moldering delusion. Reinhardt is a paragon of artistic duty in my eye.
Reinhardt is one of the great underrated artists. The dark color coming out of darkness is amazing in his work.
In front of his canvases of great formal economy, in which the spectacular is rejected in favor of an extreme negativist reasoning, I found the same preoccupations as my own.
Ad Reinhardt belonged to a generation of artists historically referred to as the New York School or the School of Non-Objective Painters or, alternatively, the Abstract Expressionists.
For many artists the universe is expanding; for some it is contracting.
Ad Reinhardts Chronology (Ad ReinhardtPaintings by Lucy R. Lippard) is a somber substitute for a loss of confidence in wisdomit is a register of laughter without motive, as well as being a history of non-sense.
The Art World was recreated in 4 days in 4 sections, 40 years ago, and originally in 4004 B.C.
Reinhardt’s painting is like fog climbing over the Golden Gate Bridgethe more that is hidden, the more there is to see.
I was a student in the Art Department of Brooklyn College in the 50s. I took an art history class taught by Ad Reinhardt.
As much as I admire him, I am here to argue against one of Reinhardts more famous pronouncements: Art is art. Everything else is everything else.
Ad Reinhardts series of black paintings far predate Kaufmans vertical hold (and its later Carrey incarnation) but fundamentally share in its desire for content to foil its mediation.
During the 1970s I worked for the McCrory Corporation, which had a large collection of mostly Constructivist and geometric art.
Despairing of ever making a living as an artist, I took graduate courses in art history in the early 1960s in New York City.
I discovered Ad Reinhardt in the summer of 1980 through a tape recording of a lecture he gave at the Skowhegan School of Painting and Sculpture in 1967.
Lately writers have defined post-modernism in various ways, but they share in common the belief that the age of modernist art is over and that a new set of theories is needed to describe art today.
I met Ad Reinhardt for the first time when he came and spoke in 1962 at the Pasadena Art Museum.
One day on the street, Smithson and I ran into Ad Reinhardt, whom we both respected immensely.
John Crosby, A Few Notes on Art, New York Herald Tribune Incorporated, 1963.
I cant remember exactly when I became interested in Ad Reinhardt, but it had something to do with either the New Museum library, or the Archives of American Art, and it would have been in the early 90s, probably 91 or 92.
His paintings are ever more of a refuge from the screaming art that surrounds us.
In just about everything you read about Reinhardt, his writingson art, on black, on abstractionfunction in relation to the reception of his paintings like a dramaturg guiding performers in their roles.
Edited from a conversation recorded in Joseph Kosuths Studio, New York, October 10, 1993.
During the summer of 1966, at Cuenca, a beautiful medieval city in the middle of Spain, the Museum of Spanish Abstract Art was inaugurated.
My initiation into the New York art world began at the height of Minimalism in the 1970s.
The history of art records a long tradition in which man tried to cancel his own individuality to focus on the work of art being made.
The viewers position in French Impressionist painting is an intimate one, even in landscapes.