I didn’t say much about my studio practice:
For a very long time, I worked “despite” in the studio. I mean that I felt hemmed in by the constraints imposed (or self-imposed) on me by the discipline, as I saw it, of the field. I took this very, very personally and it was a long, long struggle.
It had its moments: I realized, early on, that the painters I admired – Olitski, Noland, Louis and others – had opened the Field – that was what Color Field meant to me – and that it was opened for me. I wasn’t conceited about this, it simply felt very real, and a good thing. And I related this openness to the great works of the past which I had seen in Europe when I was a student. My father was born in Wurzburg, Germany, and when I was there, where my relatives still lived, I saw, and loved the Tiepolo frescos in the Treppenhaus in the palace there. That space deeply stayed with me, and I thought, every time I saw Olitski’s early Color Field paintings that this field that had been opened for me related directly to that extreme of pictorial space in Tiepolo.
But I took the self-criticizing that was built in to the rigor of professionalism to a point where, finally, my partner, Patty Kerr Ross, a woman with a great eye and great judgment told me that I had to get Clement Greenberg out of my studio.
COMING SOON BY GEORGE HOFMANN