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[[image]]
Lee Krasner [[?]]
Graham for instance acknowledged her work and Gorky she says at least gave me a level to fight on  Pollock she strongly monetizes always treated her as a painter was always interested in the work and never felt threatened.
  Despite the many problems Krasner has had to face her combination of ability know-how and will-power has sustained her in creating an impressive body of work throughout the past four decades. Asked if she ever thought of stopping painting, Krasner was quick to reply
LK. No . never Only because that's what I'm all about. You don't just get up one morning and say I hate this world and because of this. I'm going to step off it  A suicide I'm not. You stay with it. You keep going
BC Krasner hints that it may have been a kind of plus that she had such a hard time at the beginning and in fact until about a decade ago 

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LK: Let me put it this way. because I lived so closely with Pollock who had it big. I knew that it was not a glorious gem that you try to get and feel that you have to get there the way so many others have felt. They don't care what. They have to get there. Maybe that's an American disease. But that's another thing. Maybe that had some effect on me in terms of "take it easy, just go back to business" or else my ego is so colossal that I didn't look it in the eye but I knew that I could sustain it. I don't have a million options, but those are some of them. Some part of me had enormous confidence. No matter how hard the thing was, I sustained and kept going. I can't pretend that it was a yellow brick road - tough position, tough place, and a hell of a lot of resentment for the stuff that was going on. The woman's movement assisted me first during the sixties. Historical re-evaluation is a separate thing. It may or may not speak for itself.

BC: Krasner feels that Abstract Expressionism has not yet been aesthetically. She sees the term as a "slogan, to [[?]] together without aesthetic definition." She points out the "non-objective abstractionists" such as Newman or Rothko, and "her end of things," which includes Gorky, De Kooning, Pollock, for instance. The term "Abstract Expressionism" is to be sure, an insufficient label at best, an oversimplification of the [[?]] in painting which grew up in New York during the forties. However, as Krasner also notes, "we have to say something in order to talk," and if we are to call the art of the dozen or so "originals" in the 
areas "Abstract Expressionism," Krasner's name belongs there among them. Starting with her Little Image paintings of the mid to forties, Krasner's work has always been the combination of abstract painterly structure and significative content which is the core of Abstract Expressionist painting. The movements in her work are organic, generated through an intensely personal gesture in which autobiographical content is expressive or more universal emotions. Like her peers, Krasner's sources are multiple. She credits Picasso, Matisse and Mondrian as her "big guns" in art, and discusses her involvement with various types of hieroglyphic and [[cuneoform]] writing, with Jung, and with the writings of [[Masterlinck]] Edgar Allan Poe, Emerson, Rimbaud, Schopenhauer, Nietzsche, and the Russians. Talking with her about various elements of her work and their interrelationships, what becomes primary is the idea that, for Krasner, each work is a movement through time and mind externalizing her inner-
[[image]]
Lou Krasner [[Servec]] [[960]] Oil on canvas /01 2 x 106 [[?]]
[[1889]] The Pace Gallery 
most feelings, experienced through the painted gesture. 

LK: Time is what I bring forth in my work. My whole point is that the time sequence, the moment you're doing something, is not necessarily what you're feeling in that second. Subconsciously, you might be living something that happened to you at another time. This is what I find fascinating. You feel it as if veiled if you will, as though it were in dream Where you can get up and say, "Oh I know what I dreamt." but in no form do you ever get it verbally exactly the way it took place, whether you're trying to describe the color that was in the thing, or the time sequence That kind of thing exists in time in the paintings Each motion leads to the next you keep it this way or with the outside element, but holding what has come forth it comes without your being conscious of it, it isn't willed It's like a pianist at his peak Think of the years that go on until you can touch the note and get the tone that you want You don't think about that kind of thing-

BC Krasnar's preference has usually been to work in the daylight Periods in the work have been in vibrant color Her greatest desire has been to get it all at once, to use her phrase in the group of monumental, gestural works she produced from 1959 to 1962. Krasner achieved the direct quality she desires most working, however at night and using low-keyed minimally [[vanegaled]] [[lonalities]] of browns and beiges with touches of color

LK My preference in ninety percent of the work occurs in daylight But if I should get tied to a work stretch - because I do work in stretches - and I feel that because of conditions around me I ought to work at night it means I do it I reduce palette But I prefer daylight if I have the 
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