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A radical move forward in art of the kind Krasner would participate in during the late 1940s takes place on two levels. There is [[strikethrough]]the[[/strikethrough]] a burden of feeling that accumulates until it cannot be contained in conventional, handed-down forms, and there is the human limb (hand, foot, arms or 
[[strikethrough]] brain [[/strikethrough]] literary mind depending on the medium) that must be freed to invent the new forms. [[strikethrough]] Economic pressure ??? is often an extra going forward movement[[/strikethrough]] All through the 30s and into the 40s, the sense of pressure grew among artists not enjoying patronage from the Establishment, but bonded by their work for the WPA and then common psychic situation. Many of them like Krasner came already charged with what Harold Rosenberg, speaking of Arshile Gorky, later would call "fractured memories." [[strikethrough]] ?? [[/strikethrough]] consciousness of childhood immigrations, and moves, and abandonments of old ways, [[strikethrough]] ? had added much poverty and alienation in a self-perpetuating commercial middle-class world [[/strikethrough]]. To these [[strikethrough]] causes of [[/strikethrough]] reasons for guilt and anxiety [[strikethrough]] and other malaises, [[/strikethrough]] history contributed its [[strikethrough]] separate [[/strikethrough]] burden as the world moved toward war, and horrors mounted with movements of refugees, revelations of torture and holacost [[strikethrough]] and [[/strikethrough]] eventually atom bombs to come. Fundamentally, then, as many artists saw it, it was the [[strikethrough]]??[[/strikethrough]] dialectic between power and slavery, death and life, that seemed [[strikethrough]] appropriate  [[/strikethrough]] fit symbolism for [[strikethrough]] self-destroying world [[/strikethrough]] the times. Darkness and light, black and white might be considered the esthetic terms of the dialectic. But for a while, the means of making [[strikethrough]] full and individual esthetic statements [[/strikethrough]] a new view on the basis of that symbolism evaded the artists' reach.

Since its invention in Paris around 1910, it was Cubism that had [[strikethrough]] been [[/strikethrough]] provided the basic means and metaphysics for modernist artists. It was a rational analytical tool that seemed scientific, endlessly flexible and true to nature. But the French brand of Cubism, particularly [[strikethrough]] seemed [[/strikethrough]] was cool and objective. Characteristically, the Cubist line was a clean-cut [[strikethrough]]broken[[/strikethrough]] short, specific one, more of a notation of the position of a shape in space that a [[strikethrough]] vehicle  [[/strikethrough]]] means for