ColorField remix, April - June 2007

ColorField remix is a citywide visual arts project that will take place in the spring of 2007 between April and July. The project will focus on that historic generation of Color Field painters, Washington Color School artists, and generations of succeeding and contemporary artists whose work has been indebted to this generation. With its roots in the field painters of the Abstract Expressionist movement (Mark Rothko, Clyfford Still, Barnett Newman) this generation of 1960s artists included Helen Frankenthaler, Kenneth Noland, Morris Louis, Frank Stella, Ellsworth Kelly, Jules Olitski, Larry Poons, Tony Smith, Paul Feeley, and Sam Francis amongst others.

Constructed and championed by influential critic Clement Greenberg, The Washington Color School evolved concurrently out of the Color Field movement. These artists included Louis and Noland but also Howard Mehring, Gene Davis, Tom Downing, Alma Thomas, Leon Berkowitz, and Paul Reed among others.

Judy Greenberg, Director of the Kreeger Museum, has spearheaded this exciting initiative. It is our goal to have all of the city's museums, commercial galleries, non-profit arts organizations, and public collections on board. The DC Department of Cultural Tourism has agreed to help promote this project in hotels and bus stops, possibly on buses.

The Washington Color Field Painters rejected the notion that paintings could not make a statement with only color and composition. In their works they dealt with what they considered to be the fundamental formal elements of abstract painting: pure, unmodulated areas of color; flat, two-dimensional space; monumental scale; and the varying shape of the canvas itself. Painters associated with the Washington Color Field Painters, Morris Louis, Kenneth Noland, Howard Mehring, Thomas Downing, Paul Reed and Gene Davis will be remembered and redefined in the WPA\C Experimental Media Series: ColorField remix which challenges artists to reinterpret the Color Field artists with experimental media, sound and performance pieces.

The commercial galleries, non-profit arts organizations, and public collections of the city will either present works by artists from that generation or present works by contemporary artists whose work owes a debt to the Color Field artists. We aim to include photography, sculpture, light art, and video in the mix. This is an exciting opportunity to re-examine and celebrate Washington DC's important cultural history, its international context, and the impact Color Field painting has had on succeeding generations of artists and cultural producers.

Andrea further discussed the idea. Recognizing the close relationship and impact the Color Field artists had on painting and music and wanting to reassess and make the movement relevant today, Andrea came up with the term ColorField remix (remix being a term used in today's DJ culture). The idea is to involve not only museums and galleries but to have a public aspect including possibly recreating the Davis street painting and involve school children and musicians. Andrea noted how this could be a huge boon for DC Tourism and that the idea could involve nonprofits, law firms, restaurants and hotels. Andrea emphasized that the exhibition would provide an opportunity to look at current artists, like Maggie Michael and Dan Steinhilber, who have been influenced by the color field movement.

As a citywide initiative, Tony Giddons would be contacted to explore and coordinate closing a street (possibly 8th Street). Angela suggested that we contact Downtown BID about the street closure, not just Tony. Andrea suggested that there could also be academic symposia and talks organized around the event.

With respect to possible participation by the Hirshhorn, Kerry noted that around the same time the High Museum was organizing a Morris Louis retrospective. Most of the Hirshhorn's Louis pieces would probably be on loan for that show. He also mentioned that AFA has a Color Field show in the planning stages that would be curated by David Anfam. Nevertheless, the Hirshhorn has received stained painting conservation grants and is undertaking an effort to restore many of its Color Field paintings. After conservation, the paintings are displayed at the museum. Currently, Morris Louis paintings recently conserved are on view. Kenneth Noland paintings will be on display after they are conserved. Thus, he thought that the Hirshhorn could have at least one room dedicated to Color Field artists and thought that a graphic brochure could then tie the show to the remix concept and other events/shows.

Sue stated that the Phillips Collection is considering hosting the Louis show and stated that it would be interested in participating in some way.

Jonathon was unsure of how the Corcoran could be involved. The new director is not fully on board yet and he understands that the museum is planning a major show in 2007 that would fill the entire museum. This show is being organized by the Victoria and Albert Museum and is focused on early 20th Century modernism, decorative arts and printmaking. Space might be available and some of the museums permanent holdings may be available for loan. Charlie Cowles proposed that perhaps the rotunda could be painted again.

Jack noted that, in line with the remix idea, that there was an anti-color school movement in 1973 called the Washington Color Pencil School. This could be a part of the exhibit as well. Other stripe painters could participate and Jonathon mentioned other media artists, like Jeremy Blake who have been heavily influenced, Howard Mehring, and Leon Burkowitz were also mentioned.

Although the National Gallery had not been contacted about participating in the exhibition, Angela mentioned that the NGA had been actively involved in many city projects and suggested contacting Molly Donovan there.

Marsha and Charlie could assist with Gene Davis works as representatives of the Gene Davis estate. David's group will explore the possibility of traveling the show or at least providing exhibit space. Angela said the DC Cultural Tourism would be involved in promoting a Shakespeare in DC event that would run from January through June 2007. She said, however, that she would have no problem promoting and accommodating this event too. She mentioned that hotels like the Willard might be interested in this. Other organizations that may be interested include the MacDowell Colony, the Kennedy Center, and the Library of Congress. Because her organization is centered on promoting DC as a cultural capital, the idea had appeal to her.