Word: viewers
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Dates: during 1960-1969
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...color abstractionists up to Minimal Artists, Pop with its familiar fandango of images, and a few other works that stand outside the mainstream of the New York School are also there. The museum gives each artist a lot of space, usually at least half a room, so the viewer can see some progression of the individual's style...
...abstract imagery of geometric shapes and drips of paint in most of the works at the museum frees the art from connotations of material aspects of culture. The monumental size of the paintings gives them inescapable presence. Once in the room, the viewer cannot change the channel-he must look. The power of an undiluted red surface with stripes of white on each end by Barnett Newman stretches beyond the viewer's field of vision if he stands close. To see the whole he must stand back. By their sheer size the paintings scream for recognition, protesting the decreasing space...
...TIME the viewer wends his way through rooms of colorists, the confrontation with Pop Art jolts his senses. Though from the same environment as the abstract artists, pop artists attack different questions concerning the nature of art. Like masters of still life, they select subjects from the material world around them. By boldly painting things from Commercial America, they attempt to smash the aesthetic values of European traditional art. In spite of flashes of popular success, the movement has failed to undermine standards, and to move beyond its initial inventions...
...during and familiarity appeals instantly but the particular interest of Pop lies in social criticism. The works at the Metropolitan provide a dose including Old??nberg's giant pool balls. Lichtensten's cartoons, Warhol's Marilyn Monroe, Pop lets the viewer share the satisfied superiority of mocking America and its many brands of soup...
...from the doll-like people-the works of Hopper stand out from among the abstract pieces with haunting truthfulness. The only lyrical references to humanity emerge from the brush strokes of De Kooning and Kline-figures of paint both suggested and dissolved by a network of strokes. But the viewer of the vast rooms of abstraction feels the constant stares of the paintings reaching beyond their frames, asking the thought of the mind to comprehend their nature. Standing before the particularly bright ones, you begin to feel as though you are the subject matter and whatever occurs in your mind...