There is perhaps nothing more likely to give you a healthy skepticism about utopian politics than to know that your father was executed by the Soviet secret police. In the case of the abstract painter Jules Olitski, who died February 4, the result was a lifelong distaste for art that prostituted itself to a political agenda. Today such fastidiousness seems peculiar, the quaint relic of a vanished era, which might account for the note of polite ambivalence in his obituary notices.
Olitski was born in the Ukraine in 1922, a few months after his father’s death. His mother fled to New York, where Olitski grew up and studied painting. His father’s murder seems to have haunted him, and he perpetrated a hoax about a Soviet painter hiding from Stalin’s assassins in a Brooklyn basement, a strange alter ego whom he named Jevel Demekov—a variant of Jevel Demikovsky, his birth name.
Olitski came of age during the heyday of the New York School, but he had little use for the agitated canvases and violent gestures of Jackson Pollock and his ilk. Instead, Olitski looked to purge his canvases of all violence, or even the visible evidence of labor. He dyed his canvases with delicate stains, or sprayed them with fine mists of color; the shimmering pools of color that emerged looked as if they had formed spontaneously, the way that a veil of frost might appear on a window.
Olitski was not alone in his quest for diaphanous color. Helen Frankenthaler, Morris Louis, and others pursued similar artistic goals; collectively, they formed the movement known as color-field painting (or “post-painterly abstraction,” the rather ponderous term that Clement Greenberg assigned it). But Olitski’s star was short-lived. With the rise of Pop Art and the increasing politicization of art during the Vietnam war, his sensuous and apolitical art became deeply unfashionable. Nonetheless, he made ravishing chromatic essays to the end. At the same time, he remained a keen and outspoken critic of the art world. In a lecture a few years ago, he suggested that a kind of aesthetic Gresham’s Law was at work, in which low art drove high art out of circulation.
Reputations rise and fall, of course, and it may well be that Olitski will one day be rehabilitated. I rather doubt it. Such rehabilitations require publicity campaigns and the dissemination of images, and Olitski’s fragile essays are impossible to photograph with anything near the chromatic subtlety they require. One would as soon ask a short-order cook to make a copy of a gourmet dinner. This is to be regretted, for at a time when the entanglement of art with politics has been good for neither, Olitski’s principled stand has much to teach us.
Bookshelf
I’ve been catching up with the scholarly literature on Aaron Copland published since I last wrote about him for COMMENTARY. So far three full-length books have appeared, all of which are important—albeit in very different ways.
• In 1997, when I wrote “Fanfare for Aaron Copland,” discussing Copland’s hard-Left politics in public was widely regarded as a form of red-baiting. Even Howard Pollock, whose 1999 biography of Copland dealt more or less frankly with his close ties to the Communist party, was squirmily euphemistic when it came to such ultra-sensitive matters as his participation in the 1949 Waldorf Conference. Not so Elizabeth B. Crist, whose Music for the Common Man: Aaron Copland During the Depression and War (Oxford, 253 pp., $35) is utterly forthright about Copland’s involvement in the Popular Front, an experience that she rightly sees as crucial to the making of such masterpieces as Appalachian Spring and the Third Symphony. The problem with Music for the Common Man is that like so many modern-day academics, Crist is starry-eyed to the point of idiocy about the Popular Front, and she’s also a bit of a jargonista to boot: “In Rodeo, the Cowgirl quite literally turns her back on typical displays of heterosexual romance and stereotypical, heteronormative feminine behavior.” Still, she’s done a first-rate job of relating Copland’s music to his politics, and her book is as illuminating as it is irritating.
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