The San Francisco Museum of Modern Art is home to a new attendant of the artisan Vija Celmins, whose assets of oceans and lunar surfaces are so cautiously and anxiously formed that they resemble photographs. With that exhibition in mind, we accept republished a abbreviate contour of the artisan by Gordon J. Hazlitt, who wrote on Celmins for the February 1978 affair of ARTnews. He asks Celmins why her assets are so obsessive. She tells him: “They are annal of states of attention. When I do them, annihilation is too little or too abundant to appear to.” —Alex Greenberger
“Vija Celmins: A reductionist by nature”By Gordon J. HazlittFebruary 1978
Talking with Vija Celmins is instructive, for abundant of what is adumbrated in boilerplate abreast art becomes explicit. Celmins has a acceptability as an artisan who is accurate in the apperception and beheading of her work, if not prolific. In contempo years she has formed alone with graphite pencil, cartoon small, semi-abstracted patches of ocean on arid floor.
Her studio, amid in an automated area of West Los Angeles, is still new and conflicting to her, and the break has acutely disconnected her absorption and output. She lives in a baby accommodation she ancient admiral but draws in a continued barn allowance which is corrective collapsed white and seems around empty.
Celmins thinks as acutely as her assets are rendered and speaks with candor. “I am a reductionist by nature. I like to bandy abroad what doesn’t affair me anymore. When I was a apprentice I corrective like de Kooning, but I annoyed of the huge calibration and all the amaranthine bond of little marks. I gave up algid because I begin I absolutely didn’t like it. Then I gave up painting entirely.”
About ten years ago, she saw a photograph taken by of the moon’s apparent by one of the Russian amplitude missions. The distanced, flat-appearing mural triggered a response: “I had capital a afterpiece acquaintance with the apparent than I was accepting through brushwork in painting. She began to assignment with pencil, cartoon sky, sea or landscapes that were as “tight” as she could get them. Working with pencil accepted acceptable because the pencil’s point acutely focused her absorption throughout the process.
ERIN MCNATT/COURTESY SAN FRANCISCO MUSEUM OF MODERN ART
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“I advisedly approved aloof images, in that the angel as such, would be alone one aspect amid abounding and would antithesis with added qualities such a density, admeasurement or scale.” She now finds some of her beforehand assets of the apparent of the sea “baroque” because they accept a somewhat dramatic, abundant look. The new drawings, of sea or arid floor, are abundant “tighter,” added about authentic surface. She has not alone the angel of sea or arid absolutely because she believes that “illusion per se is inherent in art and charge be dealt with but charge not accustomed to dominate.”
Celmins now generally works in series. She will do two or added assets of the aforementioned image, capricious one of the few elements she keeps in her work. Taking a cue from Monet’s alternation of paintings of haystacks done in altered light, she has done several continued alternation of assets of galaxies and ocean in which she repeats the angel as absolutely as accessible but varies the acerbity of the graphite in her pencil. The completed assignment is a attenuate spectrum of drawing. At added times, she will draw the aforementioned angel at two allegory scales on the aforementioned allotment of paper. In all such series, the absolute agreeable of the assignment is in the viewer’s acumen of the aberration the about-face makes.
Celmins is awful clashing about California as a abode to work, admitting she speaks of adequate the adjacency to the absolute sea and deserts. She says, “I feel absolute abandoned here. Los Angeles is a asleep boondocks for art and lacks a acceptable ambience for accomplishing austere work.” When asked to adverse it with New York, she added that the botheration is that “maybe in New York the ambience is too developed and artists get put in bound categories.”
How should her assets be interpreted? “They are annal of states of attention. When I do them, annihilation is too little or too abundant to appear to. I achievement bodies feel that annihilation is hidden in them.”
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