That minimalism/ postminimalism show at the Portland Art Museum makes a powerful case for the print. The stretch of Richard Tuttles was particularly impressive, as was also the gushing Ellsworth Kelly. As Jordan Schnitzer, the collector who brought these pieces together over time said: “I was able to be in Ellsworth Kelly’s studio… and everything was to die for…” (that’s loosely quoted) – yeah, well I would feel the same in Kelly’s studio: to die for. Jordan’s speech at the museum was so heartfelt; you could not doubt his enthusiasm.
The curator Annette Dixon gave a few high notes in her own delivery but my mind sort of drifted at the very beginning, happy to stay there, when she spoke of Josef Albers as the beacon. Albers has been a life force for me before I even encountered Malevich. As she detailed his importance, my mind went to my own Albers print (above). When you first hit this exhibition, you see a whole wall of Albers right from the same press I got mine. In my own painting, I’ve gone over yellow and blue a la Albers and know how infinite the possibilities are.