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Letter from Clyfford Still to Gordon Smith, Director, Albright Art Gallery,
reprinted from the exhibition catalogue:

Paintings by Clyfford Still

November 5 -- December 13, 1959

The Buffalo Fine Arts Academy

Albright Art Gallery
Buffalo, New York

January 1, 1959

Dear Gordon Smith:

Your suggestion that I write a few notes for the catalog of this collection of paintings raises the same interest and the same qualifications that were present when the exhibition itself was first considered. The paradox manifest by the appearance of this work in an institution whose meaning and function must point in a direction opposite to that implied in the paintings -- and my own life -- was accepted. I believe it will not be resolved, but instead will be sharpened and clarified. For it was never a problem of aesthetics, or public or private acceptance, that determined my responsibility to the completed work. Rather, it was the hope to make clear its conceptual germination of idea and vision, without which all art becomes but an exercise in conformity with shifting fashions or tribal ethics. Perhaps a brief review is in order —. In the few directions we were able to look during the 1920's, whether to past cultures or the scientific, aesthetic, and social myths of our own, it was amply evident that in them lay few answers valid for insight or imagination. The fog had been thickened, not lifted, by those who, out of weakness or for positions of power, looked back to the Old World for means to extend their authority in this newer land. Already mired by moralists and utilitarians in the swamps of folkways and synthetic traditions, we were especially vulnerable to the mechanistic interpretations of motive and meaning. There followed a deluge of total confusion.

Self-appointed spokesmen and self-styled intellectuals with the lust of immaturity for leadership invoked all the gods of Apology and hung them around our necks with compulsive and sadistic fervor. Hegel, Kierkegaard, Cezanne, Freud, Picasso, Kandinsky, Plato, Marx, Aquinas, Spengler, Einstein, Bell, Croce, Monet, — the list grows monotonous. But that ultimate in irony, -- the Armory Show of 1913 — had dumped upon us the combined and sterile conclusions of Western European decadence. For nearly a quarter of a century we groped and stumbled through the nightmare of its labyrinthine evasions. And even yet its banalities and trivia are welcomed and exploited by many who find the aura of death more reassuring than their impotence or fears. No one was permitted to escape its fatalistic rituals — yet I, for one, refused to accept its ultimatums.

To add to the body of reference or "sensibility" which indulges homage or acquiescence to the collectivist rationale of our culture, I must equate with intellectual suicide. The omnivorousness of the totalitarian mind, however, demands a rigor of purpose and subtlety of insight from anyone who would escape incorporation.

Semantically and ethically the corruption is complete. Preoccupation with luminous devices is equated with spiritual enlightenment. The laws of Euclid are publicly damned to promote work illustrating an authoritarian dialectic. Witless parodies are displayed as evidence of social artistic commitment; and qualitative arrangements are presented as evidence of access to supernal mysteries. The rush to betray, in the name of aesthetics or "painting," an imagery born in repudiation of socio-psychological fallacies becomes a popular, but sinister, measure of its power.

Unknown are the crimes not covered by the skirts of that ubiquitous old harridan called Art. Even the whimperings and insolence of the venal are treasured in her name — and for their reassurance — by the arrogant and contemptuous. Indeed, among ambitious esthetes, artists, architects, and writers, the burden of our heritage is borne lightly but mainly by hatred or cynicism. The impudence and sterility which so hypnotically fascinate the indifferent, perform a sordid substitute for responsibility and truth.

I held it imperative to evolve an instrument of thought which would aid in cutting through all cultural opiates, past and present, so that a direct, immediate, and truly free vision could be achieved, and an idea be revealed with clarity.

To acquire such an instrument, however, — one that would transcend the powers of conventional technics and symbols, yet be as an aid and instant critic of thought — demanded full resolution of the past, and present through it. No shouting about individualism, no capering before an expanse of canvas, no manipulation of academic conceits or technical fetishes can truly liberate. These only make repetition inevitable and compound deceit.

Thus is was necessary to reject the superficial value of material — its qualities, its tensions, and its concomitant ethic. Especially it became necessary not to remain trapped in the banal concepts of space and time, nor yield to the morbidity of "the objective position;" nor to permit one's courage to be perverted by authoritarian devices for social control.

It was as a journey that one must make, walking straight and alone. No respite or short-cuts were permitted. And one's will had to hold against every challenge of triumph, or failure, or the praise of Vanity Fair. Until one had crossed the darkened and wasted valleys and come at last into clear air and could stand on a high and limitless plain. Imagination, no longer fettered by the laws of fear, became as one with Vision. And the Act, intrinsic and absolute, was its meaning, and the bearer of its passion.

The work itself, whether thought of as image of idea, as revelation, or as a manifest of meaning, could not have existed without a profound concern to achieve a purpose beyond vanity, ambition, or remembrance, for a man's term of life. Yet, while one looks at this work, a warning should be given, lest one forget, among the multitude of issues, the relation I bear to those with "eyes." Although the reference is in a different context and for another purpose, a metaphor is pertinent as William Blake set it down:

THE Vision of Christ that thou doust see

Is my Vision's Greatest Enemy:

Thine is the friend of All Mankind,

Mine speaks in parables to the Blind:

Therefore, let no man undervalue the impliations of this work or its power for life; — or for death, if it is misused.

Although several large and significant areas of the work cannot be exhibited, I believe what will be shown will justify the interest and effort you have so courageously given.


Clyfford Still

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