what is funny about ad Reinhardt and yves Klein? i want to be let in on the joke
so yves klein was a color field painter, also known as those guys who just paint a canvas blue, all blue, all the same color of blue, and sell it for a shitton of money. actually when it came to blue, yves klein was kind of The Guy.
but back before all the fame and the blue, he made “yves peintures,” which was a catalog of his monochromes, pictured here:
the joke is that it’s bullshit! it’s just squares of construction paper glued on the page with little titles written below them. even the preface isn’t a preface – it’s just horizontal lines that he had a buddy of his sign with his name. one time yves klein and his art pals all hyped up a big big gallery show that he was opening. a solo exhibition! very exciting! all the critics and fancy motherfuckers showed up – three thousand people came. with great drama, they were led into a completely empty gallery. “welcome,” yves klein said. “I call it THE SPECIALIZATION OF SENSIBILITY IN THE RAW MATERIAL STAT INTO STABILIZED PICTORIAL SENSIBILITY, LE VIDE (THE VOID).” he was, in every way, a total fucker who loved bright colors and pranking the art world.
meanwhile, ad reinhardt – what’s ad reinhardt’s gig?
ad reinhardt’s gig is BLACK
more specifically, black-on-black grids of very slightly varying shades of black, applied in a very matte, powdery way that left the paintings with almost no sheen. it’s a pretty cool effect in person (if vantablack 2.0 had been a thing in the 50s, ad reinhardt would have busted a nut)
unfortunately, the way he did the paint makes the paintings incredibly difficult to maintain. if you touch one, the oils on your hands will immediately stain the painting, and it can’t be cleaned or repaired.
“no prob, bob,” ad reinhardt said to the flustered museum curators and collectors. “if you mess it up i’ll just replace it.”
“but what about our original ad reinhardt!” said the curators and collectors
“yeah i’ll replace it,” ad reinhardt said, “with the same original painting but not fucked up.” this caused some consternation
incidentally, he also made this small comic, which never fails to tickle me:
YOU, SIR, ARE A SPACE TOO!
one of my real favorite artworks in this vein is by robert rauschenberg, and i’m going to include the story of it because it makes me very happy. rauschenberg was an insane post-modernist – one of his most famous pieces includes a taxidermy goat with paint thrown all over it and a car tire around its neck, that kind of thing – and i love his piece titled “erased de kooning drawing”
so willem de kooning was the husband of elaine de kooning, who painted sick abstract expressionist portraits and was slamming hot
willem was also an artist, and kind of a big deal in his own right, and friends with rauschenberg
one day rauschenberg calls him up like “hey i have an idea for a collaboration between us two art bastards. i need you to do me a drawing, in pencil”
and rauschenberg said “wouldn’t you like to know”
and rauschenberg said “because i’m gay, give it”
and willem said “that’s not a reason”
and rauschenberg said “fine, i wanna make a commentary on the value of art even after it’s destroyed and palimpsests and ephemerality and shit i guess, so i need a drawing by a famous dude to erase, and you’re famous”
willem de kooning said “okay” and proceeded to find the wettest, most difficult to erase grease pencil in his studio, which he then used to make several drawings until he came up with one he liked and sent it to rauschenberg
and to his credit, rauschenberg erased that motherfucker. he put in the effort. in a spectacular show of spite countering spite, he very nearly got rid of it all. look at this shit:
if that almost-blank piece of paper isn’t a work of art, i don’t know what is
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