Page 56 - Studio International - July 1965

Kelly's unique spatial experiences

New York Commentary by Dore Ashton

Ellsworth Kelly has been working for many years the complicated visual problems. rendered simple
toward the perfection of his present paintings at the through the effort and intensity of the artist, is not
Sidney Janis Gallery, This buoyant, expansive exhibi­ available. To discuss basic optical effects endemic to all
tion, while it seems particularly apropos at a moment painting, but prominent in abstract painting, is to
when optical effect preoccupies so many painters. is obscure the issue. Kelly may juggle complementaries.
rather a summary of Kelly's many previous concerns and he may electrify us with his brilliant blue and red­
a prophecy of things to come. orange juxtapositions. but that is only part of his story.
It is true that Kelly now uses highly saturated colours Vision is not only a matter of the stimulation of optic
that in juxtaposition create strong tensions and reactions nerves. Vision, most physiologists tell us. is quite sub­
of the eye. Place a blue and a red of roughly equal jective. To speak about the laws of colour does not
intensity in proximity and invariably the eye is throttled. clarify Kelly's paintings. There are a few primary sensa­
Yet, the predominant impression in Kelly's show is still tions that occur to almost anyone with normal eyes, but
one of traditional illusion in which the artist carefully to talk about the work of a painter in these normative
weighs out shape and colour in order to produce unique terms is to lose the essence. It is precisely where
spatial experiences. Kelly eludes normative Judgments that his genius lies.
Ellsworth Kelly I have noticed over the years that many writers who There are no visible rules in Kelly's paintings. What is
Blue, Green, Red II. 1965 have attempted to elucidate Kelly's work are forced visible. at least to me. is Kelly's consummate drafts­
101 X 88 in.
Sidney Janis Gallery away from the issue. The rhetoric required to deal with manship. Without the tremendous instinct shaping
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