Joan Mitchell

Dedicated to Joan Mitchell's remarkable paintings from 1960 to 1965, this richly produced catalogue illuminates a pivotal chapter in the internationally acclaimed artist's career. After settling permanently in France in 1959, the American painter Joan Mitchell embarked on a period of radical experimentation that diverged dramatically from her earlier work, replacing structured compositional frameworks with more untamed, atmospheric forms. She began spending long stretches living on a sailboat along the C te d'Azur, absorbing the effects of the shifting light, water, and rugged coastlines of the Mediterranean. Back in her Paris studio, these experiences gave rise to daring and moody canvases that engaged with landscape more directly and visibly than she ever had before. Characterized by dense, central currents of deep greens and blues that veil luminous colors beneath, the paintings of this period pulse with turbulence and lyricism. The poet John Ashbery described them as "an unhurried meditation on bits of landscape and air," capturing Mitchell's ability to translate sensation and memory into paint. This catalogue, published on the occasion of the exhibition To define a feeling: Joan Mitchell, 1960-1965 at David Zwirner, New York, explores how these works advanced her approach to structure and color while engaging the enduring themes that define her oeuvre. The volume features an introduction and an essay by the exhibition's curator, Sarah Roberts, a text by Saul Nelson on the relationship of critic Clement Greenberg's criticism to Mitchell's work, and exhibition reviews from the 1960s by Ashbery and Pierre Schneider, offering rich historical context for this transformative moment in the artist's career.

Discover Joan Mitchell’s powerful and dynamic work—spotlighted in this book as never before“An entry for one of the best shows of 2022. . . . Mitchell, then in her 50s, reaches peak form in gathering brushstrokes that flicker and burn like auras on fire.” —Jerry Saltz, New York magazine This highly anticipated publication focuses on the years 1979 to 1985—a significant and deeply generative period within Joan Mitchell’s decades-long career. As Mitchell became even more fully immersed in daily life at her property in Vétheuil, France—surrounded by lush gardens, and challenged and inspired by new creative relationships—her studio practice flourished and her work became even more ambitious and expansive. Executed in an increasingly bold palette, the works from this period exemplify Mitchell’s nuanced mastery of composition, scale, and color. In addition to her large-scale abstract works, this publication features numerous smaller paintings and a selection of archival materials. Included in the book are several texts that complement the illustrated works. A new essay by the bestselling author Julie Otsuka recollects her encounters with Mitchell’s paintings over the years. A fascinating conversation between Mitchell and the French philosopher Yves Michaud from 1986 is featured. Reflections by the artists Amy Sillman, Shinique Smith, and Lily Stockman each explore a unique component of Mitchell’s oeuvre or practice, underscoring Mitchell’s continued influence on artists today.

I carry my landscapes around with me focuses on American abstract artist Joan Mitchell’s large-scale multipanel works from the 1960s through the 1990s. Mitchell’s exploration of the possibilities afforded by combining two to five large canvases allowed her to simultaneously create continuity and rupture, while opening up a panoramic expanse referencing landscapes or the memory of landscapes. Mitchell established a singular approach to abstraction over the course of her career. Her inventive reinterpretation of the traditional figure-ground relationship and synesthetic use of color set her apart from her peers, resulting in intuitively constructed and emotionally charged compositions that alternately evoke individuals, observations, places, and points in time. Art critic John Yau lauded her paintings as “one of the towering achievements of the postwar period.” Published on the occasion of the eponymous exhibition at David Zwirner New York in 2019, this book offers a unique opportunity to explore the range of scale and formal experimentation of this innovative area of Mitchell’s extensive body of work. It not only features reproductions of each painting in this selection as a whole, but also numerous details that allow an intimate understanding of the surface texture and brushwork. In the complementing essays, Suzanne Hudson examines boundaries, borders, and edges in Mitchell’s multipanel paintings, beginning with her first work of this kind, The Bridge (1956), considering them as both physical and conceptual objects; Robert Slifkin discusses the dynamics of repetition and energy in the artist’s paintings, in relation to works by Monet and Willem de Kooning, among others.

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