Ever wondered how Agnes Martin balanced perfection and imperfection in her gridded compositions, why Jackson Pollock was dubbed “Jack the Dripper,” how Mark Rothko sought to make viewers cry, or what a Willem de Kooning painting sounds like? Sign up for “In the Studio: Postwar Abstract Painting,” MoMA’s newest free online course—now open for enrollment at mo.ma/coursera.
This course welcomes anyone to tap into the processes, materials, and minds of seven New York School artists including Martin, Pollock, Rothko, de Kooning and Barnett Newman, Ad Reinhardt, and Yayoi Kusama. Combining studio techniques, visual analysis, and art historical insight, it offers an opportunity to experience postwar abstract painting from an artist’s point of view.
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Thinking about how Cecil shifted from calling Carlos “perfect” to “perfectly imperfect” and how he acknowledges that Carlos has flaws but accepting and loving him for them anyway is what warms my soul.
Where half his face is in the green light and half in the normal. Both halves of him. Looking at one woman and letting her see both those halves.
she’s the only person he allows to see all sides of himself - good, bad, ugly. He allows it. And she’s the only person he sees and loves with all parts of himself.
And this shot, especially, becomes even more special because in this moment, they’re both tensed and laying into each other with harsh truths. It becomes everything because they truly are naked in so many ways.