By Ellen H. Johnson
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In Alfred Hitchcock’s To capture a Thief , a beach inn was once the atmosphere for thievery and intrigue. Fred Astaire and Ginger Rogers tap-danced their approach to repute at a Brighton lodge in The homosexual Divorcee . The beach inn has consistently held a different fascination, a spot of containment and relaxation that has a distinct shape within the actual panorama: towering inns, shop-lined boardwalks, and sprawling shorelines.
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Extra resources for American Artists On Art: From 1940 To 1980
No one in his right mind g m to an art-museum to worship anything but art, or to learn about anything else. The ane place for art-as-art is the museum of fine art, The one reason for the m u s u m of fine art is the preservatim of ancient and m d e r n art that cannot be made again and that does not have to be done again. h museum aif fine art should exdude ewxything but fine art, and be separate f r m mufeums of ethnology, gealogy, archaeology, histsry, decorative-arts, industrial-arts, military-arts, and museums of other things.
For here is a group of artists who are not abstract painters, although working in what is known as the abstract style. Mrs, Betty Parsons has organized a repres~ntativeshowing of t h i s work around the artists in her gallery who are its exponents. That all of them are associated wit h her gallery is not without significance. Barnett Newman, Reply to Glenrent Grsenberg" review in The Nation, Decsmber 6 , 1947, quoted din Thornas B, Hsss, Barnett Newman, Mew York, 196Q (Nswmank letter was not published in P " ~ B M ~ l i o n ) 16 AMERICAN ARTltSTS ON ART Newman" attempt to explain the meaning of Abstract Expressionist art is as illuminating and convincing as any subsequent critical exyjljication that I am familiar with, Its date, 1947, is just prior to his first "zip" paintings (Qnement I is 1948); had his essay been written thereafter, he would have had to get around the corner of his statement that ""A.
I permit them to play, like a seesaw. I use action and eountctraetion, like in music, all the tirne. . You add or subtract until you feel . . the form, the principle, that mmething that makes the house stand; that makes you stand. ". OTHER ART OF THE FORTIES AND FIFTIES *1C3 You see, 1 think that we have measurements in our b d i e s . Measurements in our eyes. Look, dear, we walk on two feet. So we're vertical. That doesn't mean the work has to be vertical, but it means that there is a weight within ourselves, or this Bight.