PDF Summary:The Slip, by Prudence Peiffer

In The Slip, author Prudence Peiffer examines the rich history of the Coenties Slip neighborhood and its vibrant mid-20th century art scene. She traces the beginnings of this eclectic creative community, composed of artists such as Ellsworth Kelly, Robert Indiana, Lenore Tawney, Agnes Martin, and others. The neighborhood itself—perched along the East River and isolated from established art circles—fostered an environment of "collective solitude," where ideas and techniques freely intermingled.

Peiffer delves into the distinct personal journeys of these artists and how their work both reflected and transcended the particulars of their unconventional surroundings. She illuminates how gender, sexuality, class, and mental health realities shaped their creative processes—as well as the solidarity and support structures they established to overcome obstacles and pursue new artistic possibilities.

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Practical Tips

• Start a visual diary to document the urban transformation. Keep a visual diary or blog where you regularly post photos or artwork that captures the changes in your urban environment. Focus on how new developments, seasonal changes, or community events alter the look and feel of your neighborhood. This ongoing project will not only serve as a personal reflection of your experiences but also as a historical record of the urban evolution you're witnessing.
• Craft a modern talisman using mixed media art. Select materials that resonate with you personally, such as stones, metals, or fabrics, and create a small piece of art intended to act as a protective charm or a reminder of a personal journey. This could be a piece of jewelry, a keychain, or a small sculpture that you carry with you or place in a significant spot in your home.
• Customize your clothing or accessories with stenciled designs inspired by your neighborhood's character. Use fabric paint and stencils to apply local street names, landmarks, or community slogans onto tote bags, t-shirts, or hats. This wearable art serves as a conversation starter and a personal tribute to your locale.

Lenore Tawney: Crafter Turned Textile Artist, Transforming Woven Forms Into Artworks Inspired by Maritime Surroundings

Peiffer examines Lenore Tawney’s artistic development in the context of a struggle shared by many women of her generation: defying socially mandated expectations for their gender and asserting an independent and creative life in 1950s America. As Tawney noted upon her arrival in NYC in 1957 to establish herself as an artist, her age (fifty) would be considered a disadvantage in a male-dominated art world, and she downplayed this by claiming to be younger. Her defiance was a silent one -- she did not participate in the political demonstrations that other artists in her circle, including her close friend and neighbor Agnes Martin, were drawn to, and she was among the few artists at the Slip who did not need to work to support her art. This independence came from her family’s wealth and an inheritance that followed her husband's passing when she was thirty-six; she was also the only artist at the Slip with a car.

Her medium—weaving "forms" that combined the ancient traditions of gauze, tapestry, and folk art with modern abstraction—was simultaneously an extension of the "feminized" domestic space that she willfully rejected, and something that challenged accepted display and aesthetic reception within the artistic community. The irony of her situation, Peiffer points out, was that she had come to Coenties Slip, a former industrial and working-class neighborhood where sailmakers had previously sewn huge canvas panels together into sails, to pursue her art in a space where that very technique of making -- with yarn and thread -- was at once an ancient practice and being reimagined by various artists and curators as something that could also be modern.

Using String and Cord to Transform "Interior Landscapes" Into Monumental Forms

Peiffer argues that Tawney’s arrival in New York City and at the Slip, while marked by some external difficulties (locating a new studio, being evicted, supporting her friend and neighbor Martin through a mental health crisis) also spurred her to embrace new artistic opportunities, and she produced some of her best-known and most ambitious work of the early 1960s in her Coenties Slip and South Street lofts, including two monumental woven forms that were titled after rivers.

Tawney was drawn to the water; the views out her window of the East River and its busy tugs and barges moving at various paces and in various directions inspired her own experiments with form as something that was always in motion, "expanding and contracting, aspiring.” Her studio was directly underneath Jack Youngerman’s and above Agnes Martin’s; the three would take walks by the water together, sometimes pointing out objects they might draw or paint or use for their sculptures. However, they seldom discussed how their work impacted each other or their personal struggles. Instead, they created their own versions of the “interior landscapes” that Tawney liked to speak of: spaces where the exterior environment seeped in and could be transformed into something new, something beautiful, its materials carrying a symbolic weight of the location too.

Practical Tips

• Create a 'Yes Day' where you say yes to new experiences or invitations that you would typically decline. This could lead to unexpected opportunities, similar to how an artist might embrace opportunities in a new city. For instance, if a colleague invites you to a networking event or a friend suggests a spontaneous road trip, go for it and see where the experience leads you.
• Transform a space in your home into a dedicated creative zone, mirroring the environment of a loft. Choose an area that's separate from your daily activities, and fill it with items that inspire creativity. For example, if you're a writer, you might include a comfortable chair, a vintage typewriter, and walls adorned with quotes from your favorite authors. This physical separation can help you mentally shift into a creative state, much like Tawney did in her lofts.
• Create a 'view-inspired' journal where you write short stories or poems based on the activities you see. This could be a fun way to exercise your creativity and improve your writing skills. For instance, if you see a boat passing by, you could write a tale about its journey or the lives of its passengers.
• Write poetry or prose inspired by the rhythm and motion of water. Sit by a water source and jot down sensory impressions, feelings, and thoughts that arise. Use these notes to craft a piece of writing that embodies the fluidity and constant change of water, perhaps using a stream-of-consciousness style or free verse to mimic its movements.
• Explore local artist communities to find inspiration and networking opportunities. By visiting areas known for their artistic communities, you can immerse yourself in environments that may foster creativity and offer the chance to connect with other artists. For example, if you're an aspiring painter, seek out gallery openings, art fairs, or studio tours in your city to meet and learn from established artists.
• Partner with a local environmental organization to organize clean-up walks along the water. This combines the benefits of walking and talking with the added value of contributing to the community and the environment. Through these activities, you can meet like-minded individuals, engage in meaningful conversations, and enjoy the calming effects of being near water, all while making a positive impact.
• Develop a "Mutual Milestones" board, virtual or physical, where team members can post and celebrate both work-related and personal achievements. This could be as simple as a shared online document or a bulletin board in a common area. Celebrating diverse successes can foster a more supportive and cohesive work culture.
• Develop a personalized soundscape that reflects the mood of your desired interior landscape. Combine natural sounds, instrumental music, and even your own recorded affirmations to craft an audio experience that transports you to your inner sanctuary. Play this soundscape during moments of relaxation or meditation to enhance your connection with your internal state.
• Create a mobile garden that can change with the seasons. Purchase a few large planters on wheels and select a variety of plants that bloom at different times of the year. Arrange the planters in a spot where they get appropriate sunlight, and as seasons change, rotate the planters to highlight the most vibrant flora. This way, you'll have a constantly evolving view that refreshes your exterior space.
• Gift regionally inspired crafts to friends and family to share and celebrate your local culture. Seek out local artisans or craft workshops where you can create items using materials that symbolize your location. These gifts could range from pottery made with local clay to jewelry crafted with regional gemstones, offering a personal touch that carries the essence of your home.

Tawney's Innovative Loom Creations Defy Easy Categorization or Display Despite Their Beauty and Artistry

Part of Tawney’s artistic challenge was having her work being seen as fine art, though she defied the established parameters of the craft through the ambitious scale of her forms, the unusual materials that she employed, her adoption of sailors’ knots to anchor and finish the tips of numerous hangings, and the reed contraption that she invented to create her open-warp weavings. This last invention—a wooden and steel device that allowed her to manipulate the distance between the warp threads, breaking apart the traditional tight geometry of weaving to produce a looser, transparent structure with its own internal web of shadows and light—was an unexpected innovation within the weaving craft community. She didn’t show her fellow Slip artists what she was doing, and no one in the wider art world was paying much attention to textiles, even as they were embracing other departures from painting, whether sculpture, Pop Art, or found-object assemblage. Several years later, at the insistence of curator Mildred Constantine, Tawney's creations were added to MoMA's collection, but even then, their huge scale meant they would never be exhibited there. Peiffer argues that although Tawney's creations are devoted to beauty, they also reflected elements of the industrial world that had dominated the area for centuries: her new reed resembled a metal tool, its intricate parts requiring adjustments to achieve the desired result, just as the sailmakers a century earlier used their tools to manipulate ropes and canvas.

Context

• Large-scale textile works present unique challenges for display in traditional gallery spaces. Their size and the need for specific hanging techniques can make them difficult to exhibit alongside more conventional artworks.
• Tawney's choice of unconventional materials, such as metallic threads or synthetic fibers, contrasted with the natural fibers typically used in weaving, pushing the boundaries of what was considered acceptable in textile art.
• Incorporating sailors' knots requires a high level of dexterity and understanding of knot-tying techniques, showcasing the artist's skill and attention to detail. This can elevate the perceived craftsmanship of the work.
• the warp (vertical threads) and the weft (horizontal threads). The warp threads are typically held tightly in place on a loom, creating a stable structure.
• The use of open spaces in weaving can create a visual interplay of light and shadow, similar to the effects seen in certain architectural designs or stained glass, adding depth and complexity to the artwork.
• Traditionally, weaving has been a craft with established techniques and patterns passed down through generations. Innovations in this field were rare and often met with resistance, as the craft was deeply rooted in tradition.
• In the art world, especially when developing new techniques or inventions, artists might choose to keep their methods private to maintain a competitive edge or to fully explore their potential before public exposure.
• There was a cultural perception that equated textiles with functionality rather than aesthetic or conceptual exploration, limiting their acceptance as fine art.
• Large-scale artworks, like Tawney's, often require special installation techniques and equipment. This can include reinforced walls, custom mounts, or even structural modifications to the gallery space, which can be logistically challenging and costly.
• The resemblance to a metal tool suggests a connection to industrial machinery, which often requires precise adjustments and calibrations to function correctly. This reflects a blend of artistic creativity with industrial precision.

Agnes Martin’s Pursuit of Aesthetic and Spiritual Purity Through Grid Painting Development at Coenties Slip, Driven by Collaboration and Her Need for a Solitary, Controlled Workspace

Peiffer argues that Agnes Martin stands apart in the narrative of Coenties Slip for several reasons: she pursued pure abstraction, willfully cutting out any real-world references or imagery; her solitary, methodical approach to her painting practice was in direct opposition to the expressive gestures and outpourings of emotion that characterized Abstract Expressionism; and her schizophrenia required an even greater need for a controlled and predictable studio environment than her fellow artists. Peiffer also emphasizes Martin's conflicted pursuit of personal solitude and artistic collaboration within that space—that she needed the support of other artists at a specific time in her life but was terrified of being influenced by them or being perceived as lesser because of her mental illness.

Grid as Structure and Containment For Art in an “Untroubled Mind”

Martin’s artistic and social trajectory at Coenties Slip, Peiffer recounts, is that of someone on a mission. Her initial years in New York in 1957 were a time of intense production, but she destroyed many of the paintings that she made. Her work, still marked by soft washes of color and nature metaphors, seemed reminiscent of the landscapes she painted in Taos. But at Coenties Slip, her canvases started to grow, and her palette became more modulated and austere, as she eliminated all color and figure from her paintings until she was left with only the horizontal lines.

The strict grid structure—her paintings are often square, with horizontals and verticals dividing the canvas into precise rows—was a way, Peiffer argues, to contain some of the anxiety of Martin's practice, both in terms of achieving an absolute purity and negating the mental voices and the risk of being overtaken by madness. The grid's mathematical order offered a respite from those voices and, perhaps most significantly, a way to contain that anguish within a strictly controlled space: the painting. Even as her style was developing, and collectors and curators were taking notice, she struggled on a daily basis with the very essence of her being.

Context

• For many artists, the process of creation involves trial and error. Destroying work can be part of this process, allowing the artist to learn and grow from each piece, even if it doesn't survive.
• The move to a more austere palette and structure can be seen as a way to exert control and find stability, reflecting a personal need for order amidst internal chaos.
• Beyond its structural function, the grid can symbolize various concepts such as stability, uniformity, and universality. For Martin, it might have represented a universal language of art, transcending personal turmoil and connecting to broader human experiences.
• Agnes Martin, the artist in question, was known to have struggled with schizophrenia. This mental health condition can involve hearing voices and experiencing episodes of psychosis, which might have influenced her need for structure and order in her work.
• Engaging in structured artistic practices can have therapeutic benefits, providing a way for artists to process emotions and experiences. The act of creating within a grid can serve as a form of self-regulation and emotional expression.
• As a female artist in a predominantly male art world, Martin's recognition was significant. Her success amidst personal struggles and societal challenges reflects broader themes of gender dynamics in the art community during that era.

Existence Between Transcendent Production and Schizophrenic Breakdowns

Martin's mental health was fragile, and the collaborative and solitary aspects of the Slip community allowed her to work through those extremes. She would swing wildly between moments of great productivity—days and nights spent in her loft painting—to periods in which she could not work because the voices were too loud in her mind or she was hospitalized at Bellevue for bouts of schizophrenia.

Peiffer traces how other artists at the Slip kept an eye on Martin, inviting her on excursions out of the city, helping her procure fuel for her stove, and offering emotional support. Martin, in turn, adopted a nurturing role for the group—regaling them with stories of New Mexico’s landscape and her time there living with Indigenous people, cooking meals, listening to friends’ career anxieties, and sharing her love of Gertrude Stein, whom she saw as an embodiment of queer love. During the 1950s, the Slip provided her a refuge, as homosexuality was still considered a crime and it was unaccepted for unmarried women to live by themselves. It provided some autonomy, although she remained reliant on a few key figures to sustain her practice.

Practical Tips

• Develop a 'workability' toolkit with resources and activities that are manageable during different mental states. For example, when feeling highly productive, tackle complex tasks, and during tougher times, switch to simpler, routine tasks that maintain a sense of accomplishment without overwhelming you.
• Volunteer to be a support buddy for someone in need, such as a new coworker, a student, or a neighbor. Offer to listen to their concerns, share advice when appropriate, and assist with tasks that might be overwhelming for them. This act of service combines emotional support with practical help, mirroring the nurturing role described.

Other Perspectives

• The support from the Slip community might have been beneficial, but it could also have created a dependency that potentially limited Martin's ability to seek more professional and structured mental health support.
• Organizing outings and helping with practical needs could be seen as temporary fixes that don't necessarily contribute to long-term stability or address underlying issues.
• Autonomy implies a level of independence that may be contradicted by the need for regular support from others, suggesting that Martin's autonomy might have been more limited than the idea implies.

How Walking Supported Her Creativity and Mental Stability

Walking played a central role in Martin’s life and creative process while she lived at the Slip. Peiffer weaves together several narratives about the importance of walking for Martin: as a way to manage her mental health; as an artistic practice; and as something shared by the Slip community. When she couldn’t sit or work or even stand to be in her studio, she would go for long walks, sometimes to clear her head and sometimes to gather inspiration for a painting. Her favorite destinations were the nearby Brooklyn Bridge (which provided a kind of in-between state, between two places, but over the water) and the Metropolitan Museum of Art, a several hour trek uptown.

Although Martin often walked alone to gather her thoughts and stave off the voices, other Slip artists also saw this daily routine as a key part of their creative process, describing this walking and observing as a form of solitary social act. Each artist went on walks to escape the stale air, the confines, and the noise of their studios. They wandered downtown near the waterway and harbor and over rickety piers, marveling at the juxtaposition of eighteenth-century brick structures and the steel scaffolding for high-rise construction that had just begun, and finding inspiration in the most prosaic elements of their surrounds: leaves, cigarette wrappers, stones, old metal bolts and pipes and hinges and tools lying in abandoned warehouses, the colors of the river and the sky and the boats. They took ferry rides, staring at the receding skyline, and this routine tied back to an American history that found its defining voice and independence in celebrating the everyday instead of the elevated.

Practical Tips

• Pair up with a walking brainstorm buddy for regular idea-generating strolls. Choose someone from a different background or field to encourage diverse perspectives. As you walk, discuss current projects or challenges and use the dynamic of walking and talking to stimulate new approaches and collaborative solutions.
• Design a "cultural marathon" challenge where you visit a new museum or cultural institution each month. Make it a point to choose diverse types of museums, such as art, history, science, or specialty museums, to broaden your cultural exposure. After each visit, write a brief reflection on your experience and any new insights gained.
• Create a 'walking diary' where you jot down thoughts, observations, and ideas that come to you while walking. Use a small notebook or a voice recording app on your phone to capture these insights. This practice can help you track the progress of your ideas and see how they evolve over time with the added context of your physical journey.
• Create a photo series capturing moments of solitude in public spaces. Use your smartphone to take pictures of scenes that represent solitary social acts, such as someone reading in a park or a lone figure walking in the distance. Share these images on social media with a brief caption to engage others in the concept of solitary social experiences.
• Create a mini-documentary using a video camera or your phone to tell the story of a particular building or street that embodies the mix of old and new. Interview locals, historians, or architects about the significance of these structures and the impact they have on the community's character. Share your documentary online to spark conversations about the value of architectural diversity.
• Start a 'Color Journal' where you jot down or sketch the colors you see throughout your day and how they make you feel. This could be the blue of the sky that calmed you, the red of a stop sign that grabbed your attention, or the yellow of a lemon that made you feel refreshed. Reflect on these entries to understand how colors influence your mood and use this insight to incorporate more of the colors that have positive effects on your surroundings.
• Create a visual art project inspired by the scenery and experiences from ferry rides. Use photography, painting, or digital art to capture the essence of the journey, the landscape, and the historical context of the waterways. This could be a personal endeavor or shared on social media platforms to engage with others interested in the intersection of art, history, and travel.
• Start a personal "Everyday Heroes" journal to document and reflect on the stories of ordinary people you encounter daily. This could be the barista who remembers your order, a neighbor who helps without being asked, or a colleague who goes the extra mile. By writing down these encounters, you'll develop a deeper appreciation for the everyday acts of kindness and strength that often go unnoticed.

Delphine Seyrig: Using Acting to Escape Feminist Domestic Expectations

Peiffer describes Delphine Seyrig as the most well-known figure among the Slip creators, for the ironic reason that she was also the least successful, during that time. As an aspiring young actress, wife, and mother, her time at Coenties Slip from 1956 until 1961 was a period of great social and creative promise, even as she was struggling to make ends meet and dealing with the instability and anxieties of a career where fame and recognition were always contingent, ephemeral, and often cruelly arbitrary. Unlike her Slip peers—and much like Tawney—what she created was not something tangible they could see in her workspace or offer opinions about. Her creations were intrinsic to Seyrig and subject to the whims of directors and producers and the fickle taste of the public.

The Daily Grind vs. Creative Ambitions

Leaving behind her life in Paris, Seyrig relocated to New York to start over with her husband, artist Jack Youngerman, who she met as a teenager, and their young son, Duncan. She embraced her new life at the Slip—making clothes for herself, driving a scooter around downtown, rescuing a dog with no home, helping host parties—and writing long, descriptive notes to her family about the eccentricities of her neighbors. But she felt a conflicted reality between the daily necessities of domestic life and her artistic ambitions, which required endless auditions and a form of artificial pretension that she despised.

Peiffer points out that while Seyrig was in New York, she had two different artistic breakthroughs that directly contrasted with each other, before she found the proper footing for her art. Although she was a very small part of that creative circle, the Beat Generation, improvisational ethos of Pull My Daisy, a short film she starred in with the artists Alfred Leslie and Robert Frank, played on the bohemian lifestyle that she was also living (illegally) in her derelict loft. After a chaotic shoot dominated by men, the film established her as a charismatic if somewhat enigmatic persona on-screen. Then, several years afterward, Alain Resnais cast her as the lead in Last Year at Marienbad, an avant-garde French film whose script rejected conventional dialogues for enigmatic interludes between characters that reflected the fragmented, temporal instability of memory, particularly of love. Seyrig prepared for this role by deliberately cutting herself off from her usual life and routine for several months and embracing the solitude and anonymity of her role.

Practical Tips

• Create a "Slip into New Habits" challenge for yourself where you pick one small, new habit you want to establish in your new environment. It could be as simple as exploring a new part of your neighborhood each week, trying a new local food, or initiating conversations with strangers. Track your progress and note how these small changes impact your overall adaptation to the new setting.
• This could be as simple as meeting once a month to teach each other something new, whether it's a painting technique, a musical skill, or a culinary recipe. The key is to create a space where everyone feels comfortable sharing and learning, which can lead to unexpected artistic development.
• Volunteer for community theater or local improv groups to practice and develop your charisma in a performance setting. Even if you've never acted before, these groups often welcome newcomers and provide a supportive environment to experiment with different personas and styles of interaction, which can translate into a more charismatic presence in your everyday life.
• Organize a movie night with friends where you watch films that use non-linear storytelling or unconventional dialogue, then have a discussion afterward about how these techniques affect your understanding of the characters and themes. This can deepen your appreciation for different narrative styles and their power to convey complex human experiences.
• Develop a character study for a role or presentation by spending a day observing people in a public place like a park or mall. Take notes on behaviors, conversations, and interactions without participating, which can help you understand different perspectives and mannerisms that you can incorporate into your own performance or public speaking.

From "Hippie" at Coenties Slip to Famous French Actress and Feminist Video Documentarian

Seyrig made Paris her permanent home in 1961. Her role in Marienbad made her a star, and she continued to act in numerous films and plays there, working alongside many of the era's most renowned male directors. However, she increasingly found this mainstream acclaim stifling. She confessed that this wasn't why she got into art. In the seventies, after a brief but intense romantic relationship with another film actor and years of advocating for women's rights and marching in protests—including for Algerian independence and against the Vietnam War— Seyrig began collaborating with fellow female creatives there to create films and video projects that challenged normative societal expectations for women, and embraced the power of storytelling to create “action” from acting. Her feminist film career was cut short by cancer, but she left behind a legacy of both artistic breakthrough and political and social commitment. Peiffer emphasizes that Seyrig’s later trajectory was a direct result of her years at the Slip, where she was surrounded by numerous artists whose defiant independence and shared ambitions for a career in art helped inspire Seyrig to see the possibilities in her own career beyond the limiting script of convention.

Context

• The early 1960s in France were marked by political upheaval, including the Algerian War of Independence, which influenced many artists and intellectuals in Paris.
• The film received critical acclaim and won the Golden Lion at the Venice Film Festival, further elevating Seyrig's profile in the international film community.
• Collaborating with these directors could provide actresses with high visibility and critical acclaim, but it also often meant conforming to traditional gender roles and narratives that did not always align with feminist ideals.
• The mainstream film industry often involves hierarchical structures where directors and producers have significant control over the creative process. Seyrig may have preferred more collaborative environments where she could have greater input and work alongside like-minded creatives.
• Some artists are driven by the potential for their work to influence culture or contribute to social change. This can be more fulfilling than personal fame, as it aligns with a desire to make a broader impact on society.
• Romantic relationships during this era could also serve as a catalyst for political and social activism, as partners often shared and reinforced each other's ideological commitments.
• Women played crucial roles in these movements, often organizing and leading protests, creating feminist literature, and forming coalitions that addressed both gender-specific issues and broader social justice causes.
• Video art emerged as a popular medium during this time, offering a more accessible and flexible form of expression compared to traditional film. It allowed artists to experiment with new techniques and reach wider audiences, making it an ideal tool for feminist artists to disseminate their messages.
• Filmmakers can use various cinematic techniques, such as narrative structure, character development, and visual symbolism, to convey messages that provoke thought and encourage viewers to take action.
• Cancer can abruptly halt the careers of individuals in the arts, as the demands of treatment and the physical toll of the illness can make it difficult to continue working.
• In the 1970s, Seyrig co-founded the feminist video collective Les Insoumuses, which used video as a tool for social change, focusing on women's rights and issues. This was a pioneering effort in using media for activism.
• The period was marked by significant social and cultural upheaval, with movements challenging traditional gender roles and advocating for civil rights. This atmosphere of change and resistance would have influenced the artists at the Slip, including Seyrig, to pursue themes of social justice and equality in their work.

Jack Youngerman's Development of an Abstract Vocabulary Influenced by His New York Surroundings and Paris Surroundings, and His Struggle to Create an Authentic Language Of Seeing

Peiffer positions Youngerman's artistic journey within the larger context of the development of U.S. abstraction—its fraught embrace and ultimate rejection of European influence, and its anxiety around defining a distinct stylistic vocabulary for the new country. Leaving for Paris in 1947 as a young artist seeking a way forward, he returned with his French family—wife and young son—to a New York in the 1950s that, while still dominated by Abstract Expressionism and its tenets of spontaneous action and emotion, was also beginning to explore other ways of relating to abstraction, whether in the minimalist paintings of Ad Reinhardt or the found-form compositions of Kelly.

Among Coenties Slip's artists, Youngerman’s work is the least readily identifiable within a specific movement. He struggled to carve out a space for his creations, to articulate a vision that was neither Abstract Expressionism nor Pop, but came directly from visual experiences he'd been gathering since his first days as an art student in Paris, and that he then filtered through the specific geography of New York City and his life and work at Coenties Slip.

Youngerman's Art: From Abstract Expressionism to Symbolic Exploration of Shape and Color

Youngerman began making abstract art in Paris, inspired by Paul Klee's creations and Matisse’s cut-outs, which he would visit alongside Kelly whenever Matisse exhibited there. He later explained that the breakthrough in his own artistic process was not that of finding shapes or colors in the world and replicating these on canvas but inventing them, creating an alphabet of symbolic forms that perhaps had echoes of realism but were entirely abstract.

Practical Tips

• Create a visual journal to document your experiences with art, whether it's sketches, photographs, or written reflections on exhibitions you've visited. This practice can deepen your appreciation for art and help you notice patterns or themes in the types of work that resonate with you.
• Engage with children in a "fantasy shapes" game where you both invent new shapes and name them, then discuss what kind of world those shapes might come from. This playful interaction not only sparks imagination but also helps develop the ability to conceive and communicate novel ideas, a skill that's valuable in many creative and problem-solving contexts.

Jagged Forms Capture Essence of Cave Paintings or NYC Light

Peiffer links the importance of Youngerman's jagged, sometimes torn-appearing shapes, which he filled with blocks of color to his visits to the Lascaux caves, or the way illumination would strike the side of structures in a split-second, or the way nature made forms in a single instant of perception. For Youngerman, his artistic process was about capturing that moment of discovery, holding it fast, even as that moment was often about a more gradual, long process of development in which all of his work built up to that specific form.

Practical Tips

• Repurpose household items to make art that reflects the contrast between natural and man-made forms. Gather objects like cardboard, plastic containers, or fabric scraps and arrange them into sculptures or collages that mimic the jagged shapes found in both natural caves and cityscapes. This hands-on activity encourages creativity and can be a fun way to upcycle materials that would otherwise be discarded.
• Engage in a weekly 'discovery walk' with the intention of photographing or collecting items that catch your eye. This could be textures, colors, or objects that you find aesthetically pleasing or intriguing. Later, use these items to create a collage or an inspiration board that could lead to a new art project or form.

Youngerman's Struggle vs. Celebrity Peers, His Art as an Alternative in American Abstraction

Youngerman’s artistic career is inextricably intertwined with the history of Coenties Slip. He was the sole artist to live in two different buildings on the Slip (and whose two apartments were both demolished). He was among the first advocates and practitioners of collective solitude with his failed art workshop hosted at the Slip, and his paintings, though not as celebrated as those of peers whom he considered “celebrities” in the art community, took up the same national and international concerns. This was true of both the material world, and its fragility (his canvas purchase was funded with the sale of a painting to Chase Bank at the same time that same bank was contributing to the destruction of his neighborhood) and of the political world during the Cold War, which he confronted through his bold depictions of the American flag.

Practical Tips

• Create a collaborative art project with neighbors or friends that reflects the collective history or culture of your community. This could involve a mural, a series of paintings, or a sculpture that incorporates elements significant to your shared experiences and surroundings.

Other Perspectives

• The idea of collective solitude might not be unique to Youngerman or his workshop, as other artists or communities may have practiced similar concepts without labeling them as such.
• The claim that his paintings took up national and international concerns could be seen as an overgeneralization if not all of his works explicitly or clearly dealt with such themes.
• His work might equally be seen as celebrating the material world's beauty and diversity, rather than solely highlighting its fragility.
• Selling artwork to an institution does not necessarily imply support for all of that institution's actions or policies.
• Bold depictions of the American flag could be seen as reinforcing national pride rather than confronting political issues, depending on the context and presentation of the artwork.

Tawney and Martin's Collaboration: Financial and Artistic Support for Independent Women Artists During the 1950s

Peiffer traces the intertwining work and life of Tawney and Martin, and their crucial artistic development at Coenties Slip during the period of the 1950s, through the lens of their struggles as two unmarried women artists, living during an era when a woman's greatest aspirations were assumed to lie in domesticity. It was Martin’s support of Tawney, and Tawney's reciprocal support of Martin, not just financially (Tawney was one of the few at Coenties Slip who could live on her inheritance and did not need to work at a day job, and she helped pay Martin's medical bills) but through encouragement, and recognition of artistic talent before either artist's pieces had gained critical or market attention, that enabled both creators to create. Both were deeply private and struggled with mental health during these years; Martin was also much older than most of the Slip artists, and both artists -- as they shared a loft and studio at 27 South Street -- embraced an ethos of collective solitude.

Spiritual Retreats and Inner Landscapes as Sources of Innovation in Fiber Work and Creative Expression

The intimacy of their connection, Peiffer notes, is hard to quantify; it doesn’t exist in traditional archival form, no letters exist, there are contradictory statements about their being lovers, both artists were known for their deliberate, self-mythologizing pronouncements that art should come from an egoless plane of pure abstraction, and their works took on very different thematic and visual qualities, even as both artists were drawn to minimalist expressions of form and structure.

An important shared aspect for these two artists was the way their art reflected an interest in the “interior landscapes” that Tawney often spoke of and whose sources were both spiritual and aesthetic. For Martin and Tawney, this meant an interest in Zen and Taoist philosophies, which they read and practiced together, and a shared interest in the mystical works of St. Teresa of Ávila. Both saw their artistic production as a means of mediating between their external environment and a space of inward retreat, what Teresa calls the soul's spiritual realm. Their studios, though filled with the things they used to create art—Tawney’s yarn and cords, Martin’s paintbrushes and pigments—were always spare and uncluttered, as both artists also subscribed to an ethos of order in order to think and work. This was a sharp contrast to the famously messy studios of Rosenquist and Indiana.

Context

• Both artists engaged in creating personal myths around their work and lives, a practice that can lead to a unique understanding and connection between them, as they navigate the balance between public persona and private reality.
• Shared interests in spiritual and philosophical ideas can create deep, intangible bonds that are not easily documented. These connections might be more about shared experiences and understandings rather than tangible exchanges.
• The absence of letters or direct documentation can lead to reliance on second-hand accounts or interviews, which may be inconsistent or biased, contributing to contradictory statements.
• Self-mythologizing refers to the way artists create and promote a personal narrative or identity that enhances their public persona. This can involve crafting stories about their life, work, or artistic philosophy that may not be entirely factual but serve to build a compelling image.
• Minimalism is an art movement that emerged in the late 1950s and is characterized by simplicity and a focus on the essentials of form and color. It often involves the use of geometric shapes and a limited color palette to create a sense of order and clarity.
• The concept of "interior landscapes" in art refers to the exploration of an artist's inner world, emotions, and thoughts, often expressed through abstract or symbolic forms. This approach contrasts with traditional landscapes that depict external, physical environments.
• During the mid-20th century, Western artists and intellectuals became increasingly interested in Eastern philosophies, seeing them as alternatives to Western materialism and rationalism. This interest often led to the incorporation of Eastern spiritual concepts into various forms of creative expression.
• St. Teresa emphasized practices like contemplative prayer and meditation, which resonate with Zen and Taoist philosophies. These practices focus on achieving a state of egolessness and inner peace, which can inspire minimalist artistic expressions.
• The mention of other artists with messy studios highlights the diversity of creative processes. While some artists thrive in chaos, others, like Martin and Tawney, find clarity and inspiration in order and simplicity, reflecting their philosophical and spiritual beliefs in their workspaces.
• During the mid-20th century, there was a broader cultural movement towards modernism, which often embraced clean lines and functional spaces, influencing artists' studio designs.
• An orderly workspace can also be practical, allowing artists to easily access materials and tools, thus streamlining the creative process and reducing interruptions caused by searching for misplaced items.

Women Artists Bond, Defying Tradition and Sharing Struggles

Peiffer emphasizes how gender and sexuality intersected in the 1950s in the United States, and particularly in New York, as a kind of social policing of public life, in which being a painter in an artist’s studio was assumed to be a male vocation, and the few women who enjoyed artistic success were often relegated to the status of "craft workers," or assumed to be lesbians. The Slip allowed those who lived there, particularly the women, a certain level of freedom from these societal constraints. Tawney was able to create monumental works whose scale rivaled that of the nonrepresentational paintings by her male neighbors, and she often wove images inspired by the natural world, like trees, reeds, birds, or the river. Her friend helped her move these massive, intricate forms to other spaces and procure the materials for them, whether yarn balls or knotted ropes. Martin refined her practice as a painter, stripping down all real-world references to lines and simple geometric shapes, before completely withdrawing from the art world and then New York itself for five years. When none of the male-dominated art galleries would show her work, including Betty Parsons's, Martin’s friend and neighbor Tawney helped her get a show with Robert Elkon, cementing her place in the nascent Minimalist and abstract art scenes in the early sixties. And crucially, if they weren't able to paint, Tawney and Martin walked.

Context

• The concept of social policing refers to the enforcement of societal norms and expectations, often through informal means. In the 1950s, this included reinforcing gender roles and marginalizing those who deviated from them.
• The assumption that successful women artists were lesbians reflects broader societal stereotypes of the time. Women who pursued careers or displayed independence were often labeled as lesbians, a term used pejoratively to undermine their femininity and professional legitimacy.
• Tawney's work was influenced by her interest in spirituality and mysticism, which often informed the themes and forms of her art. This spiritual dimension added depth to her representations of the natural world.
• Martin's work was influenced by Eastern philosophy, particularly Taoism and Zen Buddhism, which emphasize simplicity, balance, and the idea of achieving harmony through minimal means.
• This period of withdrawal allowed Martin to develop her signature style of grid-based paintings, which became highly influential in the minimalist movement.
• The Betty Parsons Gallery was another influential gallery in New York, known for promoting Abstract Expressionism and later Minimalism. Despite its reputation, it often overlooked women artists, highlighting the challenges they faced in gaining recognition.
• Walking can be a meditative practice, allowing individuals to reflect deeply on their thoughts and experiences, which can be crucial for artistic introspection and development.

Conditions Enabling Coenties Slip Artists' Development

Struggling Downtown NYC: Pre-SoHo Cheap Artist Spaces

Peiffer explains that the artistic community that flourished on Coenties Slip was born not from any shared aesthetic movement or political mission, as so often happens in the mythology accompanying artists’ shared studios and spaces, but from the very particular geographic and economic situation of lower Manhattan in that decade. The area had a temporary reprieve from urban renewal after the Great Depression; in fact, Peiffer notes, very few new buildings or projects were begun downtown from the 1930s into the 1950s. This, along with the drop in maritime trade and factories moving during the Second World War, created a unique opportunity for artists who couldn’t afford to live or work in more traditional areas to find housing and studio space.

Artists Repurposing Materials: Ship Masts, Billboard Canvas, Wood Floors; Hand-Built Studios & Living Arrangements

All of the Slip artists, but most notably Kelly, Youngerman, Indiana, and Rosenquist, were drawn to the inherent contradictions of their spaces: huge, open-floor-plan lofts in warehouses whose tall ceilings and vast lack of rooms and dividers meant that they also had to figure out ways to live in them and find basic necessities such as heat or a place to bathe. They became very resourceful, foraging for materials in their neighborhoods (or within their loft spaces, as Indiana, Tawney, and Youngerman did) to build partitions, studio spaces, bedrooms, and bathrooms, and rigging up lighting and plumbing as best they could. They would cook meals on hot plates, and often dined at the Institute for Seamen's Church or at artists' studios, making spaghetti from ingredients bought at cheap markets in Chinatown.

Context

• The reuse of materials was partly driven by economic necessity. Many artists had limited financial resources, prompting them to creatively source free or inexpensive materials from their surroundings.
• The adaptation to these spaces influenced the artists' work, as the environment often became a part of the art itself, with the raw, industrial aesthetic informing their creative processes.
• Many of these adaptations were likely done without official permits or adherence to building codes, which could pose safety risks and legal issues, as these spaces were not zoned for residential use.
• These markets are known for offering a variety of affordable ingredients, making them a practical choice for budget-conscious individuals seeking to prepare meals economically.
• The choice to shop in Chinatown reflects the cultural diversity and influence of the neighborhood, where artists could find unique ingredients not available in standard grocery stores.