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JoanMitchellTHEBLACKDRAWINGSANDRELATEDWORKS19641967 1.Untitledc.1964pastelonpaper13.5x11inches34.29x27.94cm. JoanMitchellTHEBLACKDRAWINGSANDRELATEDWORKS19641967ESSAyByKARENWILKINmAy8juNE282014LennonWeinbergInc.514WEST25STREETNEWyORKNEWyORK10001212.941.0012www.lennonweinberg.co IntroductionInthespringo1965joanmitchellhadherseventhandnalexhibitionatthehistoricStableGallerinNewyorkwherehercareerasapainterhadbeenlaunchedorethanadecadeear-lier.Includedintheexhibitionweretherstinaseriesopaint-ingsthatshedescribedatthetieashernewblackpaintingsalthoughtheresnoblackinanothe.Itwouldnothavebeenknownatthetiebutthesepaintingshadcopaniondrawingsandthoseworksonpaperneverbeoreexhibitedareattheheartoourpresentationnearlahalcenturaterthewereade.Thereisaseriesosallboldworksadeonsketchbooksheetswithahazeocharcoalcoveredwithwatercolororoil.Thesearetheclosestinappearancetotheblackpaintingsandlikethehavenoblacktospeako.Largerandcoposition-allkindredisaseriesocharcoaldrawingswithfashesosepiapastelonsottexturedhandadepaper.Togetherthesearetheblackdrawingsorwhichthisexhibitionistitled.Theareaccopaniedbtwoconteporaneouspaintingsthataskustoconsiderthedialoguebetweenherpriarediuopaintandtheworksonpaperthatgeneratedsoanadvancesinherevo-lutionasanartist.mitchellgenerallspokeoherworkintersoeelingsratherthantheirtheoreticalorstructuralaspects.Theoralissuethatdidengageherwastherelationshipbetweengureandgroundneverbeorehadsheaddresseditsodirectlasintheseid-1960sworks.Weknowrothetitlesotherelatedpaintingsthatthesecopositionsreertotreesostspecicallcpresses perhapssilhouettedagainsttheskyinavoriteplaceslikeCalviandGirolatainCorsicathatshevisitedduringsuerssailingonthemediterraneanwithhercopanionpainterjeanPaulRio-pellehisdaughtersandacoterieoriends.AsshesaidatthetietopoetjohnAshberywhowroteanarticleaboutmitchellsnewworkorArtnewsItryingtoreeberwhatIfeltaboutacertaincypresstreeandIeeliIreeberititwilllastequitealongtie.VanGoghwhosepaintingsmitchellpassionatelyadiredadeanypaintingsocypresstreesthataresurelypartotheancestryothisbodyoworkasareCezannesplanardescriptionsovoluesandvoids.ItcouldbesaidthatmitchellwasonherwaytoconceivingapactbetweenFrenchPostIpressionisandAericanAbstractExpressionisthatdefnesherworkrothispointorwardandisauniqueachieveentinthehistoryo20thCenturypainting.Theexhibitionalsoincludesdrawingsadeaewyearslaterin1967atersheovedtoanewhoeandstudioinVtheuilaquintessentiallyFrenchvillagenorthwestoParis.Thesecharcoalsaresuusedwithoreproxialreerencestonaturetooliageandvegetation.Theassociatedpaintingsaredrenchedincolornewcolorsdierentandoreripethanherearlierpaintingsbutthesedrawingsstandasuniquelydirectstateentsotheeelingsshederivedroiersioninhernewenvironent.Allotheseworksaresiultaneouslyaustereandgorgeousandarebeautiullyandsensitivelydrawn.Theyprovideareveal-inglookataniportantartistduringapivotaltieochangeonethatreadsasatransitionrothepowerullygesturalAbstractExpressionistworkothe1950sandearly60sorwhichshewasalreadycelebratedintoasuccessionolaterstylesthatbeginsin1968andextendstotheendoherliein1992.Aidthecohesionomitchellsentirebodyoworkarespecialchap-tersthisisunistakablyoneothe.jillWeinbergAdas 2.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. ToBeNewToBeOtherjoanmitchellsreputationwasestablishedinthe1950sbherenergeticcalligraphicpaintingstanglesoapparentleo-tion-drivenribbonsandslashesocolorintertwinedwithblacksandneutrals.InherbiographomitchellironicalltitledLadPainterPatriciaAlbersakesuchotheartistssnesthesiaaneurologicalconditioninwhichvariouskindsosensorstiuliostcoonllettersornubersareexperiencedascolors.mitchellsversionothephenoenonAlberstellsuscausedhertoassociateparticularpersonalitieswithparticularhuesandtoseesoundsandeotionsincolorallowhichthebiographersuggestswasrefectedineverthingtheartistdid.yetnoat-terhowiportantchroawastomitchellwhatightbecalleddrawingthegeneratinggesturesotheworkswithwhichsheannouncedherselasaoungartisttobetakenseriouslreainedundaentaltoherconceptionopaintingthrough-outherorethanour-decadelongcareer.Hercanvasesreadasaccretionsoindividuallinesoandierentweightsalostbeorethehuesothoseinfectedlinesasserttheselves.mitch-ellissaidtohavebeenextreelinterestedasanaspiringoungpainterinWilledeKooningsgesturalapproachbutherpalip-sestsolineseetooweoretojacksonPollockswebsopouredpaintwiththeiportantdierencethatunlikePollocksdisebodiedskeinsmitchellssinuousathleticlinesalwasakeusintenselawareothehandbehindthe.Thisawarenessibueseventheostragilearksonhercanvaseswithnotablephsicalit.Conrontedboneomitchellsraingexpanseswe thinkotheoveentsothewristandarandothevaria-tionsinpressurethatproducedthosearksincontrasttothewaweexperiencetheworkomitchellsconteporarHelenFrankenthalerwhosestainsoradiantthinned-outcolorseetohavecoeintobeingalostwithouttheartiststangibleinter-ventionsiplbbeingpouredandthenwilledintoplace.yetitheaterialpresenceomitchellspaintingsengagesusweareheldequallbthehostoassociationstheprovokeassocia-tionswitheverthingroeelingsandstatesoindtothephe-noenaotheworldaroundus.Experiencevisualandotherwisehasbeentransoredintohighlchargedgesturesthatbvirtueoreiterationlaeringandextensionbecoetenuouslheld-togethereldsunravelingplanesatoncethereandnotthere.Apaintingmitchellipliesisbothaaniestationotheart-istsreactionstotheappearanceothingsseenplacesqualitiesolighttiesodaseasonsweatherperhapsevenpeopleandanebodientotheeotionprovokedbthoseperceptionsaongothertriggersre-experiencedintersotheactotrans-erringresponsivepigenttoafatsuracewitharesponsivetool.LikeherAbstractExpressionistorebearsandlikesuchebersoherowngenerationasmichaelGoldbergGraceHartiganandtheQubecoispainterjeanPaulRiopelleherpartneroranearsmitchellwasconvincedthatthegestureswithwhichartistsanip-ulatedaterialsweredeclarationsopersonalitasindividualasasignature.Atvarioustiesespeciallinthelasttenortwelveearsoherlieherlooselwovensheetsogesturesbecaeoresubstantialandpatchieronltodissolveatothertiesintoopennetworksoexpressivestrokes.yetmitchellsbiographersinsistenceontheiportanceotheartistshper-awarenessochroaaitseesnotbeisplaced.mitchellsloveoco-plexlineusedasakindographoeelingnevercoproisedherascinationwithcolor.Eventhenotabldensecanvasesshereerredtoasblackpaintingsadeintheid-1960sareullocolorstrangegreensandbluestheoccasionalfashoviolet. Theso-calledblackpaintingscoincidewithcopellingworksonpaperadeabout1964and1965.Theyarelittleknownhav-ingreaineduntilnowunexhibitedintheledrawersotheartistsstudioaterherdeath.Whataybetheearliestdraw-ingsinthegroupadeonspiral-boundsketchbooksheetswithcobinationsocharcoaloilandwatercoloraresallbutintenseandrevealingarelatedseriesoid-sizecharcoalandpasteldrawingsonhandadepaperprobablyollowed.Togethertheybothbroadenanddeepenourunderstandingomitchellintheseyears.Whiletheblackpaintingsdespitetheartistschar-acterizationotheasebodientsodarknessotenreadasrelativelyopenwind-blownandullofickeringlighttheseworksonpaperseegenerallybroodingandinwardlyocused.Asagroupthesedrawingsoabout1964and1965oerinsightaswellintomitchellsworkingethodsbyprovidinganinti-ateviewowhatseestobearestlesssearchtoencapsulateeeling.Seeingtheislikelookingovertheartistsshoulderassheworkedlikebeingadeprivytoherthoughtprocesses.Sheappearstohaveworkedspontaneouslyandunsysteaticallyontheseriesovingalongaairlynarrowperhapspredeterinedpathtestingthepotentialoaairlyiconiccentralizedcoposi-tionbutapproachingitreshlyeachtie.Theresastronga-ilyreseblanceaongthevariousdrawingsinbothseriesbuttheresnosuggestionthattheissuesproposedbyeachworkhavebeenaddressedwithanysenseoailiarity.Eachappearstohavebegunwithascrawledcongurationinthecenterothepagearapidgesturethatespeciallyinthesallerworksadeabout1964canseedrivenorebyeelingthanbyaestheticconsiderations.Westruggletodeciphertheseinitialthoughtssinceawidevarietyoarkshavebeensuper-iposedonthebroadswipesinsistentlyrepeatedstrokesandstaccatofourishestooraclenchedcentralizedcloudthatall-butcancelsoutwhatliesbeneath.Soeothesetautlittleiagesseelikeetaphorsorexistentialangstthedarkobliterating assreadsasagestureodespair.Butinothersinparticularthedrawingsprobablyadelaterin1965thecentralizedcloudceasestobeanipositioninsteadittakesonitsownlieasahoveringorebenignpresenceitsweightanddarknesspiercedandenliv-enedbynotesoreddishbrownpastel.Intheseworkscharcoalandpastelseetohaveachievedparityoentarilyconspiringtocoetogetherorthegreatergoodthecongurationisstillclenchedalittleangrybutsoeairhasenteredthespace.Thoseailiarwithmitchellsbiographywillpointtoeventsinherlieabout1964and1965herrelationshipwithRiopelleherapproachingortiethbirthdayherathersdeathandothersillnessandorealongwithchangingattitudestowardstheAbstractExpressionistvaluesdeonstratedbyherworkanyowhichcouldhavetriggeredthesenseodiscontentrefectedintheerceeotionaltoneotheworksonpapersheadedur-ingthesetroubledyears.IthasbeenperceptivelysuggestedorexaplethatthesalleotionallyloadedsketchbookdrawingswereadeduringsuersailingholidaysspentwithRiopelleandhischildreninthesouthoFrancewhenshewasdeprivedoprivacyandtieinherstudio.Theorelyricaloodlargersizeandoreopenstructureoagroupocharcoaldrawingsadein1967aybearesponsetoaverydierentsetocircustances.ThatyearmitchellacquiredahoeandstudioinVtheuilnorthwestoParisarelativelyunspoiledvillagewheretheIpressionistshadpainted.ShewouldreaininthisidyllicspotneartheSeineuntilherdeathin1992.PerhapsbecauseothenewstiulimitchellexperiencedaterovingrourbanParistoaoreruralsettingthedeli-catespreadinghaloesotonetheephaticlinesandfoatingshapesinthepaperworkssheproducedin1967arequiteunlikethecopressedconrontationalassesthatdoinateherdraw-ingso1964and1965.Thestrikingvarietyotheseworkspreg-uresotisthatmitchellwouldexploreinsubsequentpaintingscanvasesinwhichherAbstractExpressionist-infectedgestures oftencoalesceintounstableshapeswhosesaturatedcolorandcursiverhthsseetoalludeobliquelbutpowerfulltotheworldofnature.Thearefarfrolandscape-likeintersoftheirspaceandstructurebutleavesseenagainstsunlightplantforstheupwardthrustoftreesandothervegetalotifshaunttheseiages.Arelatedvocabularofshapessudgesanddelicatetouchesinforsasallgroupofdrawingsonvelluadein1967inpreparationforalithographincludedinaportfolioInMemoryofMyFeelingspublishedbthemuseuofmodernArttohonorthepoetandcuratorFrankOHara.AclosefriendandasupporterofmitchellsartOHarahadbeenkilledthepreviousearinanaccidentonFireIsland.TheportfolioincludedthirtofOHarasleanconversationalpoesillustratedbtheartistswhohadbeenhisfriendsandadirersanipressivelistthatincludedinadditiontomitchelljoeBrainardElaineandWilledeKoon-ingHelenFrankenthalerPhilipGustonjasperjohnsAlexKatzRoLichtentsteinRobertmotherwellBarnettNewanRobertRauschenbergandLarrRiversaongothers.OHarasneverwroteapoedirectlabouthisfriendmitchellashedidaboutothersoftheircircleostnotablmichaelGoldberginthecel-ebratedWhyIAmNotaPainter.TheproisingltitledPoemReadatJoanMitchellswaswritteninhonorofthepainterjaneFreilichersarriagetojoeHazenin1957andreadatacelebra-tionforthecoupleandjoanwassurprisingouwithapartforwhichIwasthedeco.yetitcontainsalinethatcouldappltomitchellherselftheefforttobenewdoesnotupsetounortheefforttobeother.mitchellsowntributetoOHaraliketherearkablegroupofworksonpaperoftheid-1960sthatitrelatestocouldbedescribedinthesaewa.Theseintiateintenselpersonaldrawingsseeeffortlessandthearebothnewandotherinthebestpossiblewa.KarenWilkinNewyorkApril2014 3.Untitledc.1964charcoalandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 4.Untitledc.1964charcoalandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 5.Untitledc.1964charcoalandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 6.Untitledc.1964charcoalandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 7.Untitledc.1964oiloncanvas63.75x44.75inches161.93x113.67cm. 8.Untitledc.1964charcoaloilandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 9.Untitledc.1964oilonpaper10.5x8.25inches26.67x20.96cm. 10.Untitledc.1964charcoaloilandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 11.Untitledc.1964charcoalandwatercoloronpaper12.875x10.325inches32.7x26.3cm. 12.Untitledc.1964charcoaloilandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 13.Untitledc.1964charcoaloilandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 14.Untitled1964oiloncanvas63.75x51.125inches161.93x129.86cm. 15.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 16.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 17.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 18.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 19.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 20.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 21.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 22.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 23.Untitledc.196465charcoalandpastelonpaper29x21inches73.66x53.34cm. 2428.Untitled1967charcoalonpaper36x24inches91.44x60.96cm. 29.Untitled1967charcoalonvellum14x11inches35.56x27.94cm. 30.Untitled1967charcoalandpastelonvellum14x11inches35.56x27.94cm. 31.Untitled1967charcoalonvellum14x11inches35.56x27.94cm. 32.Untitled1967charcoalandpastelonvellum14x11inches35.56x27.94cm. 33.Untitledc.1967watercoloronpaper16x13inches40.64x33.02cm. Wearegratefultotheownersoftheseworksfortheirsupportofthisexhibitiononethatraisesalostasanyquestionsasitanswers.WethankthejoanmitchellFoundationparticularlyarchivistLauramorrisforsharinghistoricalinforationandresourcesthatareavitalpartoftheprocessofansweringthosequestionsandraisingyetnewones.TheorganizationalandeditingskillsofgallerydirectormaryBenyohavebeenindispensabletotheexhibitionandaccopanyingcatalogueinadditiontoherinsightsabouttheworkstheselves.AllworkscopyrightTheEstateofjoanmitchell. TypographybyInkInc.PrintedbyPuritanCapital.ISBN978-1-4951-1018-4
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JoanMitchellTHEBLACKDRAWINGSANDRELATEDWORKS19641967 1.Untitledc.1964pastelonpaper13.5x11inches34.29x27.94cm. JoanMitchellTHEBLACKDRAWINGSANDRELATEDWORKS19641967ESSAyByKARENWILKINmAy8juNE282014LennonWeinbergInc.514WEST25STREETNEWyORKNEWyORK10001212.941.0012www.lennonweinberg.co IntroductionInthespringo1965joanmitchellhadherseventhandnalexhibitionatthehistoricStableGallerinNewyorkwherehercareerasapainterhadbeenlaunchedorethanadecadeear-lier.Includedintheexhibitionweretherstinaseriesopaint-ingsthatshedescribedatthetieashernewblackpaintingsalthoughtheresnoblackinanothe.Itwouldnothavebeenknownatthetiebutthesepaintingshadcopaniondrawingsandthoseworksonpaperneverbeoreexhibitedareattheheartoourpresentationnearlahalcenturaterthewereade.Thereisaseriesosallboldworksadeonsketchbooksheetswithahazeocharcoalcoveredwithwatercolororoil.Thesearetheclosestinappearancetotheblackpaintingsandlikethehavenoblacktospeako.Largerandcoposition-allkindredisaseriesocharcoaldrawingswithfashesosepiapastelonsottexturedhandadepaper.Togetherthesearetheblackdrawingsorwhichthisexhibitionistitled.Theareaccopaniedbtwoconteporaneouspaintingsthataskustoconsiderthedialoguebetweenherpriarediuopaintandtheworksonpaperthatgeneratedsoanadvancesinherevo-lutionasanartist.mitchellgenerallspokeoherworkintersoeelingsratherthantheirtheoreticalorstructuralaspects.Theoralissuethatdidengageherwastherelationshipbetweengureandgroundneverbeorehadsheaddresseditsodirectlasintheseid-1960sworks.Weknowrothetitlesotherelatedpaintingsthatthesecopositionsreertotreesostspecicallcpresses perhapssilhouettedagainsttheskyinavoriteplaceslikeCalviandGirolatainCorsicathatshevisitedduringsuerssailingonthemediterraneanwithhercopanionpainterjeanPaulRio-pellehisdaughtersandacoterieoriends.AsshesaidatthetietopoetjohnAshberywhowroteanarticleaboutmitchellsnewworkorArtnewsItryingtoreeberwhatIfeltaboutacertaincypresstreeandIeeliIreeberititwilllastequitealongtie.VanGoghwhosepaintingsmitchellpassionatelyadiredadeanypaintingsocypresstreesthataresurelypartotheancestryothisbodyoworkasareCezannesplanardescriptionsovoluesandvoids.ItcouldbesaidthatmitchellwasonherwaytoconceivingapactbetweenFrenchPostIpressionisandAericanAbstractExpressionisthatdefnesherworkrothispointorwardandisauniqueachieveentinthehistoryo20thCenturypainting.Theexhibitionalsoincludesdrawingsadeaewyearslaterin1967atersheovedtoanewhoeandstudioinVtheuilaquintessentiallyFrenchvillagenorthwestoParis.Thesecharcoalsaresuusedwithoreproxialreerencestonaturetooliageandvegetation.Theassociatedpaintingsaredrenchedincolornewcolorsdierentandoreripethanherearlierpaintingsbutthesedrawingsstandasuniquelydirectstateentsotheeelingsshederivedroiersioninhernewenvironent.Allotheseworksaresiultaneouslyaustereandgorgeousandarebeautiullyandsensitivelydrawn.Theyprovideareveal-inglookataniportantartistduringapivotaltieochangeonethatreadsasatransitionrothepowerullygesturalAbstractExpressionistworkothe1950sandearly60sorwhichshewasalreadycelebratedintoasuccessionolaterstylesthatbeginsin1968andextendstotheendoherliein1992.Aidthecohesionomitchellsentirebodyoworkarespecialchap-tersthisisunistakablyoneothe.jillWeinbergAdas 2.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. ToBeNewToBeOtherjoanmitchellsreputationwasestablishedinthe1950sbherenergeticcalligraphicpaintingstanglesoapparentleo-tion-drivenribbonsandslashesocolorintertwinedwithblacksandneutrals.InherbiographomitchellironicalltitledLadPainterPatriciaAlbersakesuchotheartistssnesthesiaaneurologicalconditioninwhichvariouskindsosensorstiuliostcoonllettersornubersareexperiencedascolors.mitchellsversionothephenoenonAlberstellsuscausedhertoassociateparticularpersonalitieswithparticularhuesandtoseesoundsandeotionsincolorallowhichthebiographersuggestswasrefectedineverthingtheartistdid.yetnoat-terhowiportantchroawastomitchellwhatightbecalleddrawingthegeneratinggesturesotheworkswithwhichsheannouncedherselasaoungartisttobetakenseriouslreainedundaentaltoherconceptionopaintingthrough-outherorethanour-decadelongcareer.Hercanvasesreadasaccretionsoindividuallinesoandierentweightsalostbeorethehuesothoseinfectedlinesasserttheselves.mitch-ellissaidtohavebeenextreelinterestedasanaspiringoungpainterinWilledeKooningsgesturalapproachbutherpalip-sestsolineseetooweoretojacksonPollockswebsopouredpaintwiththeiportantdierencethatunlikePollocksdisebodiedskeinsmitchellssinuousathleticlinesalwasakeusintenselawareothehandbehindthe.Thisawarenessibueseventheostragilearksonhercanvaseswithnotablephsicalit.Conrontedboneomitchellsraingexpanseswe thinkotheoveentsothewristandarandothevaria-tionsinpressurethatproducedthosearksincontrasttothewaweexperiencetheworkomitchellsconteporarHelenFrankenthalerwhosestainsoradiantthinned-outcolorseetohavecoeintobeingalostwithouttheartiststangibleinter-ventionsiplbbeingpouredandthenwilledintoplace.yetitheaterialpresenceomitchellspaintingsengagesusweareheldequallbthehostoassociationstheprovokeassocia-tionswitheverthingroeelingsandstatesoindtothephe-noenaotheworldaroundus.Experiencevisualandotherwisehasbeentransoredintohighlchargedgesturesthatbvirtueoreiterationlaeringandextensionbecoetenuouslheld-togethereldsunravelingplanesatoncethereandnotthere.Apaintingmitchellipliesisbothaaniestationotheart-istsreactionstotheappearanceothingsseenplacesqualitiesolighttiesodaseasonsweatherperhapsevenpeopleandanebodientotheeotionprovokedbthoseperceptionsaongothertriggersre-experiencedintersotheactotrans-erringresponsivepigenttoafatsuracewitharesponsivetool.LikeherAbstractExpressionistorebearsandlikesuchebersoherowngenerationasmichaelGoldbergGraceHartiganandtheQubecoispainterjeanPaulRiopelleherpartneroranearsmitchellwasconvincedthatthegestureswithwhichartistsanip-ulatedaterialsweredeclarationsopersonalitasindividualasasignature.Atvarioustiesespeciallinthelasttenortwelveearsoherlieherlooselwovensheetsogesturesbecaeoresubstantialandpatchieronltodissolveatothertiesintoopennetworksoexpressivestrokes.yetmitchellsbiographersinsistenceontheiportanceotheartistshper-awarenessochroaaitseesnotbeisplaced.mitchellsloveoco-plexlineusedasakindographoeelingnevercoproisedherascinationwithcolor.Eventhenotabldensecanvasesshereerredtoasblackpaintingsadeintheid-1960sareullocolorstrangegreensandbluestheoccasionalfashoviolet. Theso-calledblackpaintingscoincidewithcopellingworksonpaperadeabout1964and1965.Theyarelittleknownhav-ingreaineduntilnowunexhibitedintheledrawersotheartistsstudioaterherdeath.Whataybetheearliestdraw-ingsinthegroupadeonspiral-boundsketchbooksheetswithcobinationsocharcoaloilandwatercoloraresallbutintenseandrevealingarelatedseriesoid-sizecharcoalandpasteldrawingsonhandadepaperprobablyollowed.Togethertheybothbroadenanddeepenourunderstandingomitchellintheseyears.Whiletheblackpaintingsdespitetheartistschar-acterizationotheasebodientsodarknessotenreadasrelativelyopenwind-blownandullofickeringlighttheseworksonpaperseegenerallybroodingandinwardlyocused.Asagroupthesedrawingsoabout1964and1965oerinsightaswellintomitchellsworkingethodsbyprovidinganinti-ateviewowhatseestobearestlesssearchtoencapsulateeeling.Seeingtheislikelookingovertheartistsshoulderassheworkedlikebeingadeprivytoherthoughtprocesses.Sheappearstohaveworkedspontaneouslyandunsysteaticallyontheseriesovingalongaairlynarrowperhapspredeterinedpathtestingthepotentialoaairlyiconiccentralizedcoposi-tionbutapproachingitreshlyeachtie.Theresastronga-ilyreseblanceaongthevariousdrawingsinbothseriesbuttheresnosuggestionthattheissuesproposedbyeachworkhavebeenaddressedwithanysenseoailiarity.Eachappearstohavebegunwithascrawledcongurationinthecenterothepagearapidgesturethatespeciallyinthesallerworksadeabout1964canseedrivenorebyeelingthanbyaestheticconsiderations.Westruggletodeciphertheseinitialthoughtssinceawidevarietyoarkshavebeensuper-iposedonthebroadswipesinsistentlyrepeatedstrokesandstaccatofourishestooraclenchedcentralizedcloudthatall-butcancelsoutwhatliesbeneath.Soeothesetautlittleiagesseelikeetaphorsorexistentialangstthedarkobliterating assreadsasagestureodespair.Butinothersinparticularthedrawingsprobablyadelaterin1965thecentralizedcloudceasestobeanipositioninsteadittakesonitsownlieasahoveringorebenignpresenceitsweightanddarknesspiercedandenliv-enedbynotesoreddishbrownpastel.Intheseworkscharcoalandpastelseetohaveachievedparityoentarilyconspiringtocoetogetherorthegreatergoodthecongurationisstillclenchedalittleangrybutsoeairhasenteredthespace.Thoseailiarwithmitchellsbiographywillpointtoeventsinherlieabout1964and1965herrelationshipwithRiopelleherapproachingortiethbirthdayherathersdeathandothersillnessandorealongwithchangingattitudestowardstheAbstractExpressionistvaluesdeonstratedbyherworkanyowhichcouldhavetriggeredthesenseodiscontentrefectedintheerceeotionaltoneotheworksonpapersheadedur-ingthesetroubledyears.IthasbeenperceptivelysuggestedorexaplethatthesalleotionallyloadedsketchbookdrawingswereadeduringsuersailingholidaysspentwithRiopelleandhischildreninthesouthoFrancewhenshewasdeprivedoprivacyandtieinherstudio.Theorelyricaloodlargersizeandoreopenstructureoagroupocharcoaldrawingsadein1967aybearesponsetoaverydierentsetocircustances.ThatyearmitchellacquiredahoeandstudioinVtheuilnorthwestoParisarelativelyunspoiledvillagewheretheIpressionistshadpainted.ShewouldreaininthisidyllicspotneartheSeineuntilherdeathin1992.PerhapsbecauseothenewstiulimitchellexperiencedaterovingrourbanParistoaoreruralsettingthedeli-catespreadinghaloesotonetheephaticlinesandfoatingshapesinthepaperworkssheproducedin1967arequiteunlikethecopressedconrontationalassesthatdoinateherdraw-ingso1964and1965.Thestrikingvarietyotheseworkspreg-uresotisthatmitchellwouldexploreinsubsequentpaintingscanvasesinwhichherAbstractExpressionist-infectedgestures oftencoalesceintounstableshapeswhosesaturatedcolorandcursiverhthsseetoalludeobliquelbutpowerfulltotheworldofnature.Thearefarfrolandscape-likeintersoftheirspaceandstructurebutleavesseenagainstsunlightplantforstheupwardthrustoftreesandothervegetalotifshaunttheseiages.Arelatedvocabularofshapessudgesanddelicatetouchesinforsasallgroupofdrawingsonvelluadein1967inpreparationforalithographincludedinaportfolioInMemoryofMyFeelingspublishedbthemuseuofmodernArttohonorthepoetandcuratorFrankOHara.AclosefriendandasupporterofmitchellsartOHarahadbeenkilledthepreviousearinanaccidentonFireIsland.TheportfolioincludedthirtofOHarasleanconversationalpoesillustratedbtheartistswhohadbeenhisfriendsandadirersanipressivelistthatincludedinadditiontomitchelljoeBrainardElaineandWilledeKoon-ingHelenFrankenthalerPhilipGustonjasperjohnsAlexKatzRoLichtentsteinRobertmotherwellBarnettNewanRobertRauschenbergandLarrRiversaongothers.OHarasneverwroteapoedirectlabouthisfriendmitchellashedidaboutothersoftheircircleostnotablmichaelGoldberginthecel-ebratedWhyIAmNotaPainter.TheproisingltitledPoemReadatJoanMitchellswaswritteninhonorofthepainterjaneFreilichersarriagetojoeHazenin1957andreadatacelebra-tionforthecoupleandjoanwassurprisingouwithapartforwhichIwasthedeco.yetitcontainsalinethatcouldappltomitchellherselftheefforttobenewdoesnotupsetounortheefforttobeother.mitchellsowntributetoOHaraliketherearkablegroupofworksonpaperoftheid-1960sthatitrelatestocouldbedescribedinthesaewa.Theseintiateintenselpersonaldrawingsseeeffortlessandthearebothnewandotherinthebestpossiblewa.KarenWilkinNewyorkApril2014 3.Untitledc.1964charcoalandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 4.Untitledc.1964charcoalandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 5.Untitledc.1964charcoalandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 6.Untitledc.1964charcoalandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 7.Untitledc.1964oiloncanvas63.75x44.75inches161.93x113.67cm. 8.Untitledc.1964charcoaloilandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 9.Untitledc.1964oilonpaper10.5x8.25inches26.67x20.96cm. 10.Untitledc.1964charcoaloilandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 11.Untitledc.1964charcoalandwatercoloronpaper12.875x10.325inches32.7x26.3cm. 12.Untitledc.1964charcoaloilandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 13.Untitledc.1964charcoaloilandwatercoloronpaper10.5x8.25inches26.67x20.96cm. 14.Untitled1964oiloncanvas63.75x51.125inches161.93x129.86cm. 15.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 16.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 17.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 18.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 19.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 20.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 21.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 22.Untitledc.196465charcoalandpastelonpaper24x18inches60.96x45.72cm. 23.Untitledc.196465charcoalandpastelonpaper29x21inches73.66x53.34cm. 2428.Untitled1967charcoalonpaper36x24inches91.44x60.96cm. 29.Untitled1967charcoalonvellum14x11inches35.56x27.94cm. 30.Untitled1967charcoalandpastelonvellum14x11inches35.56x27.94cm. 31.Untitled1967charcoalonvellum14x11inches35.56x27.94cm. 32.Untitled1967charcoalandpastelonvellum14x11inches35.56x27.94cm. 33.Untitledc.1967watercoloronpaper16x13inches40.64x33.02cm. Wearegratefultotheownersoftheseworksfortheirsupportofthisexhibitiononethatraisesalostasanyquestionsasitanswers.WethankthejoanmitchellFoundationparticularlyarchivistLauramorrisforsharinghistoricalinforationandresourcesthatareavitalpartoftheprocessofansweringthosequestionsandraisingyetnewones.TheorganizationalandeditingskillsofgallerydirectormaryBenyohavebeenindispensabletotheexhibitionandaccopanyingcatalogueinadditiontoherinsightsabouttheworkstheselves.AllworkscopyrightTheEstateofjoanmitchell. TypographybyInkInc.PrintedbyPuritanCapital.ISBN978-1-4951-1018-4