Career
After being abroad for six years, Kelly decided to return to America in 1954. He was interested after reading a review of an Ad Reinhardt exhibit, to which he felt his work related. Upon his return to New York, he found the art world “very tough.” Although Kelly is now considered an essential innovator and contributor to the American art movement, it was hard for many to find the connection between Kelly’s art and the dominant stylistic trends. In May 1956 Kelly had his first New York exhibition at Betty Parsons’ Gallery. His art was considered more European than was popular in New York. He showed again at her gallery in the fall of 1957. Three of his pieces: Atlantic, Bar, and Painting in Three Panels, were selected and shown for the Whitney Museum of American Art's exhibit, "Young America 1957.” His pieces were considered radically different from the other twenty-nine artists’ works. Painting in Three Panels, for example, was particularly noted; at the time critics questioned his creating a work from three canvases. For instance, Michael Plante has said that, more often than not, Kelly’s multiple-panel pieces were cramped because of installation restrictions, which reduced the interaction between the pieces and the architecture of the room.
Kelly eventually moved away from Coenties Slip, where he had sometimes shared a studio with fellow artist and friend Agnes Martin, up to the ninth floor of the high-rise studio/co-op Hotel des Artistes at 27 West 67th Street. Kelly left New York City for Spencertown in 1970 and was joined by his partner, photographer Jack Shear, in 1984. Since 2001, he has been working in a 20,000-square-feet studio reconfigured and extended by the architect Richard Gluckman in Spencertown. Kelly and Shear moved to their current residence, a wood-clad Colonial house built circa 1815, in 2005. Shear serves as the director of the Ellsworth Kelly Foundation.
Read more about this topic: Ellsworth Kelly
Famous quotes containing the word career:
“It is a great many years since at the outset of my career I had to think seriously what life had to offer that was worth having. I came to the conclusion that the chief good for me was freedom to learn, think, and say what I pleased, when I pleased. I have acted on that conviction... and though strongly, and perhaps wisely, warned that I should probably come to grief, I am entirely satisfied with the results of the line of action I have adopted.”
—Thomas Henry Huxley (1825–95)
“What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.”
—Arlie Hochschild (20th century)
“The 19-year-old Diana ... decided to make her career that of wife. Today that can be a very, very iffy line of work.... And what sometimes happens to the women who pursue it is the best argument imaginable for teaching girls that they should always be able to take care of themselves.”
—Anna Quindlen (b. 1952)